The materials we produce are applied to the public of different age ranges with an integrative proposal to create different experiences. The mediation objects are tools to instigate reflections and explore the visitor’s repertoire, aiming to bring the viewer closer to the pieces exposed. We strive for the aesthetic experiment as a foundation for our cultural formation, and this material does the task. The mediation objects may be of various constitutions, materials, shapes and sizes.
Objects are designed to make mediation accessible to all public, people with or without disability. These objects should not be seen as replicas or copies. A Picasso’s drawing transformed into a sculpture, for example, is no longer Picasso’s drawing but a way we find to approach that artwork using touch. When creating this we prioritize the concepts brought by the artist’s work, and that’s what the pieces bring with them, something beyond a tridimensional representation of the artwork.
From the series of the artwork “Pinceladas” and “Tridimensional”, by the brazilian painter/ sculptor Marcello Nitsche, fitting pieces were designed to mediate the concepts of bidimentionality, tridimensionality, balance, visual movement and modular construction. Visitors were invited to create a sculpture from the slots between the plates, observing how tridimensionality emerged from the intersection of these plans. The activity was adressed to all publics, including the visually impaired, who through touch could recognize the artist’s traces and experience the process of the sculpture making, the explosions and tactile cracks on the wall.
The fabric tunnels dialogued with the tubular sculptures and the artwork “yellow bubble” presented at Marcelo Nitsche’s LIG DES’s exposition. Built in modular shapes, they could fit to each other by expanding its lenght. Visitors were invited to explore the tunnel’s interior and the possibilities of movement though a collective construction. With its playful and sensorial character, the activity was attending the children and the intelectually disabled public.
Thei paintings L11,rmm 87 (1957), La première metamorphose du feu (1984) e T1989-A4 (1989) of artista Hans Hartung inspired this activity that brings up formal perceptions of its abstract expression. A light table was divided in layers overlapped with the plans of the composition. Each layer is a formal element materialized: lines are elastic wires, consistent paint in fabrics, dots in beads. In this table, the visitor is invited to move door knobs in wich the materials were attached to. So, the gestural was in focus. Besides that, there were three copies made with wires, guitar strings, plaster cast.