100

According to Lippard and Masotta, dematerialization has been a central issue in contemporary art since the 1960s. However, it is less a matter of de-objectalization than the production of the objet a by introducing a fissure in the image. This dismissal of the image evokes a dialectic with its own subversion. Consequently, this dematerialization still relies on images, conveyors of an object which, though not representable, still emerges out of images. This paper analyzes three Chilean artists and observes several strategies for conjuring up an anti-image, which lets in an object that, although de-realized, is in fact quite real because it stems from a drive.