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        <Text>&lt;p&gt;&lt;b&gt;&lt;font color="#c67ba5"&gt;&lt;i&gt;This Little Piggy&lt;/i&gt; (1996) est une installation de Damien Hirst montrant un cochon coupé en deux : chaque moitié est placée dans un bac rempli de formol. L’un des deux bacs, mû par un moteur, avance et recule.&lt;/font&gt;&lt;/b&gt; Cette œuvre macabre au titre désinvolte s’inscrit au carrefour de nombreuses traditions : une œuvre qui s’inscrit dans une série d’installation similaire de D. Hirst, qui se trouve dans la lignée des vanités ou &lt;i&gt;memento mori&lt;/i&gt; à la mode au XVIIe siècle ou dans l’art médical issu du Moyen-Âge. L’exhibition des entrailles évoque aussi l’artisanat des bouchers, corporation spécialisée dans la préparation du cochon comme mets. S’inspirant des inventions esthétiques du modernisme et du postmodernisme, &lt;i&gt;This Little Piggy&lt;/i&gt; rassemble des allusions aux &lt;i&gt;ready-mades&lt;/i&gt; de Duchamp, à l’art cinétique et à l’art corporel (&lt;i&gt;body art&lt;/i&gt;). Avec son cochon mobile qui ressemble à un automate animalier sur un manège, ou à une créature de Frankenstein, Hirst rapproche la figure de l’artiste de celle du savant fou, à moins que ce ne soit de celle, plus familière, du boucher. Mais &lt;i&gt;This Little Piggy&lt;/i&gt; est une œuvre contemporaine de pandémies qui contraignent les autorités à abattre des cheptels par millions. Qu’est-ce qui est le plus obscène ou le plus sadique, dans cette histoire ?&lt;/p&gt;&lt;p&gt;&lt;b&gt;&lt;font color="#c67ba5"&gt;Pour accéder au contenu,&lt;/font&gt;&lt;/b&gt; il suffit de cliquer sur l'icône de nuage OpenAccess.&lt;br&gt;&lt;b&gt;&lt;font color="#c67ba5"&gt;Vous pourrez choisir de lire en ligne ou de télécharger l’e-book au format PDF ou ePub.&lt;/font&gt;&lt;/b&gt;&lt;/p&gt;</Text>
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