Abstract
Nicolas Bourriaud and Mathieu Kessler have little in common, save the fact that when each of them writes on contemporary art, they abandon their area of reference--respectively, criticism and philosophy--without there being any evident reason for it to develop: art history, criticism. Nicolas Bourriaud’s Formes de vie comes across as an articulation of the theories underpinning his perceptive approaches to recent art in Documents sur l’art. But this «essay» risks disappointing even those rea...
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