After the exhibition, our artistic undertaking in Egypt was an open-ended pointing towards futurity: we buried the 3D print in the Sahara desert as a poetic counter-act to the excavation. We delivered it back to the vast desert as a 'utopian place.' By this, we addressed the concept of ancient objects considered as deriving from dead cultures. It is very alienating in the heritage discourse that just through the separation towards contemporary culture, “traditions” evolve, which we see as far away, irretrievable and precious.
Contemporary people who engage with these traces today may have views regarding their treatment that must be respected, as indigenous archaeology is saying for years. More importantly, we engage with living animate and inanimate entities, not dead communities, people, and things.
By leaking the data at the CCC Congress, Europes largest Hacker Convention we did not know if the public was interested in accessing, studying, printing, or remixing the dataset. The story went viral along with all the issues we were referring to, and there was coverage on every continent which means there is a specific relevance for ancient artifacts if activated in a meaningful way beyond the museological order.