Museum without Walls

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

Escadaria Maria Ortiz (Raphael Samú, screen printing on paper, 1981) - 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.

Map of the exhibition route across the Museum of Removals (© Luiz Claudio Silva / Museum of Removals collection).

DiMoDA 1.0 - opening at Transfer gallery, 2015.

Demonstration against evictions and demolitions at Vila Autódromo (© Luiz Claudio Silva / Museum of Removals collection).

Making of sculptures from the rubble of house demolitions at Vila Autódromo (© Luiz Claudio Silva / Museum of Removals collection).

Photogrammetry mapping of Roman amphorae in the Mediterranean Culture room. Photos were obtained using a drone because the floor of the room was covered by pieces of collection items, making it impossible to reach these items.

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?

Digitization of the fossilized skeleton of Mariliasuchus amarali with the Artec MHT.

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

David Hall, TV Interruptions: The Installation, 1971. Comparison of real installation (Installed at Museum of Modern Art - MUMOK, Vienna, 2010) and VR simulation. Model by Sang Hun Yu (© University of Dundee/Estate of David Hall).