Museum without Walls

Donation of pieces from the Museum of Removals' collection to the National History Museum (© Luiz Claudio Silva / Museum of Removals collection).

Centro Cultural Banco do Brasil - Rio de Janeiro, 2011.

Reproductions of “artworks” which come with a glossary create a new perspective, add another meaning, or simply mix up the first meaning when facing what was initially appropriated by the artist.

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.

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.

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.

Centro Cultural Banco do Brasil - Rio de Janeiro, 2011.

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