000			01933cam a2200169 4500500
005			20250128135043.0
041			_afre
042			_adc
100	1	0	_aAlliez, Éric _eauthor
700	1	0	_a Bonne, Jean-Claude _eauthor
245	0	0	_aLévia...Tot(h)
260			_c2008.
500			_a49
520			_aLeviathan-Toth, Ernesto Neto’s anti/counter-installation which could be seen hanging from the vaults of the Panthéon in autumn 2006 does not seek to exploit this national memorial as a space in which to stand as an exhibition (environmental art). It responds to all of its surrounding factors – physical, aesthetic, political, and metaphysical, to attack the representative art whose constitutive-constitutional role in the republic, according to Hobbes, can be seen in Leviathan’s frontispiece. Setting up a sort of Critique et Clinique of Representation in all senses of the term beginning with the short-circuit (which is also the shortest circuit) between politics and aesthetics, Neto’s operation sets its sights on the expansive dis- organisation of the multitude living under the «democratic» regime of contractual representation of which the Panthéon is the temple. It provides a body for the rhizomatic-bioenergetic perversion of the Image of the State-Machine, of the Form-State, by projecting a new infra and supra-organic type of reality which draws its «energy» from the forces of the multitudo dissoluta (Hobbes) whose radical and vital recomposition it advocates. This work or non-work, derived from a Brazilian political-aesthetic constructivism which is undergoing redefinition, can now only take place in the context of a practice of displacement which incorporates and is constituted of the spectator-participant.
786	0		_nMultitudes | o 33 | 2 | 2008-06-04 | p. 155-169 | 0292-0107
856	4	1	_uhttps://shs.cairn.info/journal-multitudes-2008-2-page-155?lang=en&redirect-ssocas=7080
999			_c1055097 _d1055097