A imagem em movimento constitui novas espacialidades quando se vincula tanto ao conteúdo apresentado na tela quanto ao contexto expositivo, no qual o espectador, como importante agente dessa relação, está inserido. A partir dessa afirmação, a tese analisa as instalações audiovisuais desde os anos 1990, estruturando determinados períodos históricos e movimentos artísticos para compreender os diálogos e os tensionamentos desse tipo de obra nas exposições de arte contemporânea. Assim, reflete sobre questões técnicas, como o aparecimento do vídeo e a tecnologia digital; institucionais, analisando exposições temporárias de grandes formatos, como a Bienal de São Paulo e a Biennale di Venezia; e estéticas, levando em consideração o confronto do audiovisual com o meio cinematográfico. Opta-se por uma abordagem temática e não cronológica. A tese divide-se em duas partes: a primeira possui uma discussão temporal ampla, em que se levam em consideração a expografia, a duração, a mobilidade do espectador, sugerindo-se o termo zona cinza para obras de imagem em movimento nas bienais; já a segunda parte investiga a espacialização dos trabalhos do ponto de vista das obras, por meio de estudos de caso de sete artistas: Douglas Gordon, Shirin Neshat, Maurício Dias e Walter Riedweg, Steve McQueen, Chantal Akerman e Raquel Garbelotti, todos participantes das bienais no período entre 1998 e 2010. O acesso à documentação e aos processos dos eventos foi possível graças à pesquisa no Arquivo Histórico Wanda Svevo (AHWS, São Paulo) e no Archivio Storico delle Arti Contemporanee (ASAC, Veneza). Desse modo, a abordagem interdisciplinar visa que o estudo colabore com a análise das instalações de imagem em movimento, fornecendo subsídios para os debates futuros.

The moving image constitutes new spatialities when linked both to the content presented on the screen and to the exhibition context, in which the spectator, as an essential agent of this relationship, is inserted. Based on this statement, the thesis analyses audiovisual installations since the 1990s, structuring specific historical periods and artistic movements to understand the dialogues and tensions of this type of work in contemporary art exhibitions. Thus, it reflects on technical issues, such as the emergence of video and digital technology; institutional issues, investigating large-scale temporary exhibitions, such as the São Paulo Biennial and the Venice Biennale; and aesthetic issues, taking into consideration the confrontation between audiovisual and cinematographic media. A thematic rather than chronological approach is chosen. The thesis is divided into two parts: the first one has a broad temporal approach, in which the exhibition design, the duration, the spectators mobility are taken into consideration, suggesting the expression gray zone for referring to moving image works in the biennials; the second part explores the spatialization of artworks from the point of view of oeuvres, through case studies of seven artists: Douglas Gordon, Shirin Neshat, Maurício Dias and Walter Riedweg, Steve McQueen, Chantal Akerman, and Raquel Garbelotti, all of whom participated in biennials in the period between 1998 and 2010. Access to the documentation and event processes was made possible by research at the Wanda Svevo Historical Archives (AHWS, São Paulo) and the Historical Archives of Contemporary Arts (ASAC, Venice). Therefore, an interdisciplinary approach aims to collaborate with the analysis of moving image installations, providing subsidies for future debates. The moving image constitutes new spatialities when linked both to the content presented on the screen and to the exhibition context, in which the spectator, as an essential agent of this relationship, is inserted. Based on this statement, the thesis analyses audiovisual installations since the 1990s, structuring specific historical periods and artistic movements to understand the dialogues and tensions of this type of work in contemporary art exhibitions. Thus, it reflects on technical issues, such as the emergence of video and digital technology; institutional issues, investigating large-scale temporary exhibitions, such as the São Paulo Biennial and the Venice Biennale; and aesthetic issues, taking into consideration the confrontation between audiovisual and cinematographic media. A thematic rather than chronological approach is chosen. The thesis is divided into two parts: the first one has a broad temporal approach, in which the exhibition design, the duration, the spectators mobility are taken into consideration, suggesting the expression gray zone for referring to moving image works in the biennials; the second part explores the spatialization of artworks from the point of view of oeuvres, through case studies of seven artists: Douglas Gordon, Shirin Neshat, Maurício Dias and Walter Riedweg, Steve McQueen, Chantal Akerman, and Raquel Garbelotti, all of whom participated in biennials in the period between 1998 and 2010. Access to the documentation and event processes was made possible by research at the Wanda Svevo Historical Archives (AHWS, São Paulo) and the Historical Archives of Contemporary Arts (ASAC, Venice). Therefore, an interdisciplinary approach aims to collaborate with the analysis of moving image installations, providing subsidies for future debates.