House demolition at Vila Autódromo (© Luiz Claudio Silva / Museum of Removals collection).
"HISTORIC PROCESS"+ "ORIGIN MYTHS" + "THE FUTURE"
Centro Cultural Banco do Brasil - Rio de Janeiro, 2011.
Digital animation of the skeleton of the bird Rhea americana, based on kinematic study.
untitled (Regina Chulam, oil on canvas, 1982) - access in augmented reality
Lenhador (Dionísio del Santo, oil on canvas, 1987) - access in augmented reality
David Hall, TV Interruptions: The Installation, 1971. VR setup at Besides the Screen Conference, Kings College, London, 2018 (© Adam Lockhart).
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.
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.
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.
Donation of pieces from the Museum of Removals' collection to the National History Museum (© Luiz Claudio Silva / Museum of Removals collection).
O gAViAO.PENAXO (Elpídio Malaquias, synthetic enamel on chipboard, 1992) - access in augmented reality