The spectator’s time: the aesthetic appreciation of moving images inside the museum

Abstract

The paper proposes to reflect about the spectator’s relationship with the works that use the moving image in the museum space and how this relationship generates new ways of fruition, highlighting the time available for the appreciation of the works. It intends to analyze the relationship between the time of the work and the spectator’s time on long temporality films, as in the case of installations such as Marclay’s The Clock (2007) and Blaufuk’s Theresienstadt (2007), using concepts like expanded cinema (PARENTE, 2006) and pensive spectator (BELLOUR, 1987). Furthermore, it regards the theoretical framework that deals with slow film and the emancipation of the spectator that presents itself as responsible for making the art productive.