Based on the contents presented at the exhibitions, our team develops an environment that enables the visitors to have an experience involving the whole body and not only vision, awakening other new perceptions. We build a scenography in which the materials, the movements at space, textures, sounds, vibrations and sometimes even odors are used to instigate the public.
Creation of an environment that aimed to insert the visitor in the context of the Spanish Civil War, subject pictured at the Guernica panel and also in other pieces of the exhibition. The space had a trembling floor, explosions sounds and tactile cracks on the wall.
The Australian artist Patricia Piccinini designs creatures that could be the result of genetic experiments – funny, weird, poetical and monstrous – but with enormous humanity and kindness in their eyes. The artist proposes an experience of approach and affection. Her interest in science emerged when her mother was suffering from cancer. Mothers and children inhabit her universe. The creatures do hug, cradle, breastfeed, play and caress with their eyes. For that we created a space that recall a womb, with fabric walls and a big cushion, inviting the visitors to snuggle in. A proper soundtrack was also created to complete the perception of the installation.
In this exhibition, the visitors walked through the installation Infinity Mirrored Room – the souls of millions of light years away and felt surrounded by an infinite number of small lights. This time we valued the concept of infinity of the artwork through the hearing sense. Inside a wooden box we installed an equipment with a microphone and a guitar pedal. The visitor walked into the box, spoke on the microphone and the system propagated the sound as an echo, but extended the whole word and not only the last syllable in repetition. That way we could recreate the relation of depth and visual repetition proposed by the artist, using a different sense.