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?
Dja Guata Porã exhibition, Museu de Arte do Rio, 2017-8.
Phi Books VR (© Antonopoulou & Dare).
The process of “virtual reparation.”
The processes that culminated in the independence of the former European colonies affected disciplines that, directly or indirectly, legitimized colonial power. The New Museology movement provoked actions that brought the museum closer to the community, making it possible to include groups related to the safeguarded collections within the institutions.
Aerial view of Vila Autódromo before demolitions (© Luiz Claudio Silva / Museum of Removals collection).
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?
VR as a Presentation and Simulation Tool for Media Art Installations (presented at the ISEA 2020 Conference).
Dossiers, Magazines, and Reports
