Abstract

Alliez and Negri start out front the contention that world war does not establish itself as the power of the imperial order without obscuring all regulatory ideas of peace, reduced to a deceptive illusion. Absolutely contemporary with war, «postmodern » peace presents itself as the « postdemocratic » institution of a permanent state of exception, the continuation of war by other means , the reduction of sovereignty to the disequilibrium of terror according to the principle of distinguishing between friend and enemy. Since war, peace and barbarism interact without any regulation other than that of the common sense of the Unworldly squalor , there remains only the Combat against War to destroy the evidence system of the false social peace and to work for the construction of a World once again possible for the whatever singularities that we are in-common. This is where the socially dangerous character of contemporary art comes from, when it attacks the media image-world by setting a new transversalist « aesthetic paradigm » to work which exposes itself to the tearing of the sensible in the overexposure of peace to war. This could be art’s new adress, the marking out of its difference in a creative conspiracy of affects, which can no longer sustain itself with even the slightest memory of peace