<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>1665-1200</journal-id>
<journal-title><![CDATA[Tópicos del Seminario]]></journal-title>
<abbrev-journal-title><![CDATA[Tóp. Sem]]></abbrev-journal-title>
<issn>1665-1200</issn>
<publisher>
<publisher-name><![CDATA[Benemérita Universidad Autónoma de Puebla, Seminario de Estudios de la Significación]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S1665-12002025000100047</article-id>
<article-id pub-id-type="doi">10.35494/topsem.2025.1.53.892</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[De animales y plantas: otro régimen de enunciación]]></article-title>
<article-title xml:lang="en"><![CDATA[Of Animals and Plants: Another Regime of Enunciation]]></article-title>
<article-title xml:lang="fr"><![CDATA[Des animaux et des plantes : un autre régime d&#8217;énonciation]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Beyaert-Geslin]]></surname>
<given-names><![CDATA[Anne]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[González Ochoa]]></surname>
<given-names><![CDATA[César]]></given-names>
</name>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Burdeos-Montaigne  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>06</month>
<year>2025</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>06</month>
<year>2025</year>
</pub-date>
<numero>53</numero>
<fpage>47</fpage>
<lpage>65</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S1665-12002025000100047&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S1665-12002025000100047&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S1665-12002025000100047&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Actualmente, nuevos conjuntos de obras contemporáneas libres de imágenes (instalaciones o performances) desdibujan las fronteras materiales y conceptuales del arte y plantean de nuevo la pregunta goodmaniana: &#8220;¿Cuándo hay arte?&#8221;. En estas orillas estatutarias, ciertas obras impulsadas por una sensibilidad ecológica también integran lo que Descola (2005 y 2010) llama existentes no humanos, en este caso, plantas y animales. El desafío de estas obras no es sólo cuestionar los límites del arte, donde roza con la ciencia, sino asumir la trascendencia de las nociones de naturaleza y cultura para proponer nuevas alianzas enunciativas. Este artículo moviliza el concepto de enunciación para dar cuenta de esas obras intrigantes que renuevan la experiencia estética para revelar la trascendencia de la vida. Se esfuerza por construir la noción de régimen (Fontanille, 2023) y declina tres regímenes de enunciación artística: la representación, la ostensión y la instauración, al develar una transformación gradual que opera por desplazamiento. Al final del recorrido, se detiene sobre dos ejemplos que afinan la caracterización de la instauración, el de Hubert Duprat, Larves aquatiques de trichoptères avec coquille (1980-2012), elaborado con animales, y el de Gérard Hauray, Leçons de chausses (2022), formado por plantas.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Today, new bodies of image-free contemporary works (installations or performances) blur the material and conceptual boundaries of art and pose anew the Goodmanian question, &#8220;When is there art?&#8221; On these statutory shores, certain works driven by an ecological sensibility also integrate what Descola (2005 and 2010) calls non-human existents, in this case plants and animals. The challenge of these works is not only to question the limits of art, where it rubs up against science, but to assume the transcendence of the notions of nature and culture in order to propose new enunciative alliances. This article mobilizes the concept of enunciation to account for those intriguing works that renew the aesthetic experience to reveal the transcendence of life. It strives to construct the notion of regime (Fontanille, 2023) and declines three regimes of artistic enunciation, representation, ostension, and instauration, by unveiling a gradual transformation that operates by displacement. At the end of the journey, the article stops on two examples that refine the characterization of instauration: Hubert Duprat's Larves aquatiques de trichoptères avec coquille (1980-2012), elaborated with animals, and Gérard Hauray's Leçons de chausses (2022), made up of plants.]]></p></abstract>
<abstract abstract-type="short" xml:lang="fr"><p><![CDATA[Résumé De nouveaux corpus d&#8217;&#339;uvres contemporaines affranchies de l&#8217;image (installations ou performances) brouillent actuellement les frontières matérielles et conceptuelles de l&#8217;art et posent la question goodmanienne « Quand y-a-t-il art ? » à nouveaux frais. Sur ces lisières statutaires, certaines &#339;uvres portées par une sensibilité écologique intègrent de surcroît ce que Descola (2005 et 2010) appelle des existants non humains, en l&#8217;occurrence des végétaux et des animaux. L&#8217;enjeu de ces &#339;uvres n&#8217;est pas seulement de questionner les limites de l&#8217;art, là où il confine à la science, mais d&#8217;assumer le dépassement des notions de nature et de culture pour proposer des alliances énonciatives nouvelles. Cet article mobilise le concept d&#8217;énonciation pour rendre compte de ces &#339;uvres intrigantes qui renouvellent l&#8217;expérience esthétique afin de révéler la transcendance de la vie. Il s&#8217;efforce de construire la notion de régime (Fontanille, 2023) et décline trois régimes d&#8217;énonciation artistique, la représentation, l&#8217;ostension et l&#8217;instauration, en dévoilant une transformation graduelle opérant par déplacement. A l&#8217;issue du parcours, il s&#8217;arrête sur deux exemples qui affinent la caractérisation de l&#8217;instauration, celle d&#8217;Hubert Duprat, Larves aquatiques de trichoptères avec coquille (1980-2012), élaborée avec des animaux, et celle de Gérard Hauray, Leçons de chausses (2022), constituée de végétaux.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[enunciación]]></kwd>
<kwd lng="es"><![CDATA[arte]]></kwd>
<kwd lng="es"><![CDATA[régimen]]></kwd>
<kwd lng="es"><![CDATA[existentes no humanos]]></kwd>
<kwd lng="en"><![CDATA[enunciation]]></kwd>
<kwd lng="en"><![CDATA[art]]></kwd>
<kwd lng="en"><![CDATA[regime]]></kwd>
<kwd lng="en"><![CDATA[existing non-human]]></kwd>
<kwd lng="fr"><![CDATA[énonciation]]></kwd>
<kwd lng="fr"><![CDATA[art]]></kwd>
<kwd lng="fr"><![CDATA[régime]]></kwd>
<kwd lng="fr"><![CDATA[existants non humains]]></kwd>
</kwd-group>
</article-meta>
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