# Expanded Cinema While the term Expanded cinema in the early 21st century gradually faded aways in the context of artistic practice, the exploration of the spatial expression and presentation of the various materials within gallery spaces in relation to cinematic and filmic experiece flourishing more than ever. This tendency has towards both an architectural composition of the projector’s light and frame, the materiality of film, and the participatory engagement of viewers/artists within the cinematic spatial formation. (여기에 atmosphere 약간 넣기) Some artists, such as Tacita Dean, focus on the materiality of film and its temporal dimensions. Her exhibition, _Tacita Dean: PORTRAIT_ (2018) at the National Portrait Gallery, exemplifies this approach, with particular emphasis on 16mm film as a medium. The exhibition included her six-screen installation _Merce Cunningham performs STILLNESS..._ (2008), film of Claes Oldenburg in _Manhattan Mouse Museum_ (2011), film diptych of Julie Mehretu (_GDGDA_, 2011), and films such as _Mario Merz_ (2002), _Michael Hamburger_ (2007), _Edwin Parker_ (2011), and _Portraits_ (2016), which feature Cy Twombly and David Hockney, respectively. This exhibition emphasised the distinctive qualities of the filmic medium, including the rhythmic rumbling sounds of projectors and the visible crackling marks on the film strips, while also examining variations in frame ratios and screen positioning. In the presentation of _Merce Cunningham performs STILLNESS..._ (2008), viewers encountered a dimly lit room where the walls, illuminated by the installation, depicted Merce Cunningham seated in varying durations and angles. Although the imagery showed similar positions of Cunningham in front of a mirror, the differing durations of each video fostered a dynamic interaction between the walls of screens, gradually establishing a dialogue within the spatial configuration. The way of experimentation with multiscreen and their temporal rhythm can be found Isaac Julien's time-based art and his exhibitions. Since *Ten Thousand Waves* [-@julien_ten_2010] at MoMA, he has continuously pursued experimentation on multiframe techniques through temporal expansion of the frame. Acoording to Martin Hartung [-@hartung_moma_2013], the multiscreen offers multiple viewing perspectives through fragmented and poetic nine double-sided screens suspended from the ceiling installation were designed especially for MoMA’s Donald B. and Catherine C. Marron Atrium. This installation requires collaborative work with exhibition designers, audiovisual designers, and screen designers to deliver vertical ways of presentation of at multiple levels and angles. The process of rigging huge screens suspended by the 300 pounds and over 400 feet of heavy cabling material, "so that the huge screens could be suspended at a precise height level". Through this approach, Julien’s work creates a cave-like environment within the gallery, where sound and image interact to shape a unique spatial experience. The soundtrack is described as being "equally audible from each screen, as the audio travels from screen to screen throughout the piece" [@hartung_moma_2013]. Isaac Julien’s distinctive approach to redefining the rules of representation through archival projects is vividly demonstrated in his multi-screen installations. This is exemplified by the nine-screen work _Once Again… (Statues Never Die)_, which explores the collection and exhibition of African art within the colonial context. Centring on the relationship between American art collector Albert C. Barnes and philosopher and cultural critic Alain Locke, the installation engages in a dialogue about the value and display of African art. Similarly, Julien’s _Lessons of the Hour_, a ten-screen installation of varying sizes, delves into the life and legacy of 19th-century American abolitionist and orator Frederick Douglass. This work, presented at Tate Britain in 2023, intricately combines imagery, narrative, and historical reflection to address themes of freedom, equality, and social justice. his “desire to reinvestigate the archive to articulate contemporary concerns.” As Dean's display of _Merce Cunningham performs STILLNESS..._ (2008), Julien frames creates its own spatial narrative by repeating same image, simultaneously shows different perspective, or screening same scene across frames that are either widely spaced or closely positioned. However, these two works further intensify the fragmented and dispersed perspectives in their relationship with the screens, surpassing the approach seen in _Ten Thousand Waves_ [-@julien_ten_2010]. This deepens Julien’s expression of vertical notions of time, described as "a very rich dialogue across the diaspora that continues today with more joined-up thinking" [@willis_isaac_2023]. Through this method, his work not only transcends the conventional boundaries of time and space but also engages with the Black aesthetic, Black movements, artists, and practices. Within this perspective, the frame and spatial configurations in the works of Tacita Dean and Isaac Julien extend beyond simply directing the viewer's movement within the gallery space. Instead, they operate as a "sculpture of dialogue" and embody expressions of dispersion between historical moments. By doing so, they deliver a reconstructed atmosphere, achieved through multiple gazes and the poetic fragmentation of space. However, this approach is not confined to the gallery space alone. Various methods have been developed through diverse engagements with new production of spatial medium, enabling artists to directly participate in the distribution of audiovisual sensations and the creation of distinct atmospheres. At first glance, Francis Alÿs's exhibition _Francis Alÿs: Ricochets_ at the Barbican in 2024 appears to follow the approaches of Tacita Dean and Isaac Julien. Alÿs similarly arranges multiple frames dispersed throughout the architectural space, a method that fractures not only the spatial arrangement but also the viewer's gaze and physical engagement. However, unlike the rigorous monologues constructed between frames in the works of Dean and Julien, Alÿs’s practice does not adhere to strict temporal connections between frames. Instead, his frames loosely link together, each independently screening scenes of children at play without emphasising chronological continuity. Rather, Alÿs highlights the diversity of children's play through its forms and geographies, thereby transforming the architectural gallery space into a dynamic playground of movement and interaction. Since 1999, he has collected scenes of children skipping stones across a lake, jumping rope, and running up hills—all set in different contexts and environments across the globe. Similarly, his videos, accessible through his website and YouTube, reach audiences in multiple spaces, emphasising the universality and cultural significance of play in human experience. Within these multi-frame practices, the performative dimension of expanded cinema is deeply connected to Lindsay Seers’s autobiographical narratives, which uniquely articulate what might be termed an autobiographical and fictional mutation. Her works examine the reconstruction of memory, the fluidity of identity, and the subjectivity of perception through the dynamic relationship between the camera’s eye and her objectified body. This is achieved, for instance, by using her body as a camera to generate images or by exploring the interaction between cameras and architectural forms. Seers’s practice challenges conventional notions of vision by replacing her physical presence with the camera—placing it in her mouth—or employing circular frames configured with satellite dishes. The work _Mental Metal (Casebooks Project)_ (2017), for instance, examines the historical role of casebooks, the medical practices they represented, and their relevance to our understanding of medicine and natural knowledge. It further explores how deeply rooted beliefs in subjectively constructed truths have persisted throughout history, influencing the ways in which human interactions and actions are shaped. These ideas are further magnified in her video installation _Entangled² (Theatre II)_ (2013), which incorporates dual circular screens and architectural environments to convey intricate narratives. As Seers stated in an interview, "The Egyptians believed that what we see is projected out of our eyes onto the world, rather than it falling into our eyes." This perspective anchors her investigation into the connections between perception, projection, and spatial configurations. This exploration of memory and subjectivity is exemplified in the work of James Richards, who is recognised as a queer artist, an artist-as-curator, and above all, a video artist whose installations possess sculptural qualities. Through his practice, found footage and sound are transformed into articulations of space, crafted into new sensory productions of selfhood, desire, and memory. As Kreuger observes, Richards "makes the moving electronic image palpable as mental sculpture," and his work also engages with voice, described as "a becoming-voice that can touch any material, human or non-human" [@kreuger_james_2015, 51]. Kreuger’s essay characterises Richards’s work as "moving mental sculpture" [@kreuger_james_2015, 51], providing a detailed analysis of how his practice integrates visual narrative and materiality. This interplay of sensory and conceptual elements results in "the moving electronic image palpable as mental sculpture," incorporating voices from various sources, described "more precisely as a becoming-voice that can touch any material, human or non-human" [@kreuger_james_2015, 51]. Kreuger’s evaluation aptly captures Richards’s ability to synthesise sensory experience and materiality, demonstrating how his work operates at the intersection of visual narrative and abstraction. For instance, two-screen installation Not Blacking Out, *Not Blacking Out, Just Turning the Lights Off* (2011) comprises audiovisual materials extracted from various sources, including the Internet and DVDs, as well as diaristic material are comprised into rhythmic assemblages of sounds and images. For instance, the superimposition between the "voice of the US feminist poet Judy Grahn reading one of her best-known poems over muted footage of trees in winter, or the blood vessels in someone’s lungs," therefore, emphasises the materiality of audiovisual media in surrounding physical space by highlighting the tension between the composition of audiovisual sensations and the viewing act within the gallery space. In such works, the design of space and the relationship between space and the artwork remain as significant as in the experiments of expanded cinema. The placement and angles of screens, the dispersal of sound through speaker configurations, and the audience's modes of engagement—whether seated on backless benches, standing, walking, or lying on the ground—all contribute to expanding the meaning of how the work is perceived. However, it is equally evident that directly cinematic narratives, where space plays a central role as in Lindsay Seers’s _Extramission 6 (Black Maria)_ (2009), have become increasingly rare. Today, spatial design is often a collaborative effort between curators and space designers, and while the monologue between screens gains prominence, the sensory-driven elements of the installation—sound, light, fog, scents, plasma, and generative codes—often take centre stage. This shift demonstrates how installations now transcend traditional cinematic frameworks to engage with a broader range of materials and atmospheric effects. Despite this evolution, these works can still be described as cinematic or an expansion of cinematic sensation, as they "create a moment that feels like making time tangible" [@article_art_2024]. A.A. Murakami’s large-scale bubble installation, _Floating World_ (2024), exemplifies this transition by envisioning the installation space as "a mini-environment or weather system that you could be fully immersed in, where you might lose your sense of space" [@article_art_2024]. This approach embodies the legacy of the Light and Space Movement, transforming it into a tangible spatial experience. 혹은 감각의 duration은 Berndnaut Smilde의 **Nimbus** 작업처럼 10초라는 순간으로 재정립될 수도 있다, inspired by skies in Old Dutch seascape paintings. 그의 작업은 indoor 공간에서 매우 짧은 시간동안 구름을 만들어내며 that produce precipitation as well for their low altitude and great volume 이를 통해 순식간에 사라지는 ephemeral atmosphere in the air 를 create 한다. 재빨리 사라지는 작업의 본질 때문에 아티스트에게 있어서 구름을 만드는 것과 함께 중요한 것은 그것을 사진으로 찍어 남기는 것이며, as a result, the location of the cloud becomes an important setting as part of the artwork. ![[Pasted image 20250116175937.png]]