Museum without Walls

Museum without Walls

Museum without Walls

Non-space I (the degrading idea of home) - This  work seeks to displace and reformulate the social aspect of the WebVR space. Employing verticality, mirroring as well as dislocation of the voice and images of viewer inhabited avatar bodies, it teases out other possibilities of social interaction to be explored. Concept and realization: Commonolithic.

© The Kremer Museum

Since the community was being used as a construction site for the Olympic Park - one of the strategies used to pressure residents and compel families to accept the proposal of the City of Rio de Janeiro -, the sculpture “Suporte dos Males” and part of the sculpture “Espaço Ocupa e Casa da Dona Conceição” were destroyed by tractors.

David Hall, TV Interruptions: The Installation, 1971. VR setup at Besides the Screen Conference, Kings College, London, 2018 (© Adam Lockhart).

JOÃO ME-PRO-METEO, Um-PEXi (Elpídio Malaquias, synthetic enamel on chipboard, 1992) - access in augmented reality

Macrophallic amulter recovered from the fire at the National Museum (© LAPID).

© The Kremer Museum

Torre (Heide Liebermann, 1981) - access in augmented reality

Map of the exhibition route across the Museum of Removals (© Luiz Claudio Silva / Museum of Removals collection).

Photogrammetry mapping of Roman amphorae in the Mediterranean Culture room. Photos were obtained using a drone because the floor of the room was covered by pieces of collection items, making it impossible to reach these items.

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

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