Museum without Walls

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The process of “virtual reparation.”

Digitization with the RV Scanner for a PhD thesis at LAPID.

Riverine Archive, VR screen capture (© Antonopoulou & Dare).

DiMoDA 3.0, 2018. Work by Paul Hertz (Fools Paradise).

David Hall, A Situation Envisaged: The Rite II, 1989-90. VR simulation presented at NEoN Festival, Dundee, Scotland, 2017. VR model by Rhoda Ellis, curated by Adam Lockhart (© Estate of David Hall/Rhoda Ellis/University of Dundee).

Reproductions of “artworks” which come with a glossary create a new perspective, add another meaning, or simply mix up the first meaning when facing what was initially appropriated by the artist.

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?