as for the previous edition, in 2013 we also designed the graphic aspect for the exhibition on flip’s tribute author. this time, the structure was designed by the studio apiacás, in conjunction with the casa azul association.
the tribute author was graciliano ramos, and most of the material consisted of manuscripts. the curator, miguel conde, organized the exhibition in chronological modules, with each encompassing one or more of the author’s works.
here is the opening panel, with the mouth of the staircase in the background.
as most of the exhibited material was manuscripts, we used a4 (normal page size) as our base unit.
each module was defined as a large a0 panel (1682 x 2378 mm) made up of 64 a4 sheets of holler cardboard. The modules were decomposed into 4 or 5 different planes—the sense of depth made some seem smaller, thus creating an order for the reading.
the exhibition was mounted on the second floor of the casa de cultura, an historical building in the center of paraty, and the result was a total visual liberation from the space.
though staggered in terms of depth, the modules were legible as a unit, as the parts cohered widthwise.
the title of each module, arranged on sub-panels, was only legible frontally. in the photo, the title ‘infância’ (childhood).
The images, captions and descriptions were all on the front face of the modules. The rear of the panels was used for excerpts from the manuscripts.
these excerpts were composed in large font and ran the whole depth of the module, turning the reading into a spatial experience.
as a nod to the spelling corrections in the manuscripts, the text in portuguese was printed in dark blue and the english in red. this relationship is evinced on the backs of the modules, where the text is repeated in redline
draped behind each module was an oversized print-out of manuscript on cloth (the format was not a complete fill due to technical limitations).
here and below, details from the exhibition.
with the large titles spilling across several panels, the layout of each part became a veritable jigsaw puzzle, as the content had to match up legibly.