Museum without Walls

Snapshot of the reconstruction of the National Museum (© Patrimônio Virtual / Prodec Engenharia).

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

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

Assembling displays for the Introduction to the Third World installation at CCBB-RJ, 2011.

O gAViAO.PENAXO (Elpídio Malaquias, synthetic enamel on chipboard, 1992) - access in augmented reality

Stratigraphic Turbidities exhibition, by Yuri Frimeza - Museu de Arte do Rio, 2013 (© Wilton Montenegro)

What happens then in the future if an artist, collector or gallery wishes to re-exhibit an artwork where the original equipment has not been collected or the equipment required is entirely obsolete and unavailable?

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

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.