Museum without Walls

Making of sculptures from the rubble of house demolitions at Vila Autódromo (© Luiz Claudio Silva / Museum of Removals collection).

Demolition of houses at Vila Autódromo by the city government (© 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?

David Hall, A Situation Envisaged: The Rite II (Cultural Eclipse), 1988-90. Video documentation of VR experience presented at the NEoN Festival, Dundee, 2017. Development by Rhoda Ellis, curating by Adam Lockhart (© Rhoda Ellis).

Centro Cultural Banco do Brasil - Rio de Janeiro, 2011.

contidonãocontido exhibition - Museu de Arte Moderna Aloisio Magalhães, 2010.

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?

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.

Non-space I (the degrading idea of home) - This work seeks to displace and reformulate the social aspect of the WebVR space. Employing verticality, mirroring as well as dislocation of the voice and images of viewer inhabited avatar bodies, it teases out other possibilities of social interaction to be explored. Concept and realization: Commonolithic.

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.