Publication
Joseph Kosuth e a ética enquanto mediadora entre o significado e o vazio
| Summary: | Joseph Kosuth9s <One and Three Chairs= is considered the materialization of his 1969 essay <Art after Philosophy=, where he deoned Conceptual Art, in which Meaning relied solely upon its author9s mind, expressed through tire-less repetition. Although this kind of reiteration could become means for an understanding, the fact that no efort was made (so to speak) in explaining one9s personal views, deprived the observer of the needed resources for its interpretation. Here lies a dilemma where Conceptual Art can be criticised, since, if an artist can hide behind the observer9s lack of understanding, he can propose something that, also for him, is devoid of meaning. This is why Kosuth9s work may consist not in the mate-rialization of Conceptual Art itself, but in the defence that at the foundation of an artists work, there must be strong ethical values, mani-fested precisely through a correlation between Sign, Signioer and Signioed, in which <One and Three Chairs=, and his subsequent work, repeatedly dwells, defending the expression of honesty that should guide Conceptual Art, in its own defence, but also of its authors and appreciators defence. |
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| Main Authors: | Jorge, Pedro Fonseca |
| Subject: | Joseph Kosuth Signifier Conceptual art Sign Meaning Arte conceptual Significante Significado |
| Year: | 2023 |
| Country: | Portugal |
| Document type: | article |
| Access type: | open access |
| Associated institution: | Instituto Politécnico de Castelo Branco |
| Language: | English |
| Origin: | Repositório Científico do Instituto Politécnico de Castelo Branco |
| Summary: | Joseph Kosuth9s <One and Three Chairs= is considered the materialization of his 1969 essay <Art after Philosophy=, where he deoned Conceptual Art, in which Meaning relied solely upon its author9s mind, expressed through tire-less repetition. Although this kind of reiteration could become means for an understanding, the fact that no efort was made (so to speak) in explaining one9s personal views, deprived the observer of the needed resources for its interpretation. Here lies a dilemma where Conceptual Art can be criticised, since, if an artist can hide behind the observer9s lack of understanding, he can propose something that, also for him, is devoid of meaning. This is why Kosuth9s work may consist not in the mate-rialization of Conceptual Art itself, but in the defence that at the foundation of an artists work, there must be strong ethical values, mani-fested precisely through a correlation between Sign, Signioer and Signioed, in which <One and Three Chairs=, and his subsequent work, repeatedly dwells, defending the expression of honesty that should guide Conceptual Art, in its own defence, but also of its authors and appreciators defence. |
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