Museum without Walls

Weekly meeting of the contidonãocontido project, with the curators-educators.

untitled (Regina Chulam, oil on canvas, 1982) - access in augmented reality

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?

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

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).

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.

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

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

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

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.