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Museum without Walls

Museum without Walls

Museum without Walls

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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).

In opposition to the objects collected from the rubble of Providência, the archaeological finds that a century ago had been thrown there as leftovers now performed singularity, flaunting the strength of those who, in a gesture of insubmission to gravity and oblivion, had returned to the surface.

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

DiMoDA 1.0 poster for Superchief gallery, 2016.

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

The Space Expanding Room: AFAAB in VR - The virtual Ant Farm Antioch Art Building is a digital space constructed from 1971 archival architect’s drawings. In this virtual space, avatars can meet, chat, graffiti, attend events, and make art, just as students were once able to interact in the real space, before it was abandoned in 2008. An AFAAB production. Concept, curating, and direction by Catalina Alvarez and Liz Flyntz. Construction and design by Ty Clapsaddle.

Vila Autódromo community association before being demolished (© Luiz Claudio Silva / Museum of Removals collection).

David Hall, TV Interruptions: The Installation, 1971. Video documentation of VR experience presented at Besides the Screen Conference, Kings College, London, 2018 (© Adam Lockhart).

Part of the Espírito Santo Art Museum collection was digitized and implemented as a series of augmented reality (AR) filters. The works are available as 3D models for those who want to take them for a walk around the city or in other virtual spaces.

This proposal experiments with the possibilities created by the new media systems to make public certain pieces of our heritage, not only in the sense of making these pieces known but also of provoking recontextualizations of their uses and meanings.

Our Collections was funded by the Aldir Blanc Law, via the Espírito Santo State Cultural Offices. All models are published under a CC BY-NC-SA 2.5 free license.

Our Collections

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