• A behind-the-scenes look at building an exhibition

Exhibitions, whether in the visual arts or design sector, offer more than just a chance to display work; they serve as a platform to communicate ideas, tell stories, and engage with audiences meaningfully. 

Last month, the Museum of Modern and Contemporary Art Sri Lanka opened its newest exhibition titled ‘Total Landscaping’. Curated by Sandev Handy and Thinal Sajeewa, ‘Total Landscaping’ explores the ways in which land has been transformed in Sri Lanka. 

The exhibition brings together 29 contemporary artists whose works go beyond traditional illustrations of landscapes. Instead, their works register the different ways in which perceptions of land have been constructed and contested over our modern history. ‘Total Landscaping’ unfolds as a sequence of changing displays that elicit an all-out renegotiation of our relationships to land.

Rotation 1 of ‘Total Landscaping’ features artists Anomaa Rajakaruna, Arulraj Ulaganathan, Barbara Sansoni, Chandraguptha Thenuwara, Danushka Marasinghe, Dominic Sansoni, Hanusha Somasundaram, Jagath Weerasinghe, Jasmine Nilani Joseph, Jesper Nordahl, Pradeep Thalawatta, Sebastian Posingis, Stephen Champion, Suntharam Anojan, Thavarasa Thajendran, and Thisath Thoradeniya.

The works on display in ‘Total Landscaping’ Rotation 1 include paintings, installations, film, drawings, photography, and published material. Of these, the works by Joseph, Rajakaruna, and Somasundaram are commissioned by the MMCA Sri Lanka as part of ‘Arts 4 ADR,’ which is a collaborative project in partnership with Supporting Effective Dispute Resolution (SEDR). 

A key aspect of ‘Arts 4 ADR’ involved understanding and increasing awareness of community-based Alternative Dispute Resolution (ADR) mechanisms. Through three new artists’ commissions, the project aims to facilitate dialogue about the root causes of community-based conflict, disputes, and grievances.

Creativity, planning and management

The curatorial team behind an exhibition plays a crucial role in shaping that exhibition’s identity. Curators work closely with artists to select pieces that align with the central theme while ensuring the diversity and coherence of the exhibition. They also consider the narrative flow – how one piece connects with the next – and the emotional journey the audience will experience.

But what happens once an exhibition is curated? How does it come to life? The Sunday Morning Brunch sat down with ‘Total Landscaping’ Exhibition Designer Jonathan Edward, MMCA Operations Manager Malshani Delgahapitiya, and MMCA Gallery Manager Thariq Thahireen to learn more about just how an exhibition comes to life. Hint: it takes a lot more than just creativity. 

Bringing an exhibition to life involves a mix of creativity, meticulous planning, and careful management of a lot of moving parts. 

Malshani, who has been part of the MMCA’s Operations team since 2021, summed this up: “Once the design of an exhibition is signed off, the internal production team needs to take over – things like artwork production to managing the process of receiving artwork loaned to us by artists and collectors (which logistically is more complex than it sounds), to the construction of the exhibition and the installation of the artwork within it,” she said. 

“Parallel to that, you have the overall operations side of it – running the budget, managing the scope and timeline of the team, and also managing the space itself, since as a gallery, the MMCA is quite a constricted space.”

The timeline to produce an exhibition typically begins about a year-and-a-half before the public sees it. “The curatorial team takes eight months to a year to research and conceptualise the exhibition. They develop what we call the exhibition prospectus or bible. This has the rationale of the exhibition and information on the artworks, and from there we take it onwards to design, production, and delivery, which is a timeline of six months minimum.” 

Laying out the exhibition space

Once the concept and the works have been finalised, attention shifts to the spatial design. The layout of the exhibition space is vital to guiding the viewer’s experience and can dramatically impact how the artworks are perceived. This is where the exhibition designer comes in, working closely with the curatorial team and then with the operations team to ensure the space supports the narrative and engages the audience in meaningful ways.

Jonathan, the designer behind ‘Total Landscaping’ as well as the other most recent exhibitions produced by the MMCA, shared how the design of the exhibition came together. “I’m presented with the curatorial prospectus from the curators – in this case, Sandev and Thinal – and they present their big idea and the overarching theme for the exhibition,” he shared. 

“Then I will speak to Malshani about the budget, timeline, etc., and with those two sets of information, I come up with my ideas for design and layout and we do what is called a ‘fit test’ – seeing how everything fits into the space which helps us make bigger decisions and bigger design moves.”

As exhibition designer, Jonathan also balances his vision with that of the MMCA’s identity designer Nia Thandapani, ensuring that the design of the exhibition and the visual identity of the museum all align. 

“Together, we ideate on what this show looks like on both the outside and the inside and how it works spatially,” he said, adding that his responsibility was to achieve a balance between functionality and aesthetic appeal and create a space that served the art and the curators’ vision while also staying navigable and engaging.  

“We also think about how people will move through the exhibition, where they will stop, and what they will see from different angles. With ‘Total Landscaping’ for instance, we wanted people to feel like they were moving through different landscapes. 

“Most of the time when it comes to landscape, people only think of landscape architecture, but this exhibition is more about man’s relationship to land, the interventions they have put into land, and how they relate to other people through land. 

“It’s a very interesting dialogue and it also deals with sensitive topics surrounding land like the war, plantation communities, and urban development. That curatorial vision informs the core of what we do as designers.” 

Production and installation: Bringing the vision to life

Once the spatial design is finalised, the exhibition moves into the production and installation phase, and this is where Malshani and the Operations team get most involved. 

This is often the most labour-intensive part of the process, requiring close coordination between the production team, artists, and gallery staff. Every detail, from how a sculpture is mounted to the colour of the walls, must be carefully planned and executed.

“This is where everything comes together. You can have the best concept and the most beautiful works, but if the installation isn’t done right, the whole exhibition can fall flat,” Malshani said. 

“There’s a lot of problem-solving that happens during installation. You might have a plan on paper, but when you’re within the space, things can change. You have to be flexible and work quickly to adapt to any challenges that arise.”

For ‘Total Landscaping,’ the installation process was particularly complex due to the variety of works on display. Malshani recalled: “We had everything from large-scale sculptures to delicate installations that required precision in handling. It was a collaborative effort between the artists and our production team to ensure everything was installed correctly and safely.”

The road to ‘Total Landscaping’ was relatively smooth, something Malshani attributed to the fact that this was now the MMCA’s fifth exhibition, and in many cases, the team had been through the process several times, which made adapting easier. “Production is always very uncertain, especially when working with third-party service providers who may not always stick to deadlines.” 

Communication is key, and Malshani shared that throughout the process, especially during installation, she held frequent check-ins to evaluate progress and make any necessary adjustments. 

“The internal team checks in frequently. Every day, we have a short 15-minute check-in on issues that need to be sorted out quickly. We also do regular check-ins with the construction teams and other teams. We make it a point to work agilely while working to structured milestones.”

On what makes managing operations in a museum setting most rewarding, Malshani said: “I have been involved in almost all the projects at the MMCA Sri Lanka in different capacities, but the highlights have to be the three exhibitions I’ve managed so far – ‘Encounters’ (2021), ‘The Foreigners’ (2022), and ‘88 Acres’ (2023). 

“While all exhibitions had similar workflows, each of them presented unique challenges. The production and curatorial teams run on adrenaline in the final week of production and installation is always draining and a repetition of sleepless nights. It always amazes me on the preview days that we manage to pull things together on time despite all the challenges.”

Taking the exhibition to the public 

Once the exhibition is installed, the focus shifts to promotion and engagement, and this is where Thariq takes centre stage. As Gallery Manager, Thariq oversees the day-to-day operations of the gallery. 

“In addition to overseeing the security of the artwork and the high quality of the visitors’ experience at the museum, I am also managing the Visitor Educators where I ensure their well-being in a positive work environment. My responsibilities also currently include job training for them. We have at least two and sometimes up to five public programmes taking place in the gallery weekly, and I oversee all the preparations for these.”

Thariq has managed over 40,000 visitors and 500 tours since 2022. He also makes sure the gallery is well organised, especially in terms of storage. 

In today’s digital age, marketing plays a crucial role in attracting visitors and ensuring the success of an exhibition. Social media, press coverage, and targeted outreach campaigns are all important tools in generating buzz and drawing attention to the show. In addition to digital promotion, the gallery has hosted a series of public programmes, including artist talks, panel discussions, and guided tours. 

Thariq shared: “It’s important to engage with the audience beyond the exhibition itself. Public programmes provide an opportunity for visitors to dive deeper into the themes of the show and connect with the artists on a more personal level.”

Collaboration brings an exhibition together

One of the key takeaways from ‘Total Landscaping’ is the importance of collaboration. Exhibitions are rarely the work of a single individual; rather, they are the result of a team of professionals coming together to share their expertise and ideas. From the curator to the exhibition designer, each person plays a vital role in shaping the final product.

“It’s a team effort. You have to be open to ideas and feedback from everyone involved. The curator has their vision, the artists have theirs, and as the designer, you have to find a way to bring those visions together in a cohesive way,” Jonathan shared. 

Designing and producing an exhibition is a complex process that involves many moving parts. From conceptualisation to installation, each phase requires careful planning, collaboration, and attention to detail. 

In the case of ‘Total Landscaping,’ the result was a thought-provoking and immersive exhibition that invited viewers to reflect on their relationship with the environment.