Museum without Walls

Museum without Walls

Museum without Walls

© The Kremer Museum

Dja Guata Porã exhibition, Museu de Arte do Rio, 2017-8.

DiMoDA 1.0 poster for Superchief gallery, 2016.

DiMoDA 3.0, 2018. SIGGRAPH Asia partnership.

Digitization with the RV Scanner for a PhD thesis at LAPID.

© The Kremer Museum

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).

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.

DiMoDA 1.0 - opening at Transfer gallery, 2015.

Dja guata porã is a saying in the Guarani language that means “walk well” and “walk together.” It is also the title of an exhibition held at the Rio Art Museum between May 2017 and March 2018.

Dedicated to the presence of indigenous people in the Rio de Janeiro state, the exhibition further developed the Museum’s agenda of shedding light on local history and culture from a multiple and contemporary perspective. However, more than that, it attempted to distend and expand the position from which the Museum builds its vision.

The exhibition was conceived based on a series of visits and open meetings, which sought to establish public dialogues and engage representatives from local indigenous villages (among which Guarani, Pataxó and Puri, in addition to the multiethnic community of Aldeia Maracanã) in the construction of their own narratives.

Aligned with the mission of new museology, this collective curatorial process demonstrates how efforts to unsettle the museum must go beyond challenging stereotypical constructions of the other and their cultures. It is also necessary to open institutional devices to conflict and alterity, thereby transforming the very structures of museological work.

Dja Guata Porã is here shown in the perspective of other projects coordinated by curator Clarissa Diniz that play with the permeability of institutional collections and the kinds of histories and subjects they seek to produce.

Dja Guata Porã

Museums Without Walls conference & exhibition