Abstract
Why do today’s statues have such a weak efficacy in the imagination and in collective receiving? In the history of Western culture and up to the middle of the last century, the vocation of the statue in human shape was to physically attest to a link between two physicalities, the present humanity of the beholder and the absent humanity of those who are represented. Descended from the pedestal or from the blind niches of the walls, the statue becomes commonplace in all senses, immobile only for a photographic shot and otherwise similar to the viewer, its value no longer has much to do with art or with the story, or at least both are subordinated to the performative abilities and the identification effect.
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