Abstract

This article investigates, as reference indexes, the audiovisual works Todo mapa tem um discurso, 2014, by Francine Albernaz and Thaís Inácio, Your father was born a 100 years old, and so was the Nakba, 2017, by Razan Alsalah, and Nunca é noite no mapa, 2016, by Ernesto de Carvalho, and analyzes their artistic process from a cartographic and counter-cartographic point of view in the use of artistic data mapping to the project Museu de um Mundo Estilhaçado (Shattered World Museum) that is under research, in the Master of Creative Media at UFRJ, Brazil, and it is related to the production of an immersive installation that deals with the removal of Vila Autódromo, in Jacarepaguá, Rio de Janeiro, and the use of georeferenced and geospatial images to address social and political issues.