Friends of Interpretable Objects
(2013-ongoing) and Digital Specimens: Pointcloudfallout
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. 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.
All animations done in collaboration with João Cáceres Costa. The videos are exhibited on cube monitors atop plinths.
In this series:
— First digitalizations of Museological Artifacts: Scan Eyes, 2015.
A vitrine exhibits some of the artifacts digitized by museums pertaining to different cultures and historical periods covering them with a reflective surface that absorbs the space around them. Although invisible in the background a synthetic crowd generated by boid software is reflected in the sculptures.
— First Digitalizations Specimens from Nature: Scan Eyes, 2015.
A vitrine exhibits some of the specimens digitized by museums pertaining to the natural realm, and indirectly how these objects assemble a cabinet of curiosity of sorts in the criteria of the collection they establish amongst themselves: from animal and plant symbiosis (bee), extinction (mammoth) and supernova (blob shape).
— In the Name of Culture: Chants and Hymns for Looted Art, 2015.
A fictional record based on the account of chants and hymns sung when Napoleonic plunder integrated the Louvre Museum’s collection in 1798, as retold by historian Andrew McClellan in Inventing the Louvre (California University Press: 1999).
— Coin of the Fountain of Regeneration, 2014.
"On the morning of August 10  the crowds assembled at the Place de la Bastille, where people drank from a fountain of regeneration in the form of a neo-Egyptian statue of Nature squeezing water from her breasts, which at once cleansed them of any association with the past and 'baptized' them citizens of the Republic."
in Andrew McClellan, Inventing the Louvre (California University Press: 1999).
— Habit du Citoyen, 2013.
Anonymous poster. A graphic composition using the suit designed by painter Jacques Louis David for the newly formed republican citizen of the French Revolution.
— Ex-Tiara de Saitaphernes, 2013.
Gold crown fabricated according to Greek designs from the 3rd century A.D., purchased by the Louvre Museum and later discovered to be a forgery from a Russian jeweler of the time. This discovery subsequently forced its reclassification as a piece of the museum's 19th century jewellery collection.
— La Gorguera or the Prolonged Repetition, 2013.
Gorguera was the name of the collars of 16th century Spanish aristocracy. They are mentioned in a text by Brazilian architect Flávio de Carvalho as having formally anticipated the decapitations of the French Revolution, as the stiff plane of the collar visually separates of body and head. They are suspended here in front of Peggy Guggenheim's modernist display fabricated for her Art of the 20th century gallery.