Mise-en-scène'den Mise-en-cadre'a sergi-manzaraları

The aim of this study is to acknowledge the twofold condition of exhibition spaces regarding the measure of integration it holds with the moving visitor and reread the arising architectural experiences. The two distant relational dynamics exhibitions imply, which transpire with reference to the absence/presence of a moving visitor, have been a point of discussion in the architectural discourse, but they have only been recognized through the limited agenda of the "containing box". Accordingly, understanding the experiences that exhibitions culminate in has been considered through the isolated characteristics of architectural space and the objects of display. In order to transcend this approach and enhance the twofold statement, the research asserts the necessity of making use of additional disciplines in a way that existing tools of architectural representation are not capable of. Embodying a cross disciplinary approach, this study aims to unfold the changing condition of exhibitions via deploying the "productive metaphors" of mise-en-scène and montage. Resulting from the inherent tension between the conceptual framework of the adopted terms, the study introduces the term mise-en-cadre which constructs a decoding vocabulary and a methodology that propound an elaborate way of re-reading exhibition-scapes and their unfolded experiences. Through the 'narrative' structure mise-en-cadre culminates in, as a result of its ontological condition, the study unfolds the exhibition "Each Moment is a Portal" which is produced by the artist Özlem Altın and displayed within the 16th Istanbul Biennial 'The Seventh Continent' with the author's participation as an artist assistant.