| Summary: | Non-human animals have been depicted in art since the Paleolithic era. From the 1960s, the portrayal of the non-human animal has moved from canvases, sculptures and photographs into becoming living actors in the artistic space to explore the human world in relation to the non-human animal. The purpose with this essay is to explore three different art projects that focus on the non-human animal as individuals with a soul. The aim was to investigate what effect it had on the recipient and whether the spectator felt empathy after the experience with the artwork. The three art projects that have been looked at more closely are Sue Coe's book Dead Meat(1995), a book with illustrations from inside slaughterhouses in the USA, nanoq: flat out and bluseome (2001-2006), a project where BryndÃs Snæbjörnsdóttir and Mark Wilson have chosen to display and investigate the history behind taxidermied polar bears in Great Britain, and the third project by Miru Kim who photographed her naked body together with pigs in the industry in her art project The Pig That Therefore I Am (2010). All artists have the non-human animal as the center in their art projects as sentient individuals but with different starting points. Sue Coe has animal rights as the foundation, Snæbjörnsdóttir/Wilson starts from taxidermy and Miru Kim explores how we as humans can get closer to the worlds of non-human animals. Using a hermeneutic method, the works are examined together with literature studies about the non-human animal in art and the philosophy that supports the human view of the non-human animal. The result shows that empathy was felt more or less, but the question remains what the viewer does with that empathy. Icke-mänskliga djur har gestaltats i konsten redan frÃ¥n den Paleolitiska tiden. FrÃ¥n 1960-talet har gestaltandet av det icke-mänskliga djuret tagit sig frÃ¥n dukar, skulpturer och fotografier och in som levande aktörer i det konstnärliga rummet för att utforska människans värld i relation till det icke-mänskliga ...
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