Museums

Museum without Walls

Museum without Walls

Museum without Walls

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.

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 Kremer Museum

Polivisão XLIV X4 (Maurício Salgueiro, mixed media, undated) - access in augmented reality

untitled (Gilbert Chaudanne, acrylic on eucatex, 1997) - access in augmented reality

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

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

Demonstration against evictions and demolitions at Vila Autódromo (© 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).

"Universe" plate - Introdução ao Terceiro Mundo, 2011.

Envensão nova urso con cachorro (Elpídio Malaquias, synthetic enamel on chipboard, 1992) - access in augmented reality

Aerial view of Vila Autódromo before demolitions (© Luiz Claudio Silva / Museum of Removals collection).

David Hall, A Situation Envisaged: The Rite II, 1989-90. VR simulation presented at NEoN Festival, Dundee, Scotland, 2017. VR model by Rhoda Ellis, curated by Adam Lockhart (© Estate of David Hall/Rhoda Ellis/University of Dundee).

In May 2021, while the Espírito Santo Art Museum – MAES – was closed in between exhibitions, we held an arts and curatorial residency in a replica of the museum hosted in the Mozilla Hubs platform.

Compatible with WebXR standards, Hubs is a virtual reality system more directly integrated to the internet infrastructure and which does not require any equipment more sophisticated than a browser to be used.

During the residency, Hubs was a means for the participants to occupy the MAES’ architecture as a porous simulacrum, open to the most diverse flows of information – media libraries, archive materials, personal memories, and collaborations with the public.

The experience resulted in the versioning of the museum into four different instances, fabricated by AFAAB (Catalina Alvarez, Liz Flyntz, Ty Clapsaddle), Commonolithic, Para Terra Volta Toda Corpa em Matéria (Garu, Pedra Silva, Rodrigo Lopes), and Renato Pera.

The preliminary replica of MAES remains accessible and open to remixes.

MAES Variations

Ongoing