Museums

Museum without Walls

Museum without Walls

Museum without Walls

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The processes that culminated in the independence of the former European colonies affected disciplines that, directly or indirectly, legitimized colonial power. The New Museology movement provoked actions that brought the museum closer to the community, making it possible to include groups related to the safeguarded collections within the institutions.

You are the crossroad of your memories - Born from clay and modelled in 3D, this installation is composed by a virtual room, a performance program and a digital publication. Its shape, inspired by the moringa, an object used by aboriginal peoples for storing and cooling water, is a reminder and an invitation: a reminder that without its union with natural elements, our existence would not be possible; and an invitation to play with the porosity of memory, identity and body. Concept and realization: Pedra Silva, Garu e Rodrigo Lopes.

untitled (Levino Fanzeres, oil on agglomerate, undated) - access in augmented reality

The Space Expanding Room: AFAAB in VR - The virtual Ant Farm Antioch Art Building is a digital space constructed from 1971 archival architect’s drawings. In this virtual space, avatars can meet, chat, graffiti, attend events, and make art, just as students were once able to interact in the real space, before it was abandoned in 2008. An AFAAB production. Concept, curating, and direction by Catalina Alvarez and Liz Flyntz. Construction and design by Ty Clapsaddle.

Vila Autódromo community association before being demolished (© Luiz Claudio Silva / Museum of Removals collection).

Some other Espírito Santo Art Museum.

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".

The Digital Museum of Digital Art is a museum dedicated to the promotion of virtual reality as an exhibition infrastructure and artistic medium. It was conceived in 2013 by artists Alfredo Salazar-Caro and William Robertson, egress from Chicago’s dirty new media scene.

As an institution native to that creative community, DiMoDA operates closely within its networks, seeking to involve its participants by means of new work commissions. At the same time, the Museum leverages its own character as an artistic endeavor in order to operate more fluidly and establish strategic partnerships.

Just like the works it shows, DiMoDA exists first and foremost as a computer simulation. Its fabulous building, partly inspired by the uses of the Unity 3D game engine for audiovisual performance, could hardly exist otherwise. It is the perfect example of a piece of architecture that makes full use of virtuality for spatial fabrication – architecture made not only to contain artifacts but also to provide sensorial extravagance.

Since its first show, organized in 2015 in partnership with the New York gallery Transfer, DiMoDA has been through four different versions. Each of them presents its own selection of works and takes place independently of the others, as a software application to be downloaded or shown in an installation format.

Even in its in real life configurations, DiMoDA does not deny its own technological condition, embracing the multicolored LED aesthetics characteristic of domestic PCs compatible with virtual reality systems, almost exclusively dedicated to the gamer audience.

DiMoDA

Ongoing