Museum without Walls

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

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

Meeting/workshop with residents and allies for the creation of the Museum of Removals (© Luiz Claudio Silva / Museum of Removals collection).

In opposition to the objects collected from the rubble of Providência, the archaeological finds that a century ago had been thrown there as leftovers now performed singularity, flaunting the strength of those who, in a gesture of insubmission to gravity and oblivion, had returned to the surface.

Phi Books (© Antonopoulou & Dare).

Today, the ruins of houses and collective equipments that were destroyed became part of the museum's collection and of what the residents call a memory route, along which several signs were installed to evoke spaces that existed in Vila Autódromo before the evictions.

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.

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