Abstract
Abstract Focused on manifestation, semiotics has nevertheless constantly considered its surroundings, the imaginary that makes the image and gives it meaning. The article tries to problematize this relationship. It separates the picture from its imaginary share, the image, and seeks to support its general propositions on plastic analyzes, a painting by Francis Bacon, an installation by Abdelkader Benchamma and another installation by Adrien M and Claire B. It focuses on reductions and the tipping points of the picture, where the “opening” occurs, striving for a structuring of its proposals. It thus instructs both sides of the enunciation, an enunciation centered on the visible and an invisible enunciation still premeditated by the enunciation.
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