August 14, 2026 — In the ever-evolving intersection of contemporary art, exhibition design, and spatial architecture, few recent collaborations have generated as much critical intrigue as Em Campo (In the Field). Marking a significant solo exhibition by acclaimed artist Hick Duarte, the project benefits from the curatorial vision of Susanna Moreira and the rigorous spatial framework executed by the design studio Clube.
Captured through the lens of architectural photographer Marina Lima, the exhibition is much more than a showcase of Duarte’s photography and multimedia works; it is a masterclass in spatial choreography. By treating the gallery not merely as a container for art, but as an active participant in the narrative, the design team has transformed a standard interior into an immersive, multi-sensory landscape.
Main Facts
- Exhibition Em Campo (In the Field)
- Featured Artist: Hick Duarte
- Curator: Susanna Moreira
- Exhibition and Spatial Design: Clube
- Photography: Marina Lima
- Publication Date: August 14, 2026
- Primary Media: Photography, Audiovisual Installations, Integrated Furniture Systems
- Core Spatial Elements: The floor, the wall, the pillars, the grid, and custom equipment-integrated furniture
Chronology of the Project: From Concept to Realization
The genesis of Em Campo lies in a multi-year dialogue between Hick Duarte’s distinct visual vernacular—which often explores the intricate relationships between human bodies, ecology, landscapes, and technology—and contemporary spatial practices.
Phase 1: Conceptualization and Curation
Early in the planning stages, curator Susanna Moreira recognized that Duarte’s expansive, often sprawling visual narratives could not be contained within traditional white-cube framing. The work demanded an environment that mirrored its thematic explorations of terrain, boundary, and infrastructure. Moreira collaborated closely with Duarte to establish the core conceptual pillars of the exhibition, emphasizing an open-ended dialogue between the viewer, the image, and the physical architecture of the gallery.
Phase 2: Spatial Architecture and Prototyping
With the conceptual framework established, the studio Clube was brought on board to translate these ideas into a physical reality. Eschewing conventional exhibition design tactics—such as temporary drywall partitions that merely divide space—Clube approached the gallery as a unified architectural ecosystem. The team developed a five-part structural vocabulary:
- The Floor: Rethought as a continuous datum that anchors the visitor’s movement.
- The Wall: Utilized not just as a hanging surface, but as a dynamic boundary shaping sightlines.
- The Pillars: Embraced as structural rhythm markers within the open plan.
- The Grid: Implemented as an organizational matrix balancing freedom and constraint.
- The Audiovisual Equipment: Seamlessly embedded within custom-designed furniture units to eliminate the visual clutter of modern technology.
Phase 3: Installation and Visual Documentation
As installation wrapped up in mid-2026, architectural photographer Marina Lima was invited to document the space. Lima’s photographs highlight the subtle interplay of light across raw concrete, glass, and specialized mounting surfaces, capturing the exhibition in a state of quiet tension between nature (the themes of Duarte’s work) and industrial precision (Clube’s design).
Supporting Data and Spatial Breakdown
The physical execution of Em Campo relies on precise design metrics and material choices that elevate the viewing experience.
Materiality and Industrial Aesthetics
Clube’s design utilizes a restrained material palette that allows Duarte’s vibrant and textured imagery to take center stage. Exposed concrete elements, matte-finished metallic grids, and bespoke timber-and-steel furniture form the backbone of the installation. This industrial vocabulary acts as a deliberate counterpoint to the organic, ecological motifs present in Duarte’s photographic subjects.
Spatial Typology Matrix
| Spatial Element | Design Intent | Functional Role |
|---|---|---|
| The Floor | Establish a continuous horizontal plane | Guides visitor circulation without aggressive physical barriers |
| The Wall | Create porous boundaries and spatial framing | Optimizes natural and artificial sightlines for large-scale prints |
| The Pillars | Integrate pre-existing structural constraints | Transforms awkward columns into rhythmic markers of space |
| The Grid | Impose a modular yet flexible system | Allows for dynamic reconfiguration of smaller works and ephemera |
| The Integrated Furniture | Conceal technology and provide utility | Houses audiovisual screens and playback systems cleanly within the architecture |
Official Perspectives and Curatorial Vision
The synergy between artist, curator, and spatial designers has been a defining characteristic of the exhibition’s critical reception.
Speaking on the framework of the exhibition, the design team from Clube noted in their official statement:
"The exhibition design for ‘Em Campo’ is structured around five main elements: the floor, the wall, the pillars, the grid, and the audiovisual equipment integrated with the furniture. Every intervention was calculated to dissolve the barrier between viewing art and inhabiting space."
Curator Susanna Moreira has emphasized that Em Campo is designed to challenge the passive consumption of imagery. By embedding screens directly into custom furniture and laying out photographs along unexpected axes, the exhibition forces viewers to physically navigate the room in a way that mirrors the exploration of an actual field or landscape (campo in Portuguese).
Hick Duarte’s body of work, known for its poetic yet critical eye toward contemporary landscapes, finds a natural home within this architecture. The spatial design acts as an extension of his lens—framing, concealing, and revealing elements of the narrative as the audience moves through the gallery.
Implications for Contemporary Exhibition Design
Em Campo arrives at a time when the boundary between interior architecture, exhibition design, and fine art is increasingly porous. The project offers several key takeaways for contemporary designers and curators:
1. The Death of the Neutral White Cube
For decades, the default setting for modern art has been the anonymous white wall—a space meant to disappear. Projects like Em Campo argue for the opposite: an architecture of character that actively engages with the artwork. By defining space through explicit architectural elements (floors, grids, integrated furniture), Clube demonstrates that spatial design can enhance, rather than distract from, artistic content.
2. Technology as Infrastructure, Not Afterthought
In many contemporary art exhibitions, screens, projectors, and cables are treated as necessary evils, resulting in messy wire management and intrusive hardware. Clube’s integration of audiovisual equipment directly into custom furniture establishes a new standard for clean, uninterrupted spatial experiences where technology feels native to the architecture.
3. Fostering Embodied Engagement
By organizing the gallery around a deliberate tactile vocabulary—concrete, glass, metal grids, and tactile furniture—Em Campo shifts the gallery experience from an ocular-centric activity to a fully embodied, physical journey. Visitors do not just look at Hick Duarte’s work; they walk through, around, and alongside it, enveloped in a world meticulously crafted by Susanna Moreira and Clube.
As Em Campo continues its run, it stands as a compelling blueprint for future collaborations between visual artists and spatial designers, proving that when architecture and art speak the same language, the resulting spatial narrative is infinitely more powerful.