typo

10 files changed, 33 insertions, 24 deletions

diff --git a/frontend/site/projects/museum/constants.js b/frontend/site/projects/museum/constants.js
index 5c3288d..4bcc600 100644
--- a/frontend/site/projects/museum/constants.js
+++ b/frontend/site/projects/museum/constants.js
@@ -8,7 +8,7 @@ export const ARTISTS = {
         <a href="https://www.nora-al-badri.de" target="_blank">www.nora-al-badri.de</a>
       </p>
       <p>
-        Nora Al-Badri is a multi-disciplinary and conceptual media artist with a German-Iraqi background. She graduated in political sciences at Johann Wolfgang Goethe University in Frankfurt/Main and is currently the first artist-in-residence at the Swiss Federal Institute for Technology (EPFL) and its Laboratory for Experimental Museology (eM+). Her practice focuses on the politics and the emancipatory potential of new technologies such as machine intelligence or data sculpting, non-human agency and transcendence. She has exhibited in the Viktoria and Albert Museums' Applied Arts Pavilion at La Biennale di Venezia, 3rd Design Biennal Istanbul, ZKM Karlsruhe, Science Gallery, Dublin. Berliner Herbstsalon - Gorki Theater, Ars Electronica, Abandon Normal Devices, The Influencers, etc. Al-Badri regularly gives classes and lectures at universities and museums all over the world such as Techne Institute at University of Buffalo, MassArt Boston, UDK university Berlin, Hochschule Weissensee Berlin, KTH Royal Institute of Technology Stockholm, University of Halle and IRIBA Center for Multimedia Heritage and different Kigali, Warburg Institute and Central Saint Martins College London, UCL London, Einstein Center for Digital Future Berlin. Haus der elektronischen Künste Basel, Mozilla Festival and many more. She is acting as jury member for the Chaos Communication Congress' Arts & Culture Track, the jury of Berlinale Peace Price from Heinrich Böll Foundation (2019) and the jury of the Digital Academy Dortmund (2019).
+        Nora Al-Badri is a multi-disciplinary and conceptual media artist with a German-Iraqi background. She graduated in political sciences at Johann Wolfgang Goethe University in Frankfurt/Main and is currently the first artist-in-residence at the Swiss Federal Institute for Technology (EPFL) and its Laboratory for Experimental Museology (eM+). Her practice focuses on the politics and the emancipatory potential of new technologies such as machine intelligence or data sculpting, non-human agency and transcendence. She has exhibited in the Viktoria and Albert Museums' Applied Arts Pavilion at La Biennale di Venezia, 3rd Design Biennal Istanbul, ZKM Karlsruhe, Science Gallery, Dublin. Berliner Herbstsalon - Gorki Theater, Ars Electronica, Abandon Normal Devices, The Influencers, etc. Al-Badri regularly gives classes and lectures at universities and museums all over the world such as Techne Institute at University of Buffalo, MassArt Boston, UDK university Berlin, Hochschule Weißensee Berlin, KTH Royal Institute of Technology Stockholm, University of Halle and IRIBA Center for Multimedia Heritage and different Kigali, Warburg Institute and Central Saint Martins College London, UCL London, Einstein Center for Digital Future Berlin. Haus der elektronischen Künste Basel, Mozilla Festival and many more. She is acting as jury member for the Chaos Communication Congress' Arts & Culture Track, the jury of Berlinale Peace Price from Heinrich Böll Foundation (2019) and the jury of the Digital Academy Dortmund (2019).
       </p>
     `,
     statement: `
@@ -46,7 +46,7 @@ export const ARTISTS = {
         <a href="https://www.julianacerqueiraleite.com" target="_blank">www.julianacerqueiraleite.com</a>
       </p>
       <p>
-        Juliana Cerqueira Leite (b. 1981) is a Brazilian/American sculptor based in New York and Sao Paolo. Cerqueira Leite received the 2019 Pollock-Krasner Foundation Grant for her exhibition Orogenesis at the National Archaeological Museum in Naples, Italy. She was awarded the 2016 Furla Art Prize for her contribution to the 5th Moscow Young Art Biennale. She has exhibited her work in sculpture, drawing, photography and video internationally in solo shows in venues including Instituto Tomie Ohtake in São Paulo, Arsenal Contemporary in New York and Montreal, Galeria Casa Triângulo in São Paulo, Alma Zevi gallery in Venice, Galleria Lorcan O’Neill in Rome, TJ Boulting in London and Regina Rex Gallery in New York. She has also exhibited her work in group shows and biennials including Hordaland Kunstsenter for Bergen Assembly, Sculpture Center in New York, Ilmin Museum in Seoul, Marres House for Contemporary Culture in Maastricht, and Saatchi Gallery in London. Her work has been commissioned by international Biennials and Triennials including The Antarctic Pavilion of the 2017 Venice Biennale, Bergen Assembly 2019, Moscow Young Art Biennale, Marrakech Biennale and the 2014 Vancouver Sculpture Biennial. Cerqueira Leite graduated from the Slade School of Fine Art (UCL) Graduate Sculpture program in 2006, London, as the inaugural recipient of the Kenneth Armitage Sculpture Prize. 
+        Juliana Cerqueira Leite (b. 1981) is a Brazilian/American sculptor based in New York and São Paolo. Cerqueira Leite received the 2019 Pollock-Krasner Foundation Grant for her exhibition Orogenesis at the National Archaeological Museum in Naples, Italy. She was awarded the 2016 Furla Art Prize for her contribution to the 5th Moscow Young Art Biennale. She has exhibited her work in sculpture, drawing, photography and video internationally in solo shows in venues including Instituto Tomie Ohtake in São Paulo, Arsenal Contemporary in New York and Montreal, Galeria Casa Triângulo in São Paolo, Alma Zevi gallery in Venice, Galleria Lorcan O’Neill in Rome, TJ Boulting in London and Regina Rex Gallery in New York. She has also exhibited her work in group shows and biennials including Hordaland Kunstsenter for Bergen Assembly, Sculpture Center in New York, Ilmin Museum in Seoul, Marres House for Contemporary Culture in Maastricht, and Saatchi Gallery in London. Her work has been commissioned by international Biennials and Triennials including The Antarctic Pavilion of the 2017 Venice Biennale, Bergen Assembly 2019, Moscow Young Art Biennale, Marrakech Biennale and the 2014 Vancouver Sculpture Biennial. Cerqueira Leite graduated from the Slade School of Fine Art (UCL) Graduate Sculpture program in 2006, London, as the inaugural recipient of the Kenneth Armitage Sculpture Prize. 
       </p>
     `,
     statement: `
@@ -57,7 +57,7 @@ export const ARTISTS = {
         ‘This work doesn’t really have a title. In many ways it is atypical of my practice, which is normally object based, indexical of the body, and very physical. Making something solely for the purposes of an online experience, working during a COVID-19 peak, in a temporary studio in Brazil—facing challenges finding materials in art supply shops with empty shelves, and so on—led me to approach the project as a one-off thing. An important pressure was removed: objects that I made could fall apart immediately after the show because their relationship with the exhibition was inverted: The Last Museum is durable, the artworks are not. And where is this exhibition anyway?—somewhere in-between my inner monologue and yours, not ever outside enough, but not totally inside our heads either. The stakes are low for both of us and these tenuous relations are filled with anxiety.
       </p>
       <p>
-        The real brought into this space was filmed in the São Paulo neighborhood of Santa Ifigênia, named after the eponymous black Ethiopian Saint. This historic part of the city center has mutated according to the consumer needs of the population: At the start of the 20th Century it was the neighborhood for buying fabric, then radios, then TVs and VCRs, now CPUs, laptops, servers, everything in between. Despite decades of city abandonment and corruption, traditional family-run businesses are still there, hanging on. The nouns for the high tech wares that they sell conjure visions of China, Apple Stores, Silicon Valley, dustless rooms, glass buildings, white people with tidy haircuts. In reality, here laptops are opened and soldered unceremoniously in front of their brown skinned owners, gaming stacks assembled as you wait and chat in a friendly, crowded warehouse; your iPhone is fitted with an off brand screen… The magic here is a pirated version of the entire Adobe suite, cheap enough that you can actually afford to own these programs, learn them, and maybe get yourself a job. 
+        The real brought into this space was filmed in the São Paulo neighborhood of Santa Ifigênia, named after the eponymous black Ethiopian Saint. This historic part of the city center has mutated according to the consumer needs of the population: At the start of the 20th Century it was the neighborhood for buying fabric, then radios, then TVs and VCRs, now CPUs, laptops, servers, everything in between. Despite decades of city abandonment and corruption, traditional family-run businesses are still there, hanging on. The nouns for the high tech wares that they sell conjure visions of China, Apple Stores, Silicon Valley, dustless rooms, glass buildings, white people with tidy haircuts. In reality, here laptops are opened and soldered unceremoniously in front of their brown skinned owners, gaming stacks assembled as you wait and chat in a friendly, crowded warehouse; your iPhone is fitted with an off brand screen… The magic here is a pirated version of the entire Adobe suite, cheap enough that you can actually afford to own these programs, learn them, and maybe get yourself a job.
       </p>
       <p>
         Three blocks away from what is now the city’s most important physical technology shopping hub is what we, from São Paulo, refer to as crack-land. It’s the bottom that you hit when you’ve fallen through all the fragile threads of the human affective support net. People there are people like you and I, but they have lost everything that could frame them—living in a state of flux between gathering cardboard boxes for cash, scoring $3 for crack, getting high and then crashing out for days.
@@ -113,7 +113,7 @@ export const ARTISTS = {
         <a href="https://www.stankievech.net/" target="_blank">www.stankievech.net</a>
       </p>
       <p>
-        Charles Stankievech (b.1978, Canada) is an artist whose research has explored issues such as the notion of “fieldwork” in the embedded landscape, the military industrial complex, and the history of technology. His diverse body of work has been shown internationally at the Louisiana Museum, Copenhagen; Palais de Tokyo, Paris; Haus der Kulturen der Welt, Berlin; MassMoca, Massachussetts; Musée d’art contemporain de Montréal; Canadian Centre for Architecture; and the Venice Architecture and SITE Santa Fe Biennales. His lectures for Documenta 13 and the 8th Berlin Biennale were as much performance as pedagogy while his writing has been published in academic journals by MIT and Princeton Architectural Press. His idiosyncratic and obsessively researched curatorial projects include Magnetic Norths at the Leonard & Bina Ellen Gallery, Concordia University and CounterIntelligence at the Justina M. Barnicke Gallery, University of Toronto. From 2010-2011 (and again currently from 2014-15) he was hired as a private contractor for the Department of National Defense where he conducted independent research in intelligence operations under the rubric of the CFAP.  He was a founding faculty member of the Yukon School of Visual Arts in Dawson City, Canada and is currently an Assistant Professor in the Daniels Faculty of Architecture, Landscape and Design at the University of Toronto.  Since 2011, he has been co-director of the art and theory press <a href="https://k-verlag.org/" target="_blank">K. Verlag</a> in Berlin.
+        Charles Stankievech (b. 1978, Canada) is an artist whose research has explored issues such as the notion of “fieldwork” in the embedded landscape, the military industrial complex, and the history of technology. His diverse body of work has been shown internationally at the Louisiana Museum, Copenhagen; Palais de Tokyo, Paris; Haus der Kulturen der Welt, Berlin; MassMoca, Massachussetts; Musée d’art contemporain de Montréal; Canadian Centre for Architecture; and the Venice Architecture and SITE Santa Fe Biennales. His lectures for Documenta 13 and the 8th Berlin Biennale were as much performance as pedagogy while his writing has been published in academic journals by MIT and Princeton Architectural Press. His idiosyncratic and obsessively researched curatorial projects include Magnetic Norths at the Leonard & Bina Ellen Gallery, Concordia University and CounterIntelligence at the Justina M. Barnicke Gallery, University of Toronto. From 2010-2011 (and again currently from 2014-15) he was hired as a private contractor for the Department of National Defense where he conducted independent research in intelligence operations under the rubric of the CFAP.  He was a founding faculty member of the Yukon School of Visual Arts in Dawson City, Canada and is currently an Assistant Professor in the Daniels Faculty of Architecture, Landscape and Design at the University of Toronto.  Since 2011, he has been co-director of the art and theory press <a href="https://k-verlag.org/" target="_blank">K. Verlag</a> in Berlin.
       </p>
     `,
     statement: `
@@ -150,7 +150,7 @@ export const ARTISTS = {
     location: "Chiang Mai, Thailand",
     start: "nilthamrong-home",
     bio: `<p>
-      Jakrawal Nilthamrong (b.1977) is Thai artist and filmmaker based in Bangkok. He holds a MFA in Art and Technology Studies. In 2007, he was an artist-in-residence at the Rijksakademie in Amsterdam. Jakrawal Nilthamrong’s work spans from short films, documentary films to video installations and feature films. The themes of his work often relate to Eastern philosophy in contemporary context and local history of specific environments to establish dialogue among multiple perspectives. His has been shown in international film festivals including Rotterdam, Berlinale, Toronto and Yamagata, as well as exhibitions at 2012 Taipei Biennial and 2014 SeMA Biennale Mediacity Seoul, it is collected by institutions including Kadaist.
+      Jakrawal Nilthamrong (b.1977) is Thai artist and filmmaker based in Bangkok. He holds a MFA in Art and Technology Studies. In 2007, he was an artist-in-residence at the Rijksakademie in Amsterdam. Jakrawal Nilthamrong’s work spans from short films, documentary films to video installations and feature films. The themes of his work often relate to Eastern philosophy in contemporary context and local history of specific environments to establish dialogue among multiple perspectives. His work has been shown in international film festivals including Rotterdam, Berlinale, Toronto and Yamagata, as well as exhibitions at 2012 Taipei Biennial and 2014 SeMA Biennale Mediacity Seoul, it is collected by institutions including Kadaist.
     </p>`,
     statement: `<p>
       <i>Wildfires</i> occur frequently during the dry season in northern Thailand’s high mountains. The source of fire is not natural but arson. In the past it was hypothesized that local people set the fires to clear land for agricultural use, or for hunting. There were efforts to solve the problem at the community level, but the fires only became more severe. Strangely, the blazes often occurred in the national park—an area difficult for villagers to access. During the wildfire suppression efforts of May 2020, a group of scholars and volunteers discovered important evidence that would change the original hypothesis: They found several instances of improvised devices made of clothes pegs connected to a small battery by a power cable. Combustion was triggered by a small clod of clay positioned in the middle between the pegs, acting as a timer—after melting in the heat the wires attached to the batteries would ignite. Villagers who were interviewed said that this was not a technique that they were familiar with. Although we cannot know the intention of the burners, it is likely that the park’s natural resources are being used to benefit some group of people. And the poor have always been condemned. 
@@ -167,7 +167,7 @@ export const ARTISTS = {
     start: "opoku-1-hail-to-you",
     bio: `
       <p>
-        Zohra Opoku (b. 1976) is an artist of Ghanaian and German descent based in Accra, Ghana. Opoko’s practice examines the formation of personal identities, particularly in the context of contemporary Ghana, with a special interest in textiles and dress codes within the context of West Africa’s complex history. While her work relays social commentary and broadly relevant themes around the human experience, each of Zohra’s explorations is intimately rooted in personal identity politics. Exhibited internationally, Zohra Opoku has shown work in association with Mariane Ibrahim Gallery (Chicago), Gallery 1957 (Accra), Nubuke Foundation (Accra), Centre for Contemporary Art (Lagos), !Kauru African Contemporary Art (Johannesburg), Commune.1 (Cape Town), Kunsthaus Hamburg (Hamburg), Iwalewahaus (Bayreuth), Musée de l ́Ethnographie (Bourdeax), Guggenheim Museum (Bilbao), Kunsthal (Rotterdam), Broad Art Museum (Michigan State University) and Museum for Photography (Chicago). Her recent residencies include Institute Sacatar Salvador da Bahia, Brazil; Art Dubai Residents, United Arab Emirates and Black Rock Dakar, Senegal.  
+        Zohra Opoku (b. 1976) is an artist of Ghanaian and German descent based in Accra, Ghana. Opoku’s practice examines the formation of personal identities, particularly in the context of contemporary Ghana, with a special interest in textiles and dress codes within the context of West Africa’s complex history. While her work relays social commentary and broadly relevant themes around the human experience, each of Zohra’s explorations is intimately rooted in personal identity politics. Exhibited internationally, Zohra Opoku has shown work in association with Mariane Ibrahim Gallery (Chicago), Gallery 1957 (Accra), Nubuke Foundation (Accra), Centre for Contemporary Art (Lagos), !Kauru African Contemporary Art (Johannesburg), Commune.1 (Cape Town), Kunsthaus Hamburg (Hamburg), Iwalewahaus (Bayreuth), Musée de l ́Ethnographie (Bourdeaux), Guggenheim Museum (Bilbao), Kunsthal (Rotterdam), Broad Art Museum (Michigan State University) and Museum for Photography (Chicago). Her recent residencies include Institute Sacatar Salvador da Bahia, Brazil; Art Dubai Residents, United Arab Emirates and Black Rock Dakar, Senegal.
       </p>
     `,
     statement: `
@@ -175,7 +175,7 @@ export const ARTISTS = {
         I chose the location because of its originally intended function: A crematorium. This was one of the ambitious but unfortunately unfinished projects initiated by Ghana’s Kwame Nkrumah government in the 1970s. The building has been abandoned until today.
       <p>
       </p>
-        I am very interested in the rough aesthetic of the concrete adjoining with the scrabbled walls, which has developed in the last fifty years. The impression of the building is something historic and it reminds me of the inspirational material for a body of work which I sourced from tomb paintings: the Ancient Egyptian <i>Book of the Dead</i>. 
+        I am very interested in the rough aesthetic of the concrete adjoining with the scrabbled walls, which has developed in the last fifty years. The impression of the building is something historic and it reminds me of the inspirational material for a body of work which I sourced from tomb paintings: the Ancient Egyptian <i>Book of the Dead</i>. 
       <p>
       </p>
         The structure is present in central Accra, giving a mysterious backdrop for the prints and works that I share in the videos. It connects in sync with my narrative; to understand ways and visual forms which can take on the journey to an afterlife.
@@ -196,7 +196,7 @@ export const ARTIST_ORDER = [
 export const PROJECT_PAGE_SET = new Set(["essay", "artists", "credits"])
 
 export const ESSAYS = {
-  nadim: { title: "The Last Museum", author: "Nadim Samman", },
+  nadim: { title: "About The Last Museum", author: "Nadim Samman", },
 }
 
 export const ESSAY_ORDER = [
diff --git a/frontend/site/projects/museum/subtitles.js b/frontend/site/projects/museum/subtitles.js
index 951b357..85f7ed5 100644
--- a/frontend/site/projects/museum/subtitles.js
+++ b/frontend/site/projects/museum/subtitles.js
@@ -106,7 +106,7 @@ export const SUBTITLES = {
     title: 'The Desert Turned to Glass',
     popup: "trinity",
     audio_url: "/last-museum/static/uploads/3/audio/Frame06-46sec.mp3",
-    color: "#000",
+    // color: "#000",
     subtitles: [
       "My anarchy obeys subterraneously a law",
       "in which I deal occultly with astronomy, mathematics and mechanics.",
diff --git a/frontend/site/projects/museum/views/credits.css b/frontend/site/projects/museum/views/credits.css
index 92b1017..73343f7 100644
--- a/frontend/site/projects/museum/views/credits.css
+++ b/frontend/site/projects/museum/views/credits.css
@@ -67,7 +67,7 @@
   flex-direction: row;
 }
 .credits-rows > div > div:first-child {
-  width: 100px;
+  width: 33%;
 }
 .page-right .column {
   width: calc(66% - 0.5rem);
diff --git a/frontend/site/projects/museum/views/credits.js b/frontend/site/projects/museum/views/credits.js
index 6187209..8e91ea5 100644
--- a/frontend/site/projects/museum/views/credits.js
+++ b/frontend/site/projects/museum/views/credits.js
@@ -39,10 +39,10 @@ export default class Credits extends Component {
                 <div>Curator:</div> <a href="http://nadimsamman.com/">Nadim Samman</a>
               </div>
               <div>
-                <div>Design:</div> <a href="https://sometimes-always.com/">Sometimes Always</a>
+                <div>Developer:</div> <a href="https://asdf.us/">Jules LaPlace</a>
               </div>
               <div>
-                <div>Developer:</div> <a href="https://asdf.us/">Jules LaPlace</a>
+                <div>Design:</div> <a href="https://sometimes-always.com/">Sometimes Always</a>
               </div>
             </div>
             <div>
@@ -98,7 +98,7 @@ export default class Credits extends Component {
             <div className="column">
               <b>Zohra Opoku</b><br/>
               <i>The Myths of Eternal Life</i><br/>
-              Videography & Sound Design: Zohra Opoko<br/>
+              Videography & Sound Design: Zohra Opoku<br/>
               Location: Unfinished mortuary, Accra, Ghana.<br/> 
               <br/>
               <b>Nicole Foreshew</b><br/>
diff --git a/frontend/site/projects/museum/views/essay.css b/frontend/site/projects/museum/views/essay.css
index 3de705d..24917fd 100644
--- a/frontend/site/projects/museum/views/essay.css
+++ b/frontend/site/projects/museum/views/essay.css
@@ -8,6 +8,7 @@
 }
 .page-essay .page-title {
   cursor: pointer;
+  font-size: 10vw;
 }
 .page-essay .page-subtitle {
   margin: 0rem 0 2vw 0;
diff --git a/frontend/site/projects/museum/views/essay.js b/frontend/site/projects/museum/views/essay.js
index 0a70c4e..e271934 100644
--- a/frontend/site/projects/museum/views/essay.js
+++ b/frontend/site/projects/museum/views/essay.js
@@ -102,7 +102,7 @@ const EssayDetail = props => {
 
 const NadimEssay = ({ essayId, index, isCurrent, onClose }) => (
   <div className={isCurrent ? "artist-detail visible" : "artist-detail"}>
-    <div className="page-title" onClick={onClose}>The L<span>ast Museum</span></div>
+    <div className="page-title" onClick={onClose}>About The L<span>ast Museum</span></div>
     <div className="page-subtitle">By Nadim Samman</div>
     <div className="page-content">
       <p>
@@ -116,7 +116,7 @@ const NadimEssay = ({ essayId, index, isCurrent, onClose }) => (
         Each artist was commissioned to author a sculptural group, to be installed at an outdoor site of their own choosing. The choice was only limited by a request that it be associated with communication and connectivity. Final choices ended up highlighting both technical and more esoteric forms of transmission—and included a notorious hacker hangout (Berlin’s C-base), ancestral land in rural Australia, a down-at-heel electronics mall in downtown Sao Paolo, a neutrino observatory in the Rocky Mountains, and more.
       </p>
       <p>
-        Each sculptural intervention was videoed by the artists, and the resulting clips (from all over the world) were handed over to a digital artist, <a href="https://asdf.us/">Jules LaPlace</a>, who brought them together through a digital way-finding protocol; the exhibition’s ‘hang’. The public outcome, debuting as a pop-up window on the KW start page, is a website experience that unfolds as an interactive sequence of objects and places, navigable using bespoke tools. At times, these tools amount to additional (digital) artworks. Visitors will have a sense that that the exhibition is a wormhole, of sorts. 
+        Each sculptural intervention was videoed by the artists, and the resulting clips (from all over the world) were handed over to a digital artist, <a href="https://asdf.us/" target="_blank">Jules LaPlace</a>, who brought them together through a digital way-finding protocol; the exhibition’s ‘hang’. The public outcome, debuting as a pop-up window on the KW start page, is a website experience that unfolds as an interactive sequence of objects and places, navigable using bespoke tools. At times, these tools amount to additional (digital) artworks. Visitors will have a sense that that the exhibition is a wormhole, of sorts. 
       </p>
       <p>
         Some of the featured locations are associated with infrastructure and the World Wide Web, others include waterways and climate. Uniting these seemingly disparate aspects, a conceptual leitmotif of visually <i>grounding</i> planetary networks and other globe-spanning systems will be evident. Call it a <i>web-site-specific</i> project—in the sense that both art and exhibition design re-imagines the stakes of ‘site-specificity’ for digital times. What this means is that <i>The Last Museum</i>’s ‘site’ is a layered reality or (to borrow a term from computational engineering) a ‘Stack’. Our exhibition-stack encompasses material facts on the ground, digital code, and softer site specificities—including those previously outlined by the art historian Miwon Kwon, such as ‘cultural debates, a theoretical concept, a historical condition, even particular formations of desire’. Each artwork in <i>The Last Museum</i> is a kind of a vector that intersects with all of the stack’s layers.
@@ -131,10 +131,10 @@ const NadimEssay = ({ essayId, index, isCurrent, onClose }) => (
         This project was conceived during the first wave of COVID-19, amid heightened tensions between the conditions of physical lockdown and globe-spanning telecommunication. Although utterly international, its production required no travel for persons or artworks. When the exhibition opens, audiences will not have to travel to view it. While the development of such a format is not supposed to replace gallery experience, it is at least suggestive for how to approach a growing question in the museum sector: namely, how do analog artworks and digital space can come together a meaningful way? In fact, this is only half of the question: We must also explore how digital artworks can relate to analog space. <i>The Last Museum</i> attempts to work on both problems at the same time, creatively, playing with the issue of translation and re-representation in a bi-directional manner.
       </p>
       <p>
-        At its core, The Last Museum explores how tangibility and distance interact, how things that seem fixed in place might (or do) escape in various forms. In a sense, then, it it clear that we are dealing with an issue as old as art itself (albeit, employing contemporary tools). At least one of the exhibition’s artists, Zohra Opoko, explicitly takes up an art-historical precursor for the crossing of spatial and metaphysical thresholds. The Egyptian Book of the Dead is her inspiration for a series of interventions in a half-built mortuary in Accra, Ghana. Draped with screen-printed fabric, the unfinished site is (literally) shrouded in images that stimulate reflection on how stillness and passage come together. In this work and more, the <i>The Last Museum</i> hovers somewhere between life and death, lockdown and escape.
+        At its core, The Last Museum explores how tangibility and distance interact, how things that seem fixed in place might (or do) escape in various forms. In a sense, then, it clear that we are dealing with an issue as old as art itself (albeit, employing contemporary tools). At least one of the exhibition’s artists, Zohra Opoku, explicitly takes up an art-historical precursor for the crossing of spatial and metaphysical thresholds. The Egyptian Book of the Dead is her inspiration for a series of interventions in a half-built mortuary in Accra, Ghana. Draped with screen-printed fabric, the unfinished site is (literally) shrouded in images that stimulate reflection on how stillness and passage come together. In this work and more, the <i>The Last Museum</i> hovers somewhere between life and death, lockdown and escape.
       </p>
       <p>
-        The Last Museum launches 30 April and runs until 6 June, 2021, at <a href="https://www.kw-berlin.de/" target="_blank">www.kw-berlin.de</a>.
+        The Last Museum launches 30 April and runs until 6 June 2021, at <a href="https://www.kw-berlin.de/" target="_blank">www.kw-berlin.de</a>.
       </p>
     </div>
   </div>
diff --git a/frontend/site/projects/museum/views/nav.overlay.js b/frontend/site/projects/museum/views/nav.overlay.js
index 69cc67a..c2bd94b 100644
--- a/frontend/site/projects/museum/views/nav.overlay.js
+++ b/frontend/site/projects/museum/views/nav.overlay.js
@@ -137,6 +137,7 @@ export default class NavOverlay extends Component {
           </div>
         )}
         {showCounter && <Counter />}
+        <TextOverlay location={this.props.location} match={this.props.match} />
         {showFooter && (
           showArtist ? (
             <div className="footer with-artist" ref={this.footerRef}>
@@ -152,7 +153,6 @@ export default class NavOverlay extends Component {
             <div className="footer no-artist" ref={this.footerRef} />
           )
         )}
-        <TextOverlay location={this.props.location} match={this.props.match} />
         <SubtitlesOverlay location={this.props.location} match={this.props.match} />
       </div>
     )
diff --git a/frontend/site/projects/museum/views/subtitles.css b/frontend/site/projects/museum/views/subtitles.css
index c790259..059acec 100644
--- a/frontend/site/projects/museum/views/subtitles.css
+++ b/frontend/site/projects/museum/views/subtitles.css
@@ -13,11 +13,13 @@
 
 .subtitles {
   position: absolute;
-  bottom: 5rem;
+  bottom: 4rem;
   left: 50%;
   transform: translateX(-50%);
   white-space: nowrap;
-  color: rgba(255, 121, 13, 1.0);
+  color: white;
+  text-shadow: 0 0 6px #000;
+  /*color: rgba(255, 121, 13, 1.0);*/
   font-family: "Druk Wide";
   font-size: 1.66vw;
 }
diff --git a/frontend/site/projects/museum/views/subtitles.overlay.js b/frontend/site/projects/museum/views/subtitles.overlay.js
index c31a2fd..6d5a32a 100644
--- a/frontend/site/projects/museum/views/subtitles.overlay.js
+++ b/frontend/site/projects/museum/views/subtitles.overlay.js
@@ -6,9 +6,9 @@ import { SUBTITLES } from '../subtitles.js'
 import './subtitles.css'
 
 const TITLE_SHOW_DELAY = 1000
-const TITLE_HIDE_DELAY = 10000
+const TITLE_HIDE_DELAY = 6000
 const FIRST_SUBTITLE_DELAY = 3000
-const SUBTITLE_DELAY = 3000
+const SUBTITLE_DELAY = 3500
 const LAST_SUBTITLE_DELAY = 5000
 
 class SubtitlesOverlay extends Component {
diff --git a/frontend/site/projects/museum/views/text.overlay.css b/frontend/site/projects/museum/views/text.overlay.css
index 3e4ac21..4c67361 100644
--- a/frontend/site/projects/museum/views/text.overlay.css
+++ b/frontend/site/projects/museum/views/text.overlay.css
@@ -14,9 +14,10 @@
   height: 100vh;
   color: #FF790D;
   font-family: "Druk Wide", sans-serif;
-  font-size: 1.5vw;
+  font-size: 1.3vw;
   padding: 1rem 10vw 1rem 1rem;
   cursor: url(/last-museum/static/uploads/3/cursor/The_Last_Museum_-_Symbols-72.png) 50 50, pointer;
+  overflow: auto;
 }
 .text-overlay::-webkit-scrollbar {
   background: transparent;
@@ -29,7 +30,12 @@
   margin: 0 0 1rem 0;
   line-height: 1.7;
 }
+.text-overlay p:last-child {
+  margin-bottom: 4rem;
+}
 .text-overlay h2 {
   font-family: 'Druk Wide', sans-serif;
-  font-size: 3vw;
+  font-size: 1.7vw;
+  margin-bottom: 1rem;
+  margin-top: 2rem;
 }