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?
Vila Autódromo community association before being demolished (© Luiz Claudio Silva / Museum of Removals collection).
David Hall, TV Interruptions: The Installation, 1971. Screenshot from Unity showing sound design. Programming Sang Hun Yu (© University of Dundee).
Centro Cultural Banco do Brasil - Rio de Janeiro, 2011.
Digitization of the fossilized skeleton of Mariliasuchus amarali with the Artec MHT.
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?
