David Hall, TV Interruptions: The Installation, 1971. VR setup at Besides the Screen Conference, Kings College, London, 2018 (© Adam Lockhart).
Perhaps the act of appropriation has an element of appreciation, but it is much more than that. Tutorship implies concern, but such response is not the only way (or the best one) to demonstrate care.
© The Kremer Museum
Making of sculptures from the rubble of house demolitions at Vila Autódromo (© Luiz Claudio Silva / Museum of Removals collection).
Phi Books VR (© Antonopoulou & Dare).
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?
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.
Donation of pieces from the Museum of Removals' collection to the National History Museum (© Luiz Claudio Silva / Museum of Removals collection).
The process of “virtual reparation.”
David Hall, TV Interruptions: The Installation, 1971. Screenshot from Unity showing sound design. Programming Sang Hun Yu (© University of Dundee).
Dja Guata Porã exhibition, Museu de Arte do Rio, 2017-8.
Houseplans, Phi Books (© Antonopoulou & Dare).