When Antonio Curti invited me to direct Luz Æterna, I knew the challenge wasn’t just bringing together works of Brazilian new media art — it was designing the system that would allow eight artists to coexist without competing. Each work had its own language: LED panels, projections, parametric systems, physical and digital light. My job was to conceive the entire exhibition space, plan the exhibition design so that each work preserved its individuality while light unified the journey.

I designed the route thinking about how the audience would move between the physical and the virtual. Light isn’t just a theme — it’s syntax. It organizes space, guides the gaze, creates pauses and accelerations. Among the eight works is Céu Zero, by Leston, which integrated into the system alongside the other invited artists’ works. Modularity was fundamental: the exhibition adapted in a site-specific way between Brasília and Belo Horizonte, maintaining the narrative but responding to the specificities of each CCBB building.

The process was intensely collaborative. I worked directly with the artists on the technical conception of each installation, and the AYA team developed solutions that used Brazilian technologies and materials whenever possible. I coordinated this exchange of knowledge — between artists, technicians, and production — so that the exhibition would function as a creative hub where each part sustained itself, but the whole emerged as a coherent experience.