DiMoDA 3.0 - 3LD, New York, June 2018. Work on display by Shane Mecklenburger.
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.
DiMoDA 2.0 - RISD Museum, 2017. Works on display by Miyö Van Stenis (War Room), Rosa Menkman (DCT Syphoning The 64th Interval) and Theo Triantafyllidis (Self Portrait (Interior)) (© RISD Museum).
Map of the Third World's south-southeast island, 2011.
Digitization with the RV Scanner for a PhD thesis at LAPID.
Phi Books presentation at the University of Copenhagen.
Aerial view of Vila Autódromo before demolitions (© Luiz Claudio Silva / Museum of Removals collection).
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.
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".
Phi Books (© Antonopoulou & Dare).
Dja Guata Porã exhibition, Museu de Arte do Rio, 2017-8.
