RED is built around one large spatial gesture that turns film itself into the exhibit. Clear opaque and translucent geometric surfaces extend through the gallery, creating a sequence of projection planes for eleven synchronized screens. The architecture remains minimal so that light, color, and moving image define the space.

At the centre lies the “red room”: a square volume formed by multilayered gauze strips stretching from ceiling to floor. Light and projection move across these layers in graded shades of red, giving the impression of a breathing, immaterial core. The color and sound design build in waves toward a recurring climax – the “red moment” – when image, light, and audio saturate the entire space in an intense red flood.

Graphic design and typography echo the fleeting, atmospheric character of color rather than static branding, reinforcing the idea of red as something that appears, disappears, and mutates across scenes and genres.

Visitors enter a field of images, fragments from film history play across the large screens: protagonists, objects, rooms, and visual effects all bound by one element. The editing juxtaposes genres and decades so that patterns of how red is used become intuitively visible.

Each guest receives a small film card at the entrance that functions as a mobile projection surface. Overhead pico projectors cast brief clips and details onto these cards, turning visitors into active “color hunters” who discover red in close-up. The act of searching and catching images makes the relationship to the color personal and playful.

At intervals, sound collage and image intensity rise together. In these peaks, the central red room pulses more strongly, and the entire installation shifts into a brief total immersion where the gallery is flooded with red light and dense audio. After the climax, the space returns to a more open, exploratory mode. Visitors dive into the world of their own feelings and associations. At night, the red ambience glows outward through the museum windows, extending the installation into the urban fabric and catching the attention of passersby.

The museum wanted to show how red functions in film as symbol, emotion, and narrative tool without merely presenting a compilation of clips in a dark cinema. The exhibition therefore had to make an abstract theme – one color – tangible as a spatial experience, use film excerpts without overwhelming the architecture or the visitor’s own agency, and work equally for cinephiles, casual visitors, and school groups.