Museum without Walls

Map of the Third World's south-southeast island, 2011.

Digitization of the coffin of the mummy Sha-Amum-em-su with the HandySCAN 3D.

The digitization of the Bendegó meteorite with the HandySCAN 3D was done in several parts that were digitally merged.

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.

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

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?

Cacau (Nice N. Avanza, oil on canvas, 1988) - access in augmented reality

contidonãocontido exhibition - Museu de Arte Moderna Aloisio Magalhães, 2010.

Since the community was being used as a construction site for the Olympic Park - one of the strategies used to pressure residents and compel families to accept the proposal of the City of Rio de Janeiro -, the sculpture “Suporte dos Males” and part of the sculpture “Espaço Ocupa e Casa da Dona Conceição” were destroyed by tractors.

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?