Interaction between art, architecture and memory.
An immersive, sensory and non-linear journey.
The historic building as part of the work.
Crossing the unknown.
Losing one’s bearings in space and time.
Light. Mirrors. Fiber optics. Neon. Video. Sound art.
Reflections, repetitions and displacements.
Dialogue between the visible and the invisible.
Instability. Imbalance. Disorientation.
Interaction. Participation. Public engagement.
Activation of imagination and memory.
Immersion in the subconscious and the unconscious.
Identity. Transformation. Vulnerability.
Questions about destiny, choice and finitude.
Self-reflection.
A physical and psychic experience of art.
Research and observation of the human psyche and behavior.

“Who looks outside dreams; who looks inside awakes.”
C. G. Jung, letter to Fanny Bowditch, October 22, 1916.

Created, conceived, and artistically directed by Vera Uberti, Reflexos (in)versos — No País das Maravilhas brings together her installations, except Pipilotti Rist’s Open My Glade, with sound design by Furio Valitutti. The exhibition explores perceptual instability and the nonlinear formation of the self. Lewis Carroll’s Alice’s Adventures in Wonderland provides a framework for adult experiences: the loss of reference points, urgency, inadequacy, shifts in scale, arbitrary rules, and the need to choose without a reliable path.
In the historic Farol Santander São Paulo building, the project acquires a different spatial language. Porto Alegre’s generous ceiling height encouraged vertical movement and emphasized falling. In São Paulo, lower rooms shift the installations toward the horizontal plane. The proximity of ceiling, body, and artwork compresses the visual field, reduces contemplative distance, and turns an architectural condition into curatorial material.
The exhibition becomes a denser interior landscape. Visitors move through the installations, adjust their pace, navigate light and obstacles, and negotiate their position near other bodies. The environments proceed through detours, repetitions, interruptions, and changing rhythms, bringing spatial experience close to the discontinuous movements of memory, the subconscious, and the unconscious.
Light, mirrors, optical fiber, video, and sound produce psychological states as bodily experience. Mirrors multiply and disorient; light reveals and erases boundaries; sound crosses the rooms without a fully locatable source. Each installation establishes a perceptual condition connected to the others by the exhibition route.
Pipilotti Rist’s Open My Glade introduces a tension between body, image, and surface. The face approaches the camera, presses against it, and changes shape as though seeking to leave the space that contains it. Doubled by the reflective floor, the image meets Alice’s shifts in scale and expands the exhibition’s central question: how do we recognize ourselves when the world no longer corresponds to the measures, rules, and images that once oriented us?