An examination of the contribution of play to art exhibition practices through postmodernity

In this thesis, the development of the practice of art exhibition is examined, and the contribution of play to this practice within the context of postmodernity is investigated. The aim is to identify successful examples where play and audience participation are featured in contemporary art exhibition practices, thus facilitating the acceptance and recognition of this contribution, which could offer a new perspective in exhibition practices. In the study, the historical development of exhibition practices and their interaction with the modern audience are examined, starting with the formation of art perception and the artist's identity. Additionally, the role of play in human life and its intersection with art are explored. In this study, questions such as how the positive impact of postmodern thought on art exhibition practice can be explained through the phenomenon of play, what art movements or exhibition practices intersect with play, what transformations the exhibition practice has undergone in the transition to postmodernity, and whether examples can be found of works that illustrate the transformation of the spectator into a player, the artist into a game creator, and the exhibition space into a playground are sought to be answered. In the first chapter, the development process of art exhibition practices and the societal effects of art perception are addressed, along with the processes of creativity and self-actualization in the context of Maslow's hierarchy of needs. The emergence of art and its interaction with the modern audience are also explored. Additionally, the effects of factors such as the transformation of the art market, globalization, technology, new media, and sustainability on contemporary art are discussed, alongside the exhibition of art as a spatial experience, the contribution of the concept of space to the relationship between art and the audience, the historical development of exhibition practices, and innovations in the digital age. In the second chapter, the cultural context of the concept of play is emphasized. The intersection of play, playfulness, and gamification with art is addressed through their effects on art exhibition practices, and the development of play and the play space, as well as their transformation through technology, are examined. In the third chapter, the relationship between contemporary art exhibition practices and the phenomenon of play is evaluated within the context of modernity and postmodernity. While examining the growing importance of audience participation with the innovations of the late 19th and 20th centuries, inspiration is sought for solutions that align with the requirements of the current era in contemporary exhibition practices through selected concepts. In the fourth and final chapter, examples of playful approaches encountered in exhibition practices are discussed, and works of art where play is actively featured are analyzed. This section emphasizes how play and gamification are integrated into contemporary artworks in exhibition practices and how this integration transforms the audience's experience. This thesis, which presents the contemporary and innovative approaches offered by the combination of art and play in exhibition practices, aims to showcase the potential of experience-based and playful exhibition methods. As a result, a resource pointing to this potential is provided for researchers and artists who wish to explore creative paths in art exhibition practices.