The concept of “Filipiniana” (which is the name of the archives dedicated to the Philippines) allowed us to organize the exhibition as though it were rows of shipping containers. This permitted us to concentrate the works in them and keep the central aisle free for the public to dominate the visit
The design for the exhibition permitted the curator to present three exhibitions in one. The big void of the central aisle let us to extremely concentrate the works in the containers, to read them as archival documents rather than works of art
The long floor plan of the exhibition room references, perhaps appropriately, the layout of a cargo ship
Its possible to imagine this project as an Philippine archive sent by boat, moored in the high plains, transmuted into a structure of the traditionally serious Spanish architecture…
…outside which there’s an announcement that reminds us of the maritime semaphore flag language
We decided to use the cheapest agglomerate panels raw, unpainted, saving valuable resources. It gave the exhibition a warm tone and, coincidentally, something of the looks of an old wooden archive
The walls were not completed where they did not hold any works, showing their inner structure. This allowed for a differentiated space, perhaps more dramatic, at points like WWII in the historic timeline.
Both structures, that of the exhibition hall and that of the temporary walls are on view. The longitudinal view dominates the entire space while the side views discovers small labyrinths of interconnected boxes