Museum without Walls

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

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.

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?

Phi Books (© Antonopoulou & Dare).

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

Fragmentos Rítmicos (Dionísio del Santo, oil on canvas, 1995) - access in augmented reality

Phi Books VR (© Antonopoulou & Dare).

Vitória 18,35 horas (Raphael Samú, screen printing on paper, undated) - access in augmented reality

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

Polivisão XLIV X4 (Maurício Salgueiro, mixed media, undated) - access in augmented reality

Perhaps the act of appropriation has an element of appreciation, but it is much more than that. Tutorship implies concern, but such response is not the only way (or the best one) to demonstrate care.