Abstract
The aim of the paper is to analyse the spectacle as a production and proliferation of the visible through which it is possible to articulate different theoretical approaches to identities, representations and politics of the body, and which are constructed or performed in art. Through the multiperspectivistic approach, the British artist Mark Quinn's sculpture Alison Lapper Pregnant, which was presented in the period from 2005 to 2012 in three different contexts, is analysed. It is shown that the contemporary subject in the globalised world does not possess an integrated, fixed and singular identity any longer. Complex and not infrequently antagonistic systems of meaning which intertwine within cultural paradigm have contributed directly to this disintegration.
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