Abstract
This paper examines the cinematic apparatus (dispositif) of Fiona Tan. Drawing on the works of Gilles Deleuze, it analyses the four main dimensions such as visibility, enunciation, power and the self, as well as possibilities for new dimensions, which are created by a state of crisis, since it is such a state Fiona Tan explores in her works: Orientalism and Occidentalism, home and exile, stillness and motion, face and head, landscapes and figures etc. Then, based on the findings of this research, the author will discuss in more detail two themes in the philosophy of dispositifs ? singular processes discovered and the issue of newness and creativity as opposed to history and archive. In conclusion the author will outline how the research on the cinematic apparatus of Fiona Tan can contribute to understanding not only the idea of the ?visual? in the visual arts but also a turn to the cinematic in contemporary art.