Museum without Walls

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

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

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.

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?

DiMoDA 3.0 - 3LD, New York, June 2018. Work on display by Shane Mecklenburger.

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

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

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.

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.

Donation of pieces from the Museum of Removals' collection to the National History Museum (© Luiz Claudio Silva / Museum of Removals collection).