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Friends of Interpretable Objects (2013-ongoing) and Digital Specimens: Pointcloudfallout (2015).

Installation views at "EDP Novos Artistas," EDP Foundation, Lisbon, 2015.

Friends of Interpretable Objects is a hybrid between exhibition and installation, accompanied by discussions with invited guests and/or audio interviews displayed in tablet devices and reclining seats. 

Culture, as the moderns collected and classified it, tended to be a type of material production to be preserved, copied, and infinitely interpreted within a framework of cultural relativism. Notwithstanding this investment under the guise of knowledge, culture to this day evades definition, being either too obvious or too vague a term, too porous or too varied for agreement. But if this clear-cut division among Science/Humanities, and Nature/Culture is blurring with climate change, what is happening to the culture end of the dichotomy, the life of its objects and their exhibition?
Alongside the blackbox video Digital Specimens: Pointcloudfallout, an ongoing collection of animations seeks to look at the surpluses and unaccounted blindspots of language and display that lead to the presence of objects in museums, their identification with the ambiguous notions of culture, access, or public property.The animations aggregate objects, both art and artifacts, fact and fiction, which derive from museological and natural history museum case-studies. For more on the animations see here.

A first interview was conducted with Miguel Tamen, Prof. of Comparative Literature at the University of Lisbon.

In Digital Specimens: Pointcloudfallout an offscreen dialog, set in the near-future, unfolds on the 3-D scanning of artifacts and monuments. Amidst the consequences of climate change and war, the two characters discuss how digital copies unsettle repatriation claims and colonial tensions under the pretext of digital conservation.