This essay will try to present the theoretical-conceptual points of a research route which concerns cinema\u2019s modes of being in the \u201cwider field\u201d of art, in the form that ontologically most distant from itself and which, nevertheless, acts with an intense \u201ccinematic\u201d performative force and a high degree of \u201cmodelling\u201d impact. It is a complex modality which manifests itself through the \u201cformat\u201d of installation where \u201cthe cinema,\u201d starting from the discursive nucleus of the installed \u201cwork\u201d, triggers, among the heterogeneous and disconnected elements that it might be composed of (sculptures, photographs, videos, objects), a series of relations regarding which it maintains a double utterance location: \u201cinternal\u201d because it is one of the compositional elements (among others) and \u201cexternal\u201d because through it the performative path, which implicates the critical action in the spectator-visitor, is activated and revealed
