Comparing the way in which aesthetics gives rise to a form of playing in philosophy with the way in which playing leads to the question about art in psychoanalysis, this article interrogates the function of playing and art in philosophy and psychoanalysis. Art, presented as a deciphering game, finds in this articulation an active character, as opposed to a pure contemplation. On the other hand, playing becomes a form of practice related to creative drives, not only in child psychoanalysis, but in its ability to intervene in formless spaces (transitional, potential, space of illusion), a pillar of the entire analytical clinic. Winnicott develops from this idea a theory of space that summons both the dream and the real: a space in which the dream not only provides an illusory satisfaction, but also creates an illusion of control of the real. Thus, spatialization has effects on the symbolization, on the prepositional genesis of the individual, the matrix of a grammar where the subject gives way to the object from which he emerges and separates. Art as a game is presented, then, with an experience of the formless in which the individual lives in union with the world and with himself, both a reflexive and subjective experience.
Key words: Aesthetics | Playing - Art | Potential space | Formless | Psychoanalysis