Abstract
ABSTRACTBased on the cutting-edge exhibit The Seductiveness of the Interval in the Romanian pavilion at the 2009 Venice Biennale, this essay proposes using the idea of the interval as an interdisciplinary concept to analyse common aesthetic traits in Corneliu Porumboiu's film Al doilea joc/The Second Game (2014) and Marta Popivoda's 3-channel installation Mass Ornament #1 (2013). The author claims that the interval has been employed in a series of recent films and art projects to address and visualise the social and political transformations in post-communist societies. Through a comparative analysis of the viewing positions and spatial constellations in Porumboiu's film and Marta Popivoda's installation, the article examines the aesthetic-epistemological function of the interval and the role of the viewer within it.
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