After extended cinema: Reproduction of the moving image in space

In the context of art, film, video art, and projection art generally explore the dimensions and boundaries of space. In exhibition areas, large moving images are usually projected onto walls or floors and displayed on various screens with multiple projections or through specially designed structures and installations spread throughout the audience. The space itself as an architectural structure and the artists who convey story with relationships between surfaces offer audience a field of understanding and perception. The concepts of "openness" defined by Umberto Eco add depth to meaning by rearranging the audience's perception and their relationship with the space. Cinema, followed by projection and video art, challenged structe by allowing the audience to move freely and experience the work without being confined to a single perspective. These art forms not only push the boundaries of linear narratives but also address universal issues such as social events, emotional discovery, and cultural preservation while referencing the elements and actors of classical cinema. "Extended Cinema," which moves the narrative off-screen into the space using various tools, has reinterpreted the fundamentals of filmic storytelling by going beyond classic narrative cinema. "Video Art" creates contexts that seek to transform audience perception by questioning spatial structures. The relationship between moving images and works of art expanded with postmodernism, the expanded cinema, and the Fluxus movement after the 1960s. This evolution allowed artists to fill narrative gaps and spaces in their works, enabling viewers to construct their own interpretations. Combination of visual and auditory elements with the spatial atmosphere enriches the audience's experience of the artwork. So, empty spaces are completed not just mechanically but also narratively, making the viewer an integral part of the work. To understand how artists shape narratives in these spaces and how they position both space and audience in their creative processes, the research design was structured in two stages. In the first stage, field visits were carried out in order to understand how the artists produce in the space in moving image genres ranging from cinema to video art and how they use multiple surfaces. Works produced as moving images in galleries and museums, particularly in Ankara and Istanbul, were analyzed in exhibition spaces. The second stage involved semi-structured interviews with artists, directors, visual artists, curators, and architects to interpret moving image works exhibited in different forms. This research adopted a qualitative approach to analyze moving images in exhibition spaces, specifically in relation to expanded cinema and post-cinema exhibition practices, with a central focus on how moving images are presented and how spatial arrangements shape artistic considerations of space.