Atatürk Üniversitesi Güzel Sanatlar Enstitüsü Dergisi, vol.28, no.48, pp.62-69, 2020 (Peer-Reviewed Journal)
The avant-garde period, following the formalist tradition pointed out by the modernist perspective, has transformed the artwork from being a watched object into an experienced tool in which the dynamics between the artist and the viewer are reconstructed. The process, shaped by the artist's intention to cooperate, has opened up a space where the identities of the viewer-spectator-observer-participant are also redefined. The viewer is no longer an outside eye in the act of art, and sometimes becomes the subject necessary for the formation of the artwork. The aim of the study, which builds its subject on this framework; It is the approach to the art phenomenon, which is mostly fictionalized by the relationship between artist and the artwork, by the viewer. The transformation of the viewer, who is included in the art work with his/her view, into an individual who physically experiences the art work and builds it together with its artist, is an important field of discussion that has survived until today. The study focuses on this field and focuses on the viewer's experience with the artwork, through examples in which artworks open to participation are personally examined.