Museum without Walls

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

In opposition to the objects collected from the rubble of Providência, the archaeological finds that a century ago had been thrown there as leftovers now performed singularity, flaunting the strength of those who, in a gesture of insubmission to gravity and oblivion, had returned to the surface.

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

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

The digitization of the Bendegó meteorite with the HandySCAN 3D was done in several parts that were digitally merged.

Cacau (Nice N. Avanza, oil on canvas, 1988) - access in augmented reality

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

Today, the ruins of houses and collective equipments that were destroyed became part of the museum's collection and of what the residents call a memory route, along which several signs were installed to evoke spaces that existed in Vila Autódromo before the evictions.

David Hall, TV Interruptions: The Installation, 1971. Schematic showing 3D construction of Hantarex monitor in Maya software by Sang Hun Yu (© University of Dundee/Estate of David Hall).

Rigor Mortis - In this exhibition, the museum is turned into a horror movie setting, where the feeling of reality is distorted: logic falters, the body is shredded, inert objects become animated - life and death, dream and reality get confused. Creation & research: Renato Pera. 3D art: Caio Fazolin. Collaboration: Jye O'Sullivan and Marcos Pavão.

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).