Museum without Walls

untitled (Regina Chulam, oil on canvas, 1982) - access in augmented reality

DiMoDA 1.0 poster for Superchief gallery, 2016.

Digitization of the coffin of the mummy Sha-Amum-em-su with the HandySCAN 3D.

Since the community was being used as a construction site for the Olympic Park - one of the strategies used to pressure residents and compel families to accept the proposal of the City of Rio de Janeiro -, the sculpture “Suporte dos Males” and part of the sculpture “Espaço Ocupa e Casa da Dona Conceição” were destroyed by tractors.

Meeting/workshop with residents and allies for the creation of the Museum of Removals (© Luiz Claudio Silva / Museum of Removals collection).

JOÃO ME-PRO-METEO, Um-PEXi (Elpídio Malaquias, synthetic enamel on chipboard, 1992) - 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.

The process of “virtual reparation.”