Spatialization of art and installation

In the thesis scope; we are treating the contemporary art's historical analysis, architecture and perception psychology using a thorough examination and treat the artist, art and observer trio dialectically. We investigate the spatialization of art during historical process while paralelly referencing the perceptual dynamism between 'object' and 'observer', we have looked to the artwork through the perspective persona and perception of the observer. In this thesis we are looking to; show the different stages how a form of art takes shape through the spiritual state of the observer, as they are taking the form of an 'observer', graduating from being a simple 'viewer', observing the artform which until now was only given a meaning by the artist and was meant to be viewed by the masses. Connection of the previous information available to the mind, from viewing the various shapes and forms in the environment collected by the physical perceptors, with the new information, now available through the art form, formation and embodiment of the conceptual analysis and the manifestation of the emotional information as a result of personification through a spiritual integration has also formed an issue. Asking questions about the safest and most trustworthy ways of measuring the visual perception, and the classification and comparison of the answers according to reaction received for the experienced situations. According to this method, in the exhibition named "A Good Neighbor" under the 15th Biennales of Istanbul, various surveys have been performed where the inventory of an observer's body has been removed and the persons have been taken into question using their perception. This work has been offered as a sample based on the perceptional judgement model mentioned on Semra Aydin's "Mekansal Değerlendirmede Algısal Yargılara Dayalı Bir Model" doctorate thesis, which is roughly translated as "A Conceptual Model Relating to Perceptual Judgements in Evaluation of Spatial Effects" On the second part; we treat the change that has come along with the industrial advancement which changes the ways of expression in art, and paralelly, the abandonment of the classic ways in which we see the pieces of art and the changes that have happened in the visual representation, and Jonathan Crary's discourse in which he is expressing that the history of art and the history of perception have overlapped. We treat modernism and post-modernism, aligned after one and the other, which are seen as the causes for social change from labor/hardwork to information/consumption, and the movements following these periods which inevitably and fatally affected each other. Also, in this section of the thesis, we can see how the 'space'; has been transformed according to the way the artist is expressing themselves and how the observer is perceiving the message that is being presented to them. Merz Structure and its Proun Room, which are considered as the first samples of this development, have represented their significance in proving the relationship between art and architecture. In this section, we are examining the artistic movements and art philosophy of Sezer Tansug, Adnan Turani, Rifat Sahiner, visual and imaginative concepts of John Berger, Jean Bardrillard, and Ayhan Dereko who has made comments upon the ideas offered by Maurice Merleu-Ponty and is known for his studies on phenomonology of perception. As we approach the contemporary times, we will also be seeing comments by Kafiye Ozlem Alp, who evaluated time-space relationship in the post-modern art. On the third section; we are experiencing the compilation of the surrealist architectural works of Frederick Kiesler, whom has proved that architecture can leave its functionality and serve as an artwork, a compilation which has been done by Nur Altinyildiz Artun in her book "Surrealizm ve Mimarlık" which is translated as "Surrealism and Architecture", and also Brian O'Doherty's White Cube, which has been utilized while searching for better ways of expression in the scale that goes between a gallery space and natural habitat. Perceptional art, which is loooking for new ways of installation after being so diverse and endless, overflowing from galleries/museums, looking for new spaces to express itself, has been presented in samples, along with comments from Nancy Atakan. Also in this section we examine Serhat Kut's work, which treats mental theories and cybertechtonic spaces that have been provided to us with the widespread of contemporary technology and video art, and at the same time a presentation of sampled works from installation works in anamorphic spaces applying illusion techniques. On the fourth section; we talk about the mental stratums that are formed by the 'space' that is now non-independent and controlled by the art which is in precession. As such, we draw attention Einfüühlung Theory and we provide quotation from Wilhelm Worringer's "Abstraction and Identification (Einflühlung), published in 1908. Referencing Semra Aydinli's "Duygusal Yük Profilleri - Emotional Load Profiles" and "Estetik Yargı - Aesthetic Judgement" in which she supports the relation between eyes, perception and space in the Spatial Perception, a methodological illustration has been meant to be shown in the thesis as we use the emotional load profiles provided. On the fifth section; we survey the attendants of the 15th Biennales of Istanbul on their perceptional and emotional systems, taking into consideration the possible characteristic differences of the attendees according to 8 emotional load profiles suggested by Aydinli, and provided an indicator based on a scientific approach under scope of the identification theory. This way, we managed to identify which stimulants end up in what kinds of affectivities and the place of spiritual integration of the individuals with space/object in their memory during the biennales workshops. Keywords: History of modern art, art of installation, anamorphic illusion, psychology of perception, gestalt theory, aesthetic judgement, identification.