contidonãocontido exhibition - Museu de Arte Moderna Aloisio Magalhães, 2010.
Phi Books VR (© Antonopoulou & Dare).
Subway (Norton, acrylic on wood, 2002) - 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.
David Hall, TV Interruptions: The Installation, 1971. VR setup at Besides the Screen Conference, Kings College, London, 2018 (© Adam Lockhart).
Reproductions of “artworks” which come with a glossary create a new perspective, add another meaning, or simply mix up the first meaning when facing what was initially appropriated by the artist.
Dja Guata Porã exhibition, Museu de Arte do Rio, 2017-8.
Demonstration against evictions and demolitions at Vila Autódromo (© Luiz Claudio Silva / Museum of Removals collection).
JOÃO ME-PRO-METEO, Um-PEXi (Elpídio Malaquias, synthetic enamel on chipboard, 1992) - access in augmented reality
© The Kremer Museum
Phi Books (© Antonopoulou & Dare).
untitled (Gilbert Chaudanne, acrylic on eucatex, 1997) - access in augmented reality
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?