AMANO — Além da Fantasia
Third-party artist project: immersive space conceived to translate 218 original works by Yoshitaka Amano into an inhabitable experience, articulating video, light, sound, automation, and projection as a single system.
- Number
- 016
- Editorial status
- third-party artist project
- Reading regime
- space / circulation / collaboration
- Status
- REALIZED
- Year
- 2026
- Location
- São Paulo, Belo Horizonte, Rio de Janeiro
- Context
- exposição dirigida / itinerância
- Type
- EXPOSICAO DIRIGIDA
- Technique / medium
- espaço imersivo · vídeo · luz · som · automação · projeção
- Realization
- AYA Studio · CCBB
- Itinerary
- São Paulo, Belo Horizonte, and Rio de Janeiro
- Structure
- 11-minute-40-second immersive room with fifteen synchronized laser projectors
- Material
- Video, light, sound, automation, and projection organized as a single system
Antonio Curti's curation, Felipe Sztutman's experience and technology direction, Raphael Minhoso's audiovisual direction, João Alencar's original content, and systems integration with Ihon Yadoya make the immersive room exist as collective materialization without displacing Yoshitaka Amano's artistic authorship.
In 2024, Antonio Curti invited me to design the immersive space for the largest Yoshitaka Amano exhibition ever held worldwide. Yoshitaka Amano is the artist of the project: his paintings and illustrations defined the aesthetic of a universe that spans generations. The challenge was to create, in Brazil, a technical and spatial experience that would translate 218 original works from Japan into something that could be inhabited, without confusing experience direction with artistic authorship.
I designed the immersive space and conceived the integrated systems of video, light, sound, automation, and projection that make the exhibition work as a single living organism. The 11-minute-40-second immersive room brings six Amano paintings into movement — fifteen synchronized laser projectors create a video mapping where serpents swim, waves form storms, heroes descend from the sky piercing sea monsters. I worked with Ihon Yadoya on systems integration, Raphael Minhoso on audiovisual co-authorship, and João Alencar on original content for the immersive room. The result is an environment where the public can enter the controlled chaos of Amano’s mind.
The exhibition toured three Brazilian cities — São Paulo (Farol Santander, 2024), Belo Horizonte (CCBB, 2025-2026), and Rio de Janeiro (CCBB, April-June 2026) — with 100% free admission via Lei Rouanet. Antonio Curti, who has a direct relationship with Amano and personally selected the works in Japan, signs the curation. My job was to technically translate this Japanese visual universe to the Brazilian immersive context — to create the infrastructure that allows the public not just to see the works, but to inhabit them.
AMANO should be read in the archive as experience and technology direction within a third-party artist project. The primary artistic authorship remains Yoshitaka Amano's; Felipe's gesture is the spatial, technical, and experiential translation of that visual universe in Brazil.
