Exploring the Intersection of Art and Architecture
In Studios spanning Milan and Rotterdam, Formafantasma, founded by Andrea Trimarchi and Simone Farresin, redefines exhibition design by examining the intricate relationships between artworks, spaces, and viewers. They unveil hidden aspects of design by blending rigorous research and innovative methods to unearth what they call “the tension” in a project—moments when artwork, architecture, and traditional display methods misalign creatively.
Formafantasma Reveals Hidden Dimensions of Exhibition Space
The studio sees beyond the supposed neutrality of the white cube. They argue that prominent design choices, such as a white plaster wall, are anything but neutral. These choices reveal hidden biases in design elements. The studio reshapes this notion, as evident in their exhibits for Caravaggio and Bernini at Amsterdam‘s Rijksmuseum and for Mike Kelley at Moderna Museet. By treating architecture as an active exhibition component, they uncover hidden possibilities that elevate each presentation experience.
Translating Curatorial Vision into Spatial Experience
For the Diriyah Contemporary Art Biennale, Formafantasma orchestrated a dance between concept and space. Working with curators Nora Razian and Sabih Ahmed, the studio used textiles and wood to create flexible boundaries in JAX district’s expansive industrial spaces. This innovative spatial dialogue allowed visitors to experience a layered perception, echoing the curatorial theme of movement and migration. They reveal hidden layers of meaning through this dynamic interaction.
This innovative spatial dialogue parallels Crescendo House’s architectural symphony, exploring the harmony between light and space in design.
Creating Opportunities for Exploration
Formafantasma’s approach respects visitor movement. They avoid rigid choreography of the visitor’s experience, instead creating opportunities for individual exploration. Their exhibition, House of Nisaba: New Stories of Painting at Moderna Museet, employed unexpected pathways and visual surprises, denoting a shift from prescribed interpretation to structural guidance through the thoughtful use of materials like cardboard.
An Exhibition as a Living Ecology
The studio uncovers hidden connections by likening the relationship of artwork to its setting to a nature documentary, where environment and subject are inseparable. In their Oltre Terra exhibition, they merge research and design, using the display itself to engage with complex narratives about nature and human interaction. This method of showcasing offers a powerful insight into how exhibitions can articulate arguments, making once-invisible conventions tangible. They bring to light hidden dynamics within these contexts.
Sources & Links
Source: designboom.com
Frequently asked questions
How does Formafantasma view exhibition design?
Formafantasma redefines exhibition design by examining the intricate relationships between artworks, spaces, and viewers. They unveil hidden aspects of design by blending rigorous research and innovative methods to unearth ‘the tension’ in a project.
What approach does Formafantasma take towards visitor movement?
Formafantasma’s approach respects visitor movement by creating opportunities for individual exploration rather than a rigid choreography of the visitor’s experience.
How does Formafantasma integrate architecture into exhibitions?
Formafantasma treats architecture as an active exhibition component to uncover hidden possibilities that elevate each presentation experience, thus challenging the supposed neutrality of traditional design choices like the white cube.