Museum without Walls

visit here

Fragmentos Rítmicos (Dionísio del Santo, oil on canvas, 1995) - access in augmented reality

contidonãocontido exhibition - Museu de Arte Moderna Aloisio Magalhães, 2010.

DiMoDA 3.0, 2018. SIGGRAPH Asia partnership.

David Hall, A Situation Envisaged: The Rite II (Cultural Eclipse), 1988-90. VR experience presented at the NEoN Festival, Dundee, 2017. Development by Rhoda Ellis, curating by Adam Lockhart (© Adam Lockhart).

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.

Demolition of houses at Vila Autódromo by the city government (© Luiz Claudio Silva / Museum of Removals collection).

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

Digitization of the fossilized skeleton of Mariliasuchus amarali with the Artec MHT.

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

David Hall, TV Interruptions: The Installation, 1971. Comparison of real installation (Installed at Museum of Modern Art - MUMOK, Vienna, 2010) and VR simulation. Model by Sang Hun Yu (© University of Dundee/Estate of David Hall).

Since the Collection inherited a relatively random set of works and only recently implemented an acquisition policy, one cannot comfortably attribute to it the function of producing a historiography of art produced in the 20th century in Pernambuco. How, then, to deal with this condition?