Museum without Walls

David Hall, A Situation Envisaged: The Rite II (Cultural Eclipse), 1988-90. Video documentation of VR experience presented at the NEoN Festival, Dundee, 2017. Development by Rhoda Ellis, curating by Adam Lockhart (© Rhoda Ellis).

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.

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

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

David Hall, TV Interruptions: The Installation, 1971. Schematic showing 3D construction of Hantarex monitor in Maya software by Sang Hun Yu (© University of Dundee/Estate of David Hall).

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

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".

Envensão nova urso con cachorro (Elpídio Malaquias, synthetic enamel on chipboard, 1992) - access in augmented reality

The processes that culminated in the independence of the former European colonies affected disciplines that, directly or indirectly, legitimized colonial power. The New Museology movement provoked actions that brought the museum closer to the community, making it possible to include groups related to the safeguarded collections within the institutions.