JOÃO ME-PRO-METEO, Um-PEXi (Elpídio Malaquias, synthetic enamel on chipboard, 1992) - access in augmented reality
Centro Cultural Banco do Brasil - Rio de Janeiro, 2011.
David Hall, A Situation Envisaged: The Rite II (Cultural Eclipse), 1988-90. Video documentation of VR experience presented at the NEoN Festival, Dundee, 2017. Development by Rhoda Ellis, curating by Adam Lockhart (© Rhoda Ellis).
DiMoDA 2.0 - RISD Museum, 2017. Works on display by Miyö Van Stenis (War Room), Rosa Menkman (DCT Syphoning The 64th Interval) and Theo Triantafyllidis (Self Portrait (Interior)) (© RISD Museum).
Envensão nova urso con cachorro (Elpídio Malaquias, synthetic enamel on chipboard, 1992) - access in augmented reality
Assembling displays for the Introduction to the Third World installation at CCBB-RJ, 2011.
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?
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?
House demolition at Vila Autódromo (© Luiz Claudio Silva / Museum of Removals collection).