Exhibition containers for GETXOPHOTO

E-cont Work

The exhibition containers at GETXOPHOTO 2020 brought photography to an open setting beside the sea. Three black modules displayed works by Charlotte Schmitz, Julieta Gil and Silvia Rosi during the International Image Festival.

Their doors and side openings offered different ways to approach the works: entering a small gallery, looking in from outside or pausing before a container wall turned into an exhibition surface.

Customizable

The options are many as long as the habitability, watertightness and insulation standards are met. Both inside and outside you can paint, line wood, cladding, panels, etc.

Low prices

We are reusing a maritime container to adapt it to our needs, a transformation system that is already very present in countries such as Japan, the Netherlands or England and that allows us to offer anti-crisis prices, high qualities and short delivery times.

The containers we use are perfectly standardized, the most common being 10, 20 and 40 feet.

Each container is different, but similar in its resistant characteristics that make them suitable for transport.

The floor of the containers is in solidarity with the outer frame and the steel pillars. They are originally watertight and waterproof. They can be joined together by rigid or mechanical joints, and are stackable up to 5-6 heights depending on the load and use.

Energy saving

Factors such as sun protection, temperature, exposure environment and energy efficiency must be considered. There are systems that allow you to have a sustainable container and save energy depending on the use: recyclable materials, low environmental impact, high energy efficiency carpentry, energy saving installations using solar panels connected to underfloor heating, etc.

Versatility

Depending on the needs, they could be adapted to:

  • Temporary or stable residence of one, two, three rooms or more.
  • Office modules.
  • Temporary businesses: kiosks, security posts, tourist office, stands, etc.
  • Modules or annexes to the houses: tools houses in the garden, guest house or room modules.
  • Bungalows located in camping.
GETXOPHOTO exhibition containers displaying framed photographs
Magenta and blue photographic display panels inside a black container
Three GETXOPHOTO exhibition containers installed on the grass
Container exhibition with the coastal landscape of Getxo in the background
Visitors exploring the outdoor exhibition modules beside the sea
Open entrances to two GETXOPHOTO festival exhibitions
Raised side opening with a series of portraits inside the container
Lowered platform in front of photographs displayed on a container wall

Exhibition containers in an outdoor setting

The three modules stand separately on a grassed area. Visitors can move between them without following a single corridor, combining the artworks with views of the coastal surroundings.

A black finish gives the spaces a common identity and provides a background for photographs, information panels and colour. The corrugated steel remains visible, making the industrial structure part of the exhibition setting.

Three openings and different ways of viewing

The photographs document one module with a fully open side and a lowered platform, another with a horizontal opening sheltered by a raised panel, and a space entered through the end doors. Each arrangement creates a different relationship between the work, the visitor and the outdoors.

Inside one container, magenta and blue panels organise small photographic pieces. Elsewhere, framed images are displayed directly against the metal walls. Spot lighting supplements the daylight entering through the openings.

Photography in modular spaces

The Pasaia, Volver a ser exhibition offers another approach to a photographic route inside a container. For a new exhibition, discuss adaptation options with us according to the artworks and the location.

Exhibitions by Charlotte Schmitz, Julieta Gil and Silvia Rosi in Aurtenetxea Containers during GETXOPHOTO International Image Festival 2020. Photographs by Juan Gómez and Paula Gómez.

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