contidonãocontido exhibition - Museu de Arte Moderna Aloisio Magalhães, 2010.
Third World flag.
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 (© Museum of Removals collection).
© The Kremer Museum
David Hall, TV Interruptions: The Installation, 1971. Comparison of real installation (Installed at Museum of Modern Art - MUMOK, Vienna, 2010) and VR simulation. Model by Sang Hun Yu (© University of Dundee/Estate of David Hall).
Perceptions of the real in museums run the risk of creating a reality of fragmented discourses that, when removed from their original context, prevent us from perceiving an another reality, entirely diverse from our own, building a distorted image of the "other".
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.
Dja Guata Porã exhibition, Museu de Arte do Rio, 2017-8.
Phi Books (© Antonopoulou & Dare).
Fragmentos Rítmicos (Dionísio del Santo, oil on canvas, 1995) - access in augmented reality
Weekly meeting of the contidonãocontido project, with the curators-educators.
