Museum without Walls

Escadaria Maria Ortiz (Raphael Samú, screen printing on paper, 1981) - access in augmented reality

Dja Guata Porã exhibition, Museu de Arte do Rio, 2017-8.

untitled (Levino Fanzeres, oil on agglomerate, undated) - access in augmented reality

Envensão nova urso con cachorro (Elpídio Malaquias, synthetic enamel on chipboard, 1992) - access in augmented reality

In indigenous time there is a notion of sequence, a before and an after, but this does not imply a fixed boundary between the past and the future, which, instead of being separated by the present, would be both contained within the now.

Digitization of the coffin of the mummy Sha-Amum-em-su with the HandySCAN 3D.

Digital animation of the skeleton of the bird Rhea americana, based on kinematic study.

Riverine Archive, VR screen capture (© Antonopoulou & Dare).

Dense point cloud of the Redonda and Filhote islands. The photo sequence, indicated by the blue rectangles, shows the boat trajectory around the islands.

Dja Guata Porã exhibition, Museu de Arte do Rio, 2017-8.

Perceptions of the real in museums run the risk of creating a reality of fragmented discourses that, when removed from their original context, prevent us from perceiving an another reality, entirely diverse from our own, building a distorted image of the "other".

David Hall, A Situation Envisaged: The Rite II (Cultural Eclipse), 1988-90. Video documentation of VR experience presented at the NEoN Festival, Dundee, 2017. Development by Rhoda Ellis, curating by Adam Lockhart (© Rhoda Ellis).

DiMoDA 1.0 poster for Superchief gallery, 2016.

Photogrammetry mapping of Roman amphorae in the Mediterranean Culture room. Photos were obtained using a drone because the floor of the room was covered by pieces of collection items, making it impossible to reach these items.