JOSÉ NEVES, arquitecto ▪ Pedro Costa: Company

The architecture of the Serralves Museum, by Álvaro Siza Vieira is particularly intense and the natural light is predominant. View of the roof skylights. (photo: Fernando Guerra)

The exhibition brought the darkness of cinema to the museum. (design study sketch: José Neves)

Colour samples. The chosen colour is the darkest yellow there is. (photo: atelier José Neves)

All the new and existing walls were painted at the height of the museum windows (3.50m). “Portrait of a Black Man”, T. Géricault, 1819. (photo: André Cepeda)

Thirty films, running simultaneously in small gaps made in the walls, as a binder for this polyphonic meeting. “M”, Fritz Lang, 1931 and “Mummy Ma”, Andy Rector, 2018. (photo: André Cepeda)

The reentrant window on the upper floor was left open, strongly marking the exhibition route. “Alto Cutelo”, Pedro Costa, 2012 + “The Island of Island of Fogo and its Eruptions”, Orlando Ribeiro, 1958. (photo: André Cepeda)

Detail. (photo: André Cepeda)

Right next to the window that faces Serralves garden. “Letter to Youki”, Robert Desnos, 1944. (photo: André Cepeda)

The existing long open ramp corridor space was enhanced with the construction of a new wall. “Trás-os-Montes”, António Reis e Margarida Cordeiro, 1976. (photo: André Cepeda)

The original white ceilings and the famous Siza´s “upside down tables” were left in the shadow. “Your Hands”, Rui Chafes, 2015 + “As Filhas do Fogo”, Pedro Costa, 2015. (photo: André Cepeda)

New corridors were built and the existing huge windows facing the garden on the lower level were left open for paintings to be displayed. There is no darkness without light. “Untitled”, Maria Capelo, 2017, “Still Life”, Picasso, 1947. (photo: André Cepeda)

New rooms were created for unprecedented meetings. “Obs.3" and "Obs.6”, Paulo Nozolino, 2008 + “Minino Macho, Minino Fêmea”, Pedro Costa, 2005. (photo: André Cepeda)

“Untitled”, João Queiroz, 2018, “Puissance de la parole”, Jean-Luc Godard, 1968. (photo: André Cepeda)

“Christ in Concrete”, Edward Dmytryk, 1949, “Descent from the Cross”, Max Beckman, 1918. (photo: André Cepeda)

One of the only spaces in which it was possible to forget that one was in the Serralves Museum was designed as a hypostyle room. Photos, Jacob Riis, c. 1890. (photo: André Cepeda)

The final space of the exhibition route was a movie theater. “Sweet Exorcist”, Pedro Costa, 2012. (photo: André Cepeda)

Axonometric.

Fora da galeria

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Fora da galeria

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Fora da galeria

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