An installation practice with reference to the movie "Kynodontas" of Yorgos Lanthimos

Conceptual Art, which offers new areas of expression, beyond a stance, against the way traditional art works; takes advantage of the opportunities of philosophy and language to benefit from the presentation of words, texts, documents, videos, sound and all kinds of documentation. It can also be observed that it makes use of every pore that emerges through objects. These pores are like stair steps that give birth to each other in an eclectic way. Therefore, these pores mediate all kinds of sensible objects that can lead to thinking and thinking. Conceptual Art presents these tools that lead to the thought of thinking through installation which is also a form of expression. The installation uses the characteristics of every sensible natural space and architectural space, but also has the ability to create an absolute space through objects. Thus, it is concluded that the installation is formed by orienting through the language of space and object contexts and it is the reflected objective presentation of Conceptual Art. On the other hand, the illusion that Eadweard Muybridge invented between the years 1877-1880 by identifying the phases of the movement, with a series of photographs, was the first example of the cinematographic movement. In the same period, Étienne Jules Marey and Muybridge conducted scientific research on the measurement of motion flow. It can be said that these researches and studies constitute the source point for the birth of Conceptual Art along with Cinema. The idea of Cinema as an Installation in Motion that directs this research is the assumption point of a dialectical study. This thesis is based on the chronophotographs of Eadweard Muybridge and Étienne-Jules Marey, as well as Marcel Duchamp's Bike Wheel, Nude Descending a Staircase, No: 2 and his ready-made work called 50 cc Paris Air which is an activity of mobility about the idea of an absolute space and based on kinetic suggestions about intellectual spaces. In this process, Joseph Kosuth's propositions on Conceptual Art were taken as reference, Yorgos Lanthimos' Kynodontas' film was examined and Gilles Deleuze's 'Logic of Meaning' book was used. As a result, the "Blind Field/ Kör Alan" exhibition, which was inspired by Kosuth, Deleuze and Lanthimos as equivalent, was held. Thus, in the context of this research, which is guided by the relationship between Conceptual Art and Cinema, the possibilities provided by Conceptual Art to Cinema were determined and exhibited.