Museum without Walls

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Macrophallic amulter recovered from the fire at the National Museum (© LAPID).

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

Map of the Third World's south-southeast island, 2011.

Since the Collection inherited a relatively random set of works and only recently implemented an acquisition policy, one cannot comfortably attribute to it the function of producing a historiography of art produced in the 20th century in Pernambuco. How, then, to deal with this condition?

VR as a Presentation and Simulation Tool for Media Art Installations (presented at the ISEA 2020 Conference).

Aerial view of Vila Autódromo before demolitions (© Luiz Claudio Silva / Museum of Removals collection).

David Hall, A Situation Envisaged: The Rite II, 1989-90. VR simulation presented at NEoN Festival, Dundee, Scotland, 2017. VR model by Rhoda Ellis, curated by Adam Lockhart (© Estate of David Hall/Rhoda Ellis/University of Dundee).

Reproductions of “artworks” which come with a glossary create a new perspective, add another meaning, or simply mix up the first meaning when facing what was initially appropriated by the artist.

Rigor Mortis - In this exhibition, the museum is turned into a horror movie setting, where the feeling of reality is distorted: logic falters, the body is shredded, inert objects become animated - life and death, dream and reality get confused. Creation & research: Renato Pera. 3D art: Caio Fazolin. Collaboration: Jye O'Sullivan and Marcos Pavão.