Digitization of the coffin of the mummy Sha-Amum-em-su with the HandySCAN 3D.
DiMoDA 3.0, 2018. SIGGRAPH Asia partnership.
untitled (Gilbert Chaudanne, acrylic on eucatex, 1997) - access in augmented reality
VR as a Presentation and Simulation Tool for Media Art Installations (presented at the ISEA 2020 Conference).
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.
Dja Guata Porã exhibition, Museu de Arte do Rio, 2017-8.
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, 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).
untitled (Levino Fanzeres, oil on agglomerate, undated) - access in augmented reality
© The Kremer Museum
Demonstration against evictions and demolitions at Vila Autódromo (© Luiz Claudio Silva / Museum of Removals collection).