Museum without Walls

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Phi Books (© Antonopoulou & Dare).

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

Digitization of the fossilized skeleton of Mariliasuchus amarali with the Artec MHT.

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.

Non-space I (the degrading idea of home) - This work seeks to displace and reformulate the social aspect of the WebVR space. Employing verticality, mirroring as well as dislocation of the voice and images of viewer inhabited avatar bodies, it teases out other possibilities of social interaction to be explored. Concept and realization: Commonolithic.

Houseplans, Phi Books (© Antonopoulou & Dare).

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).

David Hall, TV Interruptions: The Installation, 1971. Schematic showing 3D construction of Hantarex monitor in Maya software by Sang Hun Yu (© University of Dundee/Estate of David Hall).

Today, the ruins of houses and collective equipments that were destroyed became part of the museum's collection and of what the residents call a memory route, along which several signs were installed to evoke spaces that existed in Vila Autódromo before the evictions.

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.

David Hall, TV Interruptions: The Installation, 1971. Screenshot from Unity showing sound design. Programming Sang Hun Yu (© University of Dundee).