Museums

Museum without Walls

Museum without Walls

Museum without Walls

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Centro Cultural Banco do Brasil - Rio de Janeiro, 2011.

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".

Map of the exhibition route across the Museum of Removals (© Luiz Claudio Silva / Museum of Removals collection).

O gAViAO.PENAXO (Elpídio Malaquias, synthetic enamel on chipboard, 1992) - access in augmented reality

Lenhador (Dionísio del Santo, oil on canvas, 1987) - access in augmented reality

David Hall, TV Interruptions: The Installation, 1971. Comparison of real installation (Installed at Museum of Modern Art - MUMOK, Vienna, 2010) and VR simulation. Model by Sang Hun Yu (© University of Dundee/Estate of David Hall).

Perhaps the act of appropriation has an element of appreciation, but it is much more than that. Tutorship implies concern, but such response is not the only way (or the best one) to demonstrate care.

Demolition of houses at Vila Autódromo by the city government (© Luiz Claudio Silva / Museum of Removals collection).

untitled (Nair Vervloet, oil on canvas, 1952) - access in augmented reality

In May 2021, while the Espírito Santo Art Museum – MAES – was closed in between exhibitions, we held an arts and curatorial residency in a replica of the museum hosted in the Mozilla Hubs platform.

Compatible with WebXR standards, Hubs is a virtual reality system more directly integrated to the internet infrastructure and which does not require any equipment more sophisticated than a browser to be used.

During the residency, Hubs was a means for the participants to occupy the MAES’ architecture as a porous simulacrum, open to the most diverse flows of information – media libraries, archive materials, personal memories, and collaborations with the public.

The experience resulted in the versioning of the museum into four different instances, fabricated by AFAAB (Catalina Alvarez, Liz Flyntz, Ty Clapsaddle), Commonolithic, Para Terra Volta Toda Corpa em Matéria (Garu, Pedra Silva, Rodrigo Lopes), and Renato Pera.

The preliminary replica of MAES remains accessible and open to remixes.

MAES Variations

Ongoing