ROMMULO VIEIRA CONCEIÇÃO
SPACE CAN BE AN IDEA OR THE MEASURE OF THE M²
Museum of Modern Art (MAM), Rio de Janeiro – RJ
2025
Starting from the original floor plan of a one-bedroom apartment in the historic Conjunto Residencial do Pedregulho, the work materializes as an architectural installation that scrambles the rooms, creating partial overlaps between living room, kitchen, bedroom, and bathroom. Some walls are built with painted MDF, while others appear only as lines drawn on the floor, at full scale (1:1) — creating an ambiguous zone between the constructed and the projected, between what was once a habitable dream and what remains as a graphic ruin.
A curved cobogó wall — a typical element of Brazilian modernism and present in Pedregulho’s architecture — cuts across the installation, functioning as a symbol of an architectural utopia that sought, with simple solutions, to articulate ventilation, natural light, and beauty. The walls painted just above mid-height evoke institutional public spaces, such as schools and hospitals, reinforcing the atmosphere of a social architecture conceived for the collective.
In the kitchen area, the floor is covered with hexagonal ceramic tiles, another detail that recalls the popular finishes of the time, summoning the affective memory of a Brazil that once bet on dignity through urban space. In contrast, a parking spot marking is superimposed onto the floor plan of the installation, like a ruler of appropriation and measurement — straining the notion of dwelling by subjecting it to the logic of occupation, commodification, and ephemeral use.
The work proposes a critique of the emptying of the modernist project of social housing. In the scrambling of rooms, the spaces become dysfunctional, smaller, difficult to use — a direct metaphor for the claustrophobic morphologies of contemporary housing constructions, aimed more at speculation than coexistence. What was once a project for dignified life now appears as a confusing, precarious field, symbolically and literally reduced.
Set between solid walls, projective lines, and nostalgic surfaces, the work invites the viewer to reflect on the housing crisis, the memory of architectural utopias, and the current condition of living in cities that reduce their spaces even as they expand inequalities.
Dimensions: 234 x 818 x 835 cm
Materials: MDF, glass, vinyl adhesive, ceramic, and automotive paint
THE PHYSICAL SPACE CAN BE A ZONE OF DISPUTE, CONVENTIONS AND FALLIBLE CERTAINTIES
Collection of Fundação Bienal de São Paulo, São Paulo – SP
2023
Dimensions: variable
Materials: aluminum, automotive paint, glass, and various objects. Four red quartinhas (ritual vessels) delimit the space in which several elements — such as Greco-Roman columns, pediments, police shields supporting architectural elements, crystal chandeliers, and supermarket carts — are arranged. Behind three of the red quartinhas, two walls meet, covered with tile and brick, helping to define the space in which the objects are organized.
THE PHYSICAL SPACE REQUIRES THAT THE OTHER BE ALLY OR ENEMY
2023
This series comprises wall and floor sculptures that present tile imagery referencing Concrete Art, six-hole bricks, quartinhas, cobogós, Middle Eastern elements such as mashrabiyas, columns and arches, and water drawings based on Oriental graphics from China and Japan, where the movement of the waves sometimes suggests turbulent clashes and, at other times, a calm and balanced flow.
The choice between “ally or enemy” points to a binary vision, in which the presence of the various cultures from which this work draws its elements can be seen either as a threat or as a resource. This duality reflects the complexity of political, economic, and human relations that we have constructed throughout history and that are being revisited and transformed in the 21st century.
At times, these cultures are allied and attempt to build a Global South as an alternative to the status quo; at other times, they become entangled in the impossibility of agreements imposed by the global context, which demands confrontation and conflict.
Dimensions:
n. 2, 3, 3.2, 3.3
76.9 x 72.2 x 10.9 cm
n. 4, 4.2, 4.3
31.7 x 121.3 x 14.1 cm
n. 5
60.3 x 107.6 x 20 cm
n. 7
215.3 x 76.92 x 29.96 cm
n. 8
151.12 x 252.7 x 21.8 cm
Materials: expanded PVC, steel, automotive paint
THE SPACE CAN BE SILENCE AND PAUSE
2023
The work is composed of a wall clad on one side with tiles featuring patterns based on Brazilian Concrete Art and on the other side with three ceramic bricks. On top of it are placed bricks made of polished aluminum and a colored quartinha. Partially covering the wall, there is an L-shaped railing that protects a bench on which a baluster and a quartinha are positioned. The elements form a set that references other works to define a space that does not resolve itself as a place of boundary or rest, a prison or a retreat.
The work brings together construction elements and Brazilian cultural heritage represented in polished and enameled aluminum, oscillating between comfort and discomfort, protection and exposure.
Dimensions: 195 x 180 x 82 cm
Materials: steel with automotive paint coating, polished aluminum
FRUSTRATED ATTEMPTS: SPACE × PLACE
2023
This series is composed of three totems that present a quartinha placed on top of a baluster, which in turn rests on a column clad with ceramics and tilework.
Dimensions: 165 x 23 x 23 cm
Materials: steel, aluminum, automotive paint
THE PHYSICAL SPACE CAN BE A ZONE OF CONFLICT: SIGNS, DOGMAS, AND CALM
2023
Dimensions: 240 x 420 x 185 cm
Materials: metalon and automotive paint
MULTIPLE CHILDHOODS – TURNSTILE
Collection of Marcos Amaro Art Factory (FAMA Museum), Itu – SP
2022
The work “Multiple Childhoods – Turnstile, 2022” consists of a set of three turnstiles, mesh fences, and semicircular acrylic walls arranged to propose a walking experience for the visitor in which the movements of the participants are shared and combined with one another. The piece suggests a labyrinth with obstacles, where a playful game can be established among participants: to enter and exit, it is necessary to move the turnstiles in such a way as not to trap oneself or another participant.
This work is part of a series of interactive pieces in which I use ordinary devices from daily life — usually designed to create boundaries between physical spaces — but which, in the artwork, are converted into playful objects through the eyes of a child. For this piece, I use turnstiles, common in train and subway stations, banks, and even schools, combining them with fences made of railings and curved walls.
The construction of this work refers back to my own childhood experience: turnstiles like these were present in train stations that people from the suburbs of Salvador were obliged to use in order to access the city center. This object — imposing, aggressive, and with the clear objective of establishing a limit between those with a ticket and those without — provoked me to use it as a toy. As it rotated, I would grab onto the horizontal bars for a short circular ride of less than 90°, lasting just a few moments. Although brief and with very simple movement, the playful sensation it evoked removed from it its restrictive function of excluding someone from a particular space.
Dimensions: 490.29 x 392.67 x 369.82 cm
Materials: metal, acrylic, concrete, automotive paint
THE PHYSICAL SPACE CAN BE AN ABSTRACT, COMPLEX PLACE IN CONSTRUCTION
Permanent Collection of Instituto Inhotim, Brumadinho – MG
2019 – 2021
The work exhibited at Inhotim consists of Roman arches, referencing the Church of São José in Belo Horizonte; Islamic arches and a dome; classical pediments drawn from history, from the Universal Church of the Kingdom of God, shopping malls, and Havan stores; domes from Israeli and Muslim mosques; walls of Pentecostal temples from the Assemblies of God; and quartinhas from Candomblé coexisting with a half-wall of a school and rows of classroom desks, arranged within a construction environment represented by scaffolding and ladders spread throughout the work.
The colors, always vivid and bright, recall Brazilian Concretism, but when associated with the forms present, they evoke an oversized infantilization. The colors seduce the viewer to enter the work through the recognition of a familiar environment — suggested by both form and color — yet they shuffle and hinder the fluidity of walking, turning it into a childlike labyrinth.
Thus, the work gradually becomes a created or under-construction space, harmonious or not, convivial or combative, defined by the interplay between the artist and the viewer.
Dimensions: variable
Materials: assorted
DISSIPATIVE STRUCTURES – JUNGLE GYM
Collection of Marcos Amaro Art Factory (FAMA Museum), Itu – SP
2021
Dissipative Structures is a series of works that explores the relationship between space, architecture, and public interaction. These structures, often composed of elements such as railings, walls, and glass, create situations of estrangement and obstruction, simultaneously inviting and preventing the audience from interacting with the work in order to question the perception of space.
The concept of “dissipative” refers to the system’s ability to remain in order while far from thermodynamic equilibrium, through the exchange of energy and matter. This order, in turn, is given by the formal relations of modern art.
This series is composed of three works in which elements of distinct spaces (office drawers, benches and fences from public squares, tables and windows from residences) are combined with an element of a children’s playground: a swing, a seesaw, and a jungle gym.
Dimensions: 500 x 430 x 520 cm
Materials: wood, automotive paint, metals, glass
Elements from distinct spaces are combined with a jungle gym.
This work is part of the Pequeno Colecionador Project, with an edition at the Oscar Niemeyer Museum, Curitiba – PR.
DISSIPATIVE STRUCTURES – SEESAW
Collection of Pinacoteca, São Paulo – SP
2013
Dissipative Structures is a series of works that explores the relationship between space, architecture, and public interaction. These structures, often composed of elements such as railings, walls, and glass, create situations of estrangement and obstruction, simultaneously inviting and preventing the audience from interacting with the work in order to question the perception of space.
The concept of “dissipative” refers to the system’s ability to remain in order while far from thermodynamic equilibrium, through the exchange of energy and matter. This order, in turn, is given by the formal relations of modern art.
This series is composed of three works in which elements of distinct spaces (office drawers, benches and fences from public squares, tables and windows from residences) are combined with an element of a children’s playground: a swing, a seesaw, and a jungle gym.
Dimensions: 220 x 440 x 450 cm
Materials: wood, automotive paint, metals, glass, ceramic
Elements from distinct spaces are combined with two seesaws.
DISSIPATIVE STRUCTURES – SWING
Collection of the Museum of Contemporary Art of the University of São Paulo (MAC USP), São Paulo – SP
2012
Dissipative Structures is a series of works that explores the relationship between space, architecture, and public interaction. These structures, often composed of elements such as railings, walls, and glass, create situations of estrangement and obstruction — simultaneously inviting and preventing the audience from interacting with the work, in order to provoke reflection on the perception of space.
The concept of “dissipative” refers to a system’s ability to remain in order while far from thermodynamic equilibrium, through the exchange of energy and matter. This order, in turn, is determined by the formal relations of modern art.
This series is composed of three works in which elements of distinct spaces (office drawers, benches and fences from public squares, tables and windows from residences) are combined with elements from a children’s playground: a swing, a seesaw, and a jungle gym.
Dimensions: 220 x 440 x 450 cm
Materials: wood, automotive paint, metals, upholstery, glass, ceramic
Elements from distinct spaces are combined with a swing.
TWO SINKS OR WHEN THE PLACE BECOMES CONTENT
Collection of Museu Afro Brasil Emanoel Araujo, São Paulo – SP
2019
The work consists of two sinks carved from a single green block, resting on a black granite base, with porcelain quartinhas of various colors scattered across the object and on the floor. The two sinks are painted internally in blue, filled up to the same upper level.
The quartinhas are small clay or porcelain vessels traditionally used to store water and other elements consecrated to orixás and spiritual guides. The piece explores the relationship between physical space and content, transforming the place into an artistic experience.
Dimensions: variable
Materials: resin, metal, black granite, and porcelain quartinhas in assorted colors
SILVER BRICK
2019
The six-hole brick, nicknamed in the South and Southeast as the tijolo baiano, carries within it the summary of a Brazilian history. Although used in almost every building throughout Brazil, in the outskirts it exposes itself without shame, without pamphlets, without resentment, without modesty. If in buildings it constitutes the structure and is covered with different materials to affirm the contemporary aesthetics of its times, in the peripheries it is structure and aesthetics imposed simultaneously. There is no room for doubt. In all situations, the six-hole brick is part of a project: whether structural and of constructive engineering, or as a structural configuration of a defined class for an increasingly divided Brazil.
Dimensions: 20 x 27 x 13 cm
Material: polished aluminum
WHEN POSITION DEFINES THE SOCIAL SPACE, WITH THE OBJECT BEING CONTINGENT TO THAT POSITION
Collection of Centro Cultural São Paulo (CCSP), São Paulo – SP
2017 – 2019
Series of three works in which numerous objects such as vases, glasses, baskets… were drawn and printed on glass plates of various sizes, placed one over the other and leaned against the wall.
The chosen objects are part of the global cultural heritage. Some objects were selected for having originated long ago in human history, giving rise to others while losing their authorship. Other objects are placed alongside these earlier ones and have their authorship recognized internationally.
Dimensions: height 200 cm. Width and depth variable
Material: print on glass sheets
THE FRAGILITY OF HUMAN AFFAIRS CAN BE AN UNCONTESTABLE SPATIAL LIMIT
Collection of the Museum of Art of Rio de Janeiro (MAR), Rio de Janeiro – RJ
2015
The work is composed of a wall with window openings sealed by bricks and bars at the front and back. One side of the wall evokes the interior area of a residence, while the other side suggests the exterior. Elements covering both sides of the wall relate to Brazilian Concrete Art.
The piece explores social barriers and the limitations imposed on individuals in the contemporary world. The fragility of “human affairs,” in this context, refers to the difficulties and restrictions faced in social and economic relations, which can generate both physical and symbolic obstacles in space. The phrase — and the work itself — suggests that human relationships, even as they strive for expansion and connection, may be marked by fragilities that end up creating limits and boundaries, whether in physical space or in social interactions. The idea of an “uncontestable spatial limit” reinforces the notion that these barriers can be difficult to overcome or even ignore.
The work has been exhibited in several shows and biennials, such as the 10th Mercosul Biennial and the Play Festival, highlighting the discussion on the relationship between art, territory, and boundaries.
Dimensions: 230 x 150 x 380 cm
Materials: wood, glass, ceramic, steel, automotive paint
MY SPACE AND YOUR SPACE MEET IN A SUBTLE CUTTING AREA
Collection of Goethe-Institut, Porto Alegre – RS
2015
The work consists of four rectangular tables joined together in such a way that some areas overlap one another. One of the tables is positioned at a higher level.
In addition to the tables, seven round stools on casters are attached to the legs of the tables, allowing their positions to be changed without losing the connection to the table.
Placed diagonally to the table are two glass panels.
The work was conceived to propose choices in the use of space, whether through communion and sharing or through isolation.
Created for the celebration of the 50th anniversary of the Goethe-Institut in Porto Alegre.
Dimensions: 200 x 320 x 210 cm
Materials: steel, wood, automotive paint, casters, sockets, glass, lighting
GESTUAL
Intervention at Galeria Gestual, Porto Alegre – RS
2015
The work consists of a wall inserted diagonally into one of the gallery rooms. This wall mimics half of one of the existing walls that contains a window. The piece creates a new situation within the space, making the audience experience it in different ways.
Dimensions: variable
Materials: wood and PVC paint
SOLITUDE IS CALM, CONTINUOUS, AND FIFTY METERS LONG
2015
The work consists of drawings on tracing paper arranged inside a light-blue lacquered wooden box. The entire piece is formed by seven such boxes containing these drawings, evoking the view of a swimmer along the tiled bottom of a swimming lane, from start to finish. Hammered glass is used to distort and texture the image of the drawing, giving the impression of the effect of water over the tile.
The work is a representation of everyday images through drawing. The suggested placement of these boxes on the wall, and the inclination of the surface holding the drawing, require the viewer to move in order to better apprehend the drawing. This makes the viewer approach the representation of space in a two-dimensional (2D) image through their movement in real, three-dimensional space.
The work exists at the intersection between drawing, installation, and object, situating itself within the contemporary trend of breaking with the old classifications of the visual arts.
Dimension: 15 x 39 x 50 cm (each)
Total dimension: 273 x 15 x 50 cm
Materials: wood, glass, inkjet print on tracing paper
IN SUSPENSION
2013
The work is composed of various planes and elements that allude to architecture and Brazilian Concrete Art without, however, necessarily constructing a defined space. Butcher hooks are suspended on one of the walls clad with white tiles.
The term “in suspension” refers to something unfinished.
Dimensions in centimeters: 430 x 123 x 220 cm
Materials: expanded paint – wood, metals, ceramics, epoxy paint, glass
IN THE ABSENCE OF THE FIRST, FILL WITH THE SECOND
Vitrine Efêmera, Estúdio Dezenove, Rio de Janeiro – RJ
2013
The work was conceived for the project “Vitrine Efêmera” at Estúdio Dezenove in Rio de Janeiro.
It is composed of two chairs, one blue and the other orange, positioned at 90° to each other, supporting a glass pane placed at a 45° angle in relation to the chairs. Behind each chair, a column clad in white tiles is placed so as to support only half of the chair.
The chair-and-column sets are arranged as mirrored counterparts on either side of the glass. The walls of the display window were painted red and green.
All objects were meticulously placed in order to activate concepts of symmetry, mirroring, and superposition, inviting the audience to new experiences of physical space.
Dimensions: 500 x 430 x 520 cm
Materials: wood, automotive paint, metals, glass
SUPERCINEMA
Santander Cultural, Porto Alegre – RS
2011
The contemporary world does not allow itself to be captured by fixed definitions. It escapes classifications, resisting order, linearity, and certainty. It is neither this nor that — or perhaps it is everything at once, coexisting in zones of ambiguity and overlap. SUPERCINEMA is born from this space of uncertainty.
The installation consists of the intersection between a movie theater and a supermarket, superimposed within the exhibition space. Both are arranged with their structural and functional elements — screen, seats, aisles, products, cash register — but organized in orthogonal directions, creating a spatial crossing in which the physical and symbolic orientations of each environment collide.
The objects present are real and operational: the audience can watch the film or purchase the displayed products. As they move through this hybrid territory, visitors are invited to inhabit the friction between two everyday universes that, when merged, cease to be fully recognizable. The gesture of overlapping these two common spaces — that of cinematic narrative and that of immediate consumption — strains our perception of time, functionality, and belonging.
SUPERCINEMA proposes an experience that does not seek to be understood linearly. On the contrary, it materializes as an exercise of suspension — of codes, uses, and expectations. By creating a zone where categories become entangled, the installation invites the audience to experience the world as it is: fragmented, contradictory, in permanent transit between reality and representation, between desire and commodity, between seeing and acting.
In this space that cannot be defined but must be lived, art embodies uncertainty.
Dimensions: variable
Materials: assorted
BETWEEN
Collection of Museu Afro Brasil Emanoel Araujo, São Paulo – SP
2011
The installation Between is constructed from a simple and insistent gesture: placing doors in sequence, slightly ajar, one partially intruding into the frame of the other. Yet what is proposed is not a passage, but a permanence. An invitation that never fulfills itself. A crossing that remains a promise.
The doors are made of painted wood, with glass at their center — enough to allow the gaze, but not the body. Transparency becomes a trap. What is seen is clear, but unreachable. There is light, but no access.
The title of the work — Between — sustains this ambiguity: it is, at once, an imperative verb (“enter,” as an invitation) and a preposition (“between,” as a space of separation). The work exists precisely in this semantic fold. It dwells in the gap. It insists on friction.
By overlapping these usual architectural structures, their functions are reconfigured. The doors cease to organize space in order to institute time — time of waiting, of suspension, of hesitation. Traditional spatiality is displaced: it is no longer about entrance and exit, inside and outside, beginning and end. It is about the between.
As in other works, there is here a clear interest in the superposition of elements that, when intertwined, cease to be purely what they were. The doors are no longer just doors. They become the image of a contemporary experience marked by instability, by the permeability of forms, by the paradox between seeing and not reaching.
Between is a work that embodies the in-between space: that which separates and brings closer, reveals and blocks, affirms and suspends.
It is the space of almost.
Of what is already visible, yet still untouchable.
Of what invites — and prevents.
Dimensions: 215 x 131 x 191 cm
Materials: wood, automotive paint, glass, metal
TAUTOLOGICAL SERIES:
KITCHEN-BATHROOM
Collection of the Museum of Contemporary Art of Rio Grande do Sul (MACRS), Porto Alegre – RS
2008
This series consists of works whose titles refer to the spaces that are presented. The series combines objects from distinct domestic spaces to produce a work that alters spatial references, offers a critique of contemporary real estate architecture, scrambles the concepts of public and private, and questions the functionality of the world we have constructed.
The series is composed of 3 works:
-
Bedroom/Kitchen (2006/2007)
-
Living room-Bathroom-Service (2007)
-
Kitchen-Bathroom (2008)
Kitchen-Bathroom
Elements that compose a kitchen, mirrored through a glass pane, and a bathroom are arranged in order to construct the work.
Dimensions: 220 x 400 x 300 cm
Materials: wood, formica, steel, assorted objects
TAUTOLOGICAL SERIES:
BEDROOM / KITCHEN
Collection of the Museum of Art of Rio Grande do Sul Ado Malagoli (MARGS), Porto Alegre – RS
2006 – 2007
This series consists of works whose titles refer to the spaces that are presented. The series combines objects from distinct domestic spaces to produce a work that alters spatial references, offers a critique of contemporary real estate architecture, scrambles the concepts of public and private, and questions the functionality of the world we have constructed.
The series is composed of 3 works:
-
Bedroom/Kitchen (2006/2007)
-
Living room-Bathroom-Service (2007)
-
Kitchen-Bathroom (2008)
Bedroom/Kitchen
Elements that compose a bedroom and a kitchen are arranged in order to construct the work.
Dimensions: 230 x 400 x 350 cm
Materials: wood, formica, assorted objects
TAUTOLOGICAL SERIES:
LIVING ROOM-BATHROOM-SERVICE
Collection of the Museum of Art of Rio Grande do Sul Ado Malagoli (MARGS), Porto Alegre – RS
2007
This series consists of works whose titles refer to the spaces that are presented. The series combines objects from distinct domestic spaces to produce a work that alters spatial references, offers a critique of contemporary real estate architecture, scrambles the concepts of public and private, and questions the functionality of the world we have constructed.
The series is composed of 3 works:
-
Bedroom/Kitchen (2006/2007)
-
Living room-Bathroom-Service (2007)
-
Kitchen-Bathroom (2008)
Living room-Bathroom-Service
Elements that compose a dining room, a service area, and a bathroom are arranged in order to construct the work.
Dimensions: 300 x 300 x 270 cm
Materials: wood, formica, steel, assorted objects
A TABLE AND FOUR CHAIRS
Collection of Museu de Arte do Rio de Janeiro (MAR), Rio de Janeiro – RJ
2005
The work consists of a hybrid sculpture formed by a table, four wooden chairs, and a black-and-white checkered floor, superimposed on another identical set of table, chairs, and floor, but rotated around a common axis.
Dimensions: 300 x 300 x 150 cm
Materials: wood, formica
TURRET
2003
The work consists of the reproduction of the exhibition space within the exhibition space itself.
Dimensions: variable
Materials: wood, plaster, wall paint
BARRA 1
Atelier Aberto action, Porto Alegre – RS
2002
Use of carefully selected objects, associated with other objects without presenting any direct relation. The objects are distributed along vectors that determine spatial references.
Dimensions: variable
Materials: assorted objects
A CAMPING TENT
Goethe-Institut, Porto Alegre – RS
2001
Installation, in the same space, of various objects related both to camping (a camping tent, portable table and chairs…) and to the exhibition space itself (in this case, the gallery of the Goethe-Institut – Porto Alegre: fire extinguisher, a metal ladder, straw-holder…). The carefully selected objects were arranged in the space in a way that suggested both organization and chaos at the same time.
The organization is expressed by the arrangement of some repeated objects, aligned and evenly spaced from one another. The chaos comes from the environment itself: a hybrid between gallery and campsite, where the camper does not intend to organize any object, but merely to use them.
On the walls, words were aligned at mid-height. These words referred to things and places belonging to the Goethe-Institut, the city of Porto Alegre, a hypothetical camping site, or evoked a vacation period.
Dimensions: variable
Materials: assorted objects, natural grass, vinyl text applied to the wall
HOUSE
Porto Alegre – RS
2001
In 2001, eight artists came together with the goal of creating an exhibition to be held in a house that would be demolished at the end of the exhibition period. The exhibition was titled House, and my work was given the title House-number-2.
Each of the artists was responsible for constructing their work in one of the rooms of the house. The room I chose was the last in the house and had a wall parallel to the front wall, with a window identical to the one on the front façade.
My work consisted of reproducing all the elements of the exterior of the house inside that room, at full scale and with materials identical to the originals. In this way, the work evoked in the viewer a loss of reference between inside and outside, a loss of certainty regarding the space inhabited by the observer.
Dimensions: variable
Materials: concrete, cement, stone, asphalt, paint
THE MATERIALIZATION OF IMPOSSIBILITY
Casa de Cultura Mário Quintana, Porto Alegre – RS
2000
Interventions carried out in a public elevator composed of eight cycles, each lasting one week.
1 – installation of the phrase: “You can go wherever you want.”
2 – installation of the phrase: “Last year, more than 53,000 people died in elevators worldwide.”
3 – installation of a blue staircase, made of acrylic vinyl.
4 – installation of recorded sounds on CD from the elevator itself (doors opening and closing, going up and down).
5 – installation of natural grass across the entire elevator floor and the sound of rain and thunder.
6 – installation of the phrase: “Maximum capacity: 6 people or 420 kg.” Along with the phrase, iron balls engraved with “70Kg” on their surface were placed.
7 – installation of the same previous phrase. Along with this phrase, six silver helium balloons tied with strings were installed so as to occupy the entire available space of the elevator.
8 – installation of the phrase: “You are not always where you want to be.”
Dimensions: variable
Materials: vinyl cutouts, iron balls, recorded sounds, natural grass, silver helium balloons
ROMMULO VIEIRA CONCEIÇÃO
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