Museum without Walls

Fragmentos Rítmicos (Dionísio del Santo, oil on canvas, 1995) - access in augmented reality

Photogrammetry mapping of Roman amphorae in the Mediterranean Culture room. Photos were obtained using a drone because the floor of the room was covered by pieces of collection items, making it impossible to reach these items.

David Hall, TV Interruptions: The Installation, 1971. Screenshot from Unity showing sound design. Programming Sang Hun Yu (© University of Dundee).

VR as a Presentation and Simulation Tool for Media Art Installations (presented at the ISEA 2020 Conference).

DiMoDA 2.0 - RISD Museum, 2017. Works on display by Miyö Van Stenis (War Room), Rosa Menkman (DCT Syphoning The 64th Interval) and Theo Triantafyllidis (Self Portrait (Interior)) (© RISD Museum).

Dja Guata Porã exhibition, Museu de Arte do Rio, 2017-8.

David Hall, TV Interruptions: The Installation, 1971. VR setup at Besides the Screen Conference, Kings College, London, 2018 (© Adam Lockhart).

The processes that culminated in the independence of the former European colonies affected disciplines that, directly or indirectly, legitimized colonial power. The New Museology movement provoked actions that brought the museum closer to the community, making it possible to include groups related to the safeguarded collections within the institutions.

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.