Museum without Walls

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

Dense point cloud of the Redonda and Filhote islands. The photo sequence, indicated by the blue rectangles, shows the boat trajectory around the islands.

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

Torre (Heide Liebermann, 1981) - access in augmented reality

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.

DiMoDA 3.0, 2018. Work by Paul Hertz (Fools Paradise).

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.

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

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

What happens then in the future if an artist, collector or gallery wishes to re-exhibit an artwork where the original equipment has not been collected or the equipment required is entirely obsolete and unavailable?

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