An exhibition as the act of exhibiting, placing a piece in a place to be seen by others; but, it is also the act of telling, explaining, narrating. And moreover, by definition, it is "the location of an object in relation to the cardinal points of the horizon" which in an interior space are the four walls and also the floor and ceiling.
If to the piece and space we add the perspective of the viewer, we have the three elements that define the exhibition as a means, and distinguish it from any other. If to the place, the object and the viewer we add movement, we multiply points of view and therefore the observed aspects and the visual experience of the visit. The design of an exhibition orders the inner space, shaping a three-dimensional spatial arrangement worthy of being visited, which is explored and where solid forms, empty spaces and materials make up a changing space. A space that defines different perspectives of our tour, becoming the mediator between the visitor and the objects with their meanings.
On a curved wall for Le Tricorne, figurines dance with dynamic lighting. The maroon carpet impinges on the idea of theatre.
With a combination of four shades of blue, the play with graphics balances the walls and draws the boxes which frame and order the work.
We might think that the exhibition of an artistic piece should not need a special location; that the piece in itself, stripped of props, should be sufficient enough to be isolated in a neutral space to be displayed, and where it can express itself and communicate with the viewer. But the work is fully determined by the space in which it is installed, regardless of how neutral the space is. We could even think of the exhibition as a confrontation or dialogue between the artwork, the object, and architecture. The space and scenography can condition, engulf the work or can even propose a site which allows the author´s intention to be perceived. The artist in his studio can conceive work apart from the space where it will be exhibited; but the display should allow the viewer and provoke in him, the interpretation of the meaning of the work: to know it and be able to understand it.
Groups of pieces compose scenes framed by light boxes, which surround the central scene with the warriors, building up the whole scenography.
Twenty-four large urns in successive lines create a scenography where the pieces levitate over their supports and visually and physically take up the entire room; the only thing that is not transparent in all the space, are the pieces themselves.
The interior lighting of wall cabinets and its colour, in contrast to the overall tone in the room, allows the opening where the pieces are placed, to gain visibility and dominate the whole scene.