<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2184-0180</journal-id>
<journal-title><![CDATA[Convergências - Revista de Investigação e Ensino das Artes]]></journal-title>
<abbrev-journal-title><![CDATA[Revista Convergências]]></abbrev-journal-title>
<issn>2184-0180</issn>
<publisher>
<publisher-name><![CDATA[Escola Superior de Artes AplicadasInstituto Politécnico Castelo Branco]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2184-01802023000100075</article-id>
<article-id pub-id-type="doi">10.53681/c1514225187514391s.31.142</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[Joseph Kosuth and ethics as a mediator between meaning and emptiness.]]></article-title>
<article-title xml:lang="pt"><![CDATA[Joseph Kosuth e a ética enquanto mediadora entre o significado e o vazio]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Jorge]]></surname>
<given-names><![CDATA[Pedro Fonseca]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Instituto Politécnico de Leiria Escola Superior de Artes e Design das Caldas da Rainha LIDA - Research Laboratory in Design and Arts]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Portugal</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>05</month>
<year>2023</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>05</month>
<year>2023</year>
</pub-date>
<volume>16</volume>
<numero>31</numero>
<fpage>75</fpage>
<lpage>84</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S2184-01802023000100075&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S2184-01802023000100075&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S2184-01802023000100075&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Joseph Kosuth&#8217;s &#8220;One and Three Chairs&#8221; is considered the materialization of his 1969 essay &#8220;Art after Philosophy&#8221;, where he defined Conceptual Art, in which Meaning relied solely upon its author&#8217;s mind, expressed through tireless repetition. Although this kind of reiteration could become means for an understanding, the fact that no effort was made (so to speak) in explaining one&#8217;s 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 observer&#8217;s lack of understanding, he can propose something that, also for him, is devoid of meaning. This is why Kosuth&#8217;s work may consist not in the materialization of Conceptual Art itself, but in the defence that at the foundation of an artist's work, there must be strong ethical values, manifested precisely through a correlation between Sign, Signifier and Signified, in which &#8220;One and Three Chairs&#8221;, 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&#8217; and appreciators&#8217; defence.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo &#8220;One and Three Chairs&#8221;, de Joseph Kosuth, é considerada como uma manifestação da sua teorização da Arte Conceptual, na qual defende que o seu significado reside apenas na mente do seu autor, expresso através da sua incansável repetição. Embora este tipo de reiteração possa consistir num meio para atingir o seu entendimento, o facto de não ser realizado um esforço para a sua comunicação (por assim dizer) priva o observador da possibilidade de a compreender. Aqui reside uma possível crítica à Arte Conceptual, em que um artista se pode esconder atrás da não necessidade de compressão por parte do observador para propor algo que, também para si, é destituído de significado. Talvez por isso a obra de Kosuth consista não na materialização da Arte Conceptual em si, mas na defesa da ideia de que na base de qualquer trabalho artístico devem estar valores éticos expressos através da correlação entre o Signo, o Significado e o Significante, algo que &#8220;One and Three Chairs&#8221; e o seu trabalho subsequente insistem, defendendo a expressão de uma honestidade que deve guiar a Arte Conceptual em sua própria defesa, mas também dos seus autores e apreciadores.]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[Joseph Kosuth]]></kwd>
<kwd lng="en"><![CDATA[Conceptual Art]]></kwd>
<kwd lng="en"><![CDATA[Sign]]></kwd>
<kwd lng="en"><![CDATA[Meaning]]></kwd>
<kwd lng="en"><![CDATA[Signifier]]></kwd>
<kwd lng="pt"><![CDATA[Joseph Kosuth]]></kwd>
<kwd lng="pt"><![CDATA[Arte Conceptual]]></kwd>
<kwd lng="pt"><![CDATA[Signo]]></kwd>
<kwd lng="pt"><![CDATA[Significado]]></kwd>
<kwd lng="pt"><![CDATA[Significante]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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