Chemins de traverse

The attention paid in the 1960s to unknown figurations of “end of the world” led De Martino to the heart of the confrontation between “pathological art” and “modern art”, which focused on surrealism in France after the Second World War. In what way would this detour by a marginal object of psychopathology be necessary to think, as an anthropologist, the singularity of a new visual culture?