Scenography and Lighting

A hall is created between the two first panels. This is the reception area. It has its own rhomboid shaped desk. This desk is painted with a patina suggesting the colors of old wooden beams, darkened by smoke, that one can find in old farm houses. This battle took place between farms and fields. This is an echo of that universe.
Behind the desk there are three spherical, bulb shaped lamps hanging at one meter intervals along the wall, all carefully aligned at the same height.
The choice of the number of lamps relates to the “third choice” or “the middle way”, which is a philosophical and political concept: it is an alternative that pertains to a dialectic of the conflict between two different opinions in order to reach harmony and getting closer to the truth.
These lamps provide a very soft light, like a candle, and are the beginning of the Memory Path, which they symbolize by means of their layout along the route.
The lighting of the exhibition evolves from red, in the first two-fifths of the space, to an intermediary ambiance in the next two-fifths of the space, where red and grey alternate so as to go from a dominant red to an increasingly darker, dominant grey.
The final fifth of the space is immersed in a dark grey.
In this area one can find the installation on the ground in front of the panoramic view “The Heart of Hell”.
The half-light in this part of the exhibition encourages reflection.
<strong>Eugénia Calado</strong>Minimalistic and pure esthetics with a sense of detail harmonizes with the complexity of the displayed images.
The whole seeks to present these giant pictures, but also to create a living and interactive space which has a physical effect which generates sensations and emotions in the visitor which emanate from a universe of magic, dreams and symbolism.
The scenography consists of a set of Clip Display® modular panels, which are mounted on ten meter long partition walls placed perpendicularly to the walls of the exhibition hall, a rhomboid shaped space which is a 23 meters long, 12 meters wide and 5 meters high.
The panoramas are arranged on these partition walls in a precise order according to the chronology of the Battle.
The whole consists of a corridor track, which leads to an installation placed in front of the last picture.
At the end of each corridor, large, spherical shaped lamps hang along the walls.
The spiral, amber yellow filaments symbolize life and time, synonymous with movement, order and chaos, a model of all cyclic things, but also of the permanence of Being in the movement of an ephemeral world.
The black electric wires from which lamps hang, descend from the ceiling and are a graphic element which reinforces the idea of verticality and the height of the space.
The installation consists of a sheet on top of which earth from the battlefield has been scattered.
The sheet is the shroud used to bury the dead.
The aim of this installation – in relation to the final image, entitled “The Heart of Hell” – is to bring the visitor to reflect on the absurdity of war.
It is a symbolic way to present a grave and pay tribute posthumously to all those who were killed on the battlefield and who were denied a decent burial.
Light illuminates the pictures and redesigns the space. By means of the emotion it generates, light develops a coherent dialogue with that of the pictures, enriching the sense of the subject.
Small, white LED spotlights illuminate the pictures.
The pictures are printed in Chromaluxe, a process whereby colors are sublimated into aluminum making the pictures very bright and luminous.
The hall is illuminated using three colors: red, grey and yellow, which are used in order to create different atmospheres.
Red symbolizes anger, danger, blood, violence, power and aristocracy.
Grey symbolizes sadness, dismay, wisdom and smoke that rises into the sky carrying with it prayers of desperation.
Yellow symbolises the flame that helps souls to find their way in the darkness, the degradation of the body, the purification and gold, a symbol of majesty.
The predominance of red evolves gradually to grey.
At the entrance of the exhibition, a red ambiance covers the two first fifths of this space.