This practice-based research examines the relationship between the historical
framework of Expanded Cinema and contemporary time-based installations by
observing the revival of analogue media and the formal implications in re-exhibiting
Expanded Cinema works in the contemporary museum. Moreover, it investigates
contemporary artistic practices where the use of analogue media and the sculptural
manipulation of the projection process contribute to a reinvention of the grammar
of the cinematic apparatus. The inquiry observes the self-referential aspect of the
elements belonging to film and their displacement from the cinema into the more
experimental exhibition setting of the gallery. It specifically analyses the light beam–as
a projective and sculptural element–and the deconstruction of the fixed cinematic
experience in relation to the screen and the perspectival representation of space.
The theoretical and practical approach, through the parallel production of a body of
works and the analysis of case studies, contributes to the multi-disciplinary
development of my practice as well as to the observation of the perception
mechanisms triggered by different levels of immersive experience in the exhibition
space.
This research aims to re-define the objects and the reception of contemporary
moving image installations, through the analysis of the space around the screen and
the observation of works where the movie theatre architecture is transformed
inside the gallery and the museum context. This framework of observation aims to
further the understanding of moving image today in relation to history, artists’ choice
of media and contemporary exhibition trends.