AbstractThis 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.
|Date of Award||2018|
|Supervisor||N. Hamlyn (Supervisor)|