This article follows the trail of Weber’s comprehensive sociology and uses the hermeneutical method as well as the iconological applied to 11 contemporary works of plastic art which can be described as significant and representative of contemporary art. It pursues two specific objectives: (a) analyzing the construction of loneliness both in contemporary plastic art and within the society of individuality and separateness, through human bodies and emotions; and (b) attesting how this theme has evolved in artistic practices from simple to reflexive modernity. Artists have indeed placed solitary men and women in the geographical and symbolic center of their compositions, additionally providing a contrast with a spatial and temporal environment which marginalizes them. We conclude that, for contemporary art, subjects are neither fully fledged individuals nor citizens in their own right and that they do not voluntarily live in an individualized society, but rather in one defined by separateness.

本文沿袭了韦伯的综合社会学理论，并运用诠释学方法和图标学方法，将其应用于11款当代造型艺术作品，这些作品可以说是当代艺术的重要代表。它追求两个具体目标：（a）通过人体和情感来分析当代造型艺术以及个性与分离社会中的孤独建构；（b）证明这个主题在艺术实践中是如何从简单现代变为反身现代。实际上，艺术家已经将孤独的男人和女人放置在其作品的地理和象征中心，另外还与边缘化他们的时空环境形成了对比。我们得出结论，对于当代艺术，