Não espectadores mas o centro do mundo: proposta de exposição inclusiva para o Atelier-Museu Júlio Pomar

The present academic work falls within the scope of social inclusion in a museological context, focusing specifically on the visually impaired public, for which we have ablorated a specific project titledNot spectators but the center of the world, aimed at Atelier-Museu Júlio Pomar (Lisbon). With the first purpose of contributing to the awareness and inclusion of this public within the museums and consequently, contributing to a greater inclusion within society, through intensive research, we seek to better understand the characteristics of these visitors and what are their needs, identify good accessibility practices in museological context and expose some examples of national projects that stood out in this area, as well as realizing what we can change within our institutions to fully receive and communicate with them in a full way. Being our object of study the Atelier-Museu Júlio Pomar (Lisbon), we have theoretically applied the good accessibility practices and the knowledge previously acquired in this cultural espace dedicated to the work of the artist Júlio Pomar, through the elaboration, completion and critical analysis of a diagnostic form of accessibility, with identification of possible aspects to improve and suggestion of their solutions and suggestion of their solutions. The exhibition projectNot spectators but the center of the world, from a quote of the artist alluding to the senses, and has as its theme the portrait and self-portrait in the work of Júlio Pomar, calls for active participation, as it is intended that all visitors of the museum, whitout exception, can fully enjoy this space and its heritage. In this context, we present the various aspects necessary for the planning and realization of the exhibition, of which we highlight the selection of alternative tools, essential for the visually impaired public to be able to perceive autonomously the works on display, which are: the audio description, the three-dimensional replicas and the embossed drawings