Museum without Walls

Cacau (Nice N. Avanza, oil on canvas, 1988) - 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.

Aerial view of Vila Autódromo before demolitions (© Luiz Claudio Silva / Museum of Removals collection).

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

Donation of pieces from the Museum of Removals' collection to the National History Museum (© Luiz Claudio Silva / Museum of Removals collection).

House demolition at Vila Autódromo (© Luiz Claudio Silva / Museum of Removals collection).

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.

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.

Lenhador (Dionísio del Santo, oil on canvas, 1987) - access in augmented reality

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

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

Perceptions of the real in museums run the risk of creating a reality of fragmented discourses that, when removed from their original context, prevent us from perceiving an another reality, entirely diverse from our own, building a distorted image of the "other".