1 Animality and its forms of life. The internal articulation of bodies in the Brazilian contemporary art. Eduardo Jorge de Oliveira (UFMG – Brazil/ ENS – Paris) 1. Animality, forms of life. Animality is an inconstant sign and its attempts of demarcating conceptually can produce an oscillation between its diverse conceptions of animal and human. Constantly assigned to the physical conditions of the human body, whether in terms of a radical exposition of human life, whether connected to the most elementary registers of sexuality, the animality can also deal with a critical operation that arms some ways of destabilization of the human. It can also be a way to put in circulation various animal elements (non-human) in its own human body, changing its permanency, its condition and presentation that can develop the concepts of becoming, mimetism and camouflage. These issues focus, also, at the archaeological work around its human science conceived by Michael Foucault that situates mankind as a “recent invention”. In Les mots et les choses preface, Foucault treats this recent invention as “a simple fold in our knowledge”, in which every man will disappear as long as he finds a new form (FOUCAULT, 1992, p.15). Taking advantage of that hypothesis, we can think of various writers, authors, critics, thinkers performances as the ones that evidence new forms, always touching at human limits and its débordement, to avail ourselves of a therm used by Dominique Lestel, em L’animal singulier (1998). One of the ways we found to translate this débordement its the notion of excess, a wear out that allows us to put in evidence at the research the writings and the thought of George Bataille about animality. Whatsoever, the proposal is to constitute a table such as Raymond Russel, read by Michael Foucault at the intro of Les mots et les choses where the work of some artists make of animality an experience against what is heterogeneous, or still what is heterodox (Bataille), heterothopic (Foucault). The operation of installation (le voisinage soudain de choses sans rapport, at Foucault’s spirit) around this table constitutes a reunion of these plastic experiences around a stuffed pig, a dead cockroach, also as ants, vultures and its changes on the state of the body and things.