Museum without Walls

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

untitled (Nair Vervloet, oil on canvas, 1952) - access in augmented reality

Subway (Norton, acrylic on wood, 2002) - access in augmented reality

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.

Perceptions of the real in museums run the risk of creating a reality of fragmented discourses that, when removed from their original context, prevent us from perceiving an another reality, entirely diverse from our own, building a distorted image of the "other".

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

Digital animation of the skeleton of the bird Rhea americana, based on kinematic study.

VR as a Presentation and Simulation Tool for Media Art Installations (presented at the ISEA 2020 Conference).

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

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.

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.

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