David Hall, TV Interruptions: The Installation, 1971. VR setup at Besides the Screen Conference, Kings College, London, 2018 (© Adam Lockhart).
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).
Centro Cultural Banco do Brasil - Rio de Janeiro, 2011.
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?
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.
