A presente tese tem por objetivo apresentar a figura do humor objetivo na Estética de Hegel como o que instancia o processo de desaparecimento da aparência estética da arte. Para tanto, procede-se à construção de uma homologia formal com as outras denominadas figuras de fim da arte, a saber, o epigrama e a comédia, pertencentes respectivamente às formas de arte simbólica e clássica, tal como delineadas na reflexão estética de Hegel. A homologia pretende demarcar as similitudes e as diferenças das três figuras de fim que correspondem às três formas de arte apresentadas na Estética, com o propósito especial de estabelecer uma compreensão da tarefa e do significado estéticos da figura final humor objetivo. A partir dessa homologia, a relação entre humor, singularidade, conceito e aparência negativa é articulada para subsidiar a compreensão do caráter dissolutivo e negativo do humor e para fundamentar neste a aparência paradoxal da arte, através da qual a arte se dirige à ultrapassagem de si mesma, do ponto de vista de sua orientação figurativa, acedendo, com isso, ao ponto de vista de um relativismo conteudístico-formal que resulta num novo horizonte de possibilidades ficcionais / The present thesis aims to present the figure of objective humor in Hegel \'s Aesthetics as what instantiates the process of disappearance of the aesthetic appearance of art. Therefore, proceeding with the construction of a homological form with othersnamed \"end figures\" of art, known as the epigram and comedy, belonging respectively to the forms of symbolic and classical art, as outlined in the Hegel\'s aesthetic reflection. Homology seeks to demarcate the similarities and differences of the three \"end figures\" that correspond to the three forms of art presented in Aesthetics, with the special purpose of proposing a comprehension of the task and aesthetic meaning of the final figure \"objective humor\". From this homology, the relation between humor, singularity, concept and negative appearance is articulated to subsidize the understanding of the dissolutive and negative character of the humor and to substantiate in this the paradoxical appearance of art, through which art is directed to surpassing itself from the point of view of its figurative orientation, thereby acceding to the point of view of a formal-material relativism that results in a new horizon of fictional possibilities.

A presente tese tem por objetivo apresentar a figura do humor objetivo na Estética de Hegel como o que instancia o processo de desaparecimento da aparência estética da arte. Para tanto, procede-se à construção de uma homologia formal com as outras denominadas figuras de fim da arte, a saber, o epigrama e a comédia, pertencentes respectivamente às formas de arte simbólica e clássica, tal como delineadas na reflexão estética de Hegel. A homologia pretende demarcar as similitudes e as diferenças das três figuras de fim que correspondem às três formas de arte apresentadas na Estética, com o propósito especial de estabelecer uma compreensão da tarefa e do significado estéticos da figura final humor objetivo. A partir dessa homologia, a relação entre humor, singularidade, conceito e aparência negativa é articulada para subsidiar a compreensão do caráter dissolutivo e negativo do humor e para fundamentar neste a aparência paradoxal da arte, através da qual a arte se dirige à ultrapassagem de si mesma, do ponto de vista de sua orientação figurativa, acedendo, com isso, ao ponto de vista de um relativismo conteudístico-formal que resulta num novo horizonte de possibilidades ficcionais / The present thesis aims to present the figure of objective humor in Hegel \'s Aesthetics as what instantiates the process of disappearance of the aesthetic appearance of art. Therefore, proceeding with the construction of a homological form with othersnamed \"end figures\" of art, known as the epigram and comedy, belonging respectively to the forms of symbolic and classical art, as outlined in the Hegel\'s aesthetic reflection. Homology seeks to demarcate the similarities and differences of the three \"end figures\" that correspond to the three forms of art presented in Aesthetics, with the special purpose of proposing a comprehension of the task and aesthetic meaning of the final figure \"objective humor\". From this homology, the relation between humor, singularity, concept and negative appearance is articulated to subsidize the understanding of the dissolutive and negative character of the humor and to substantiate in this the paradoxical appearance of art, through which art is directed to surpassing itself from the point of view of its figurative orientation, thereby acceding to the point of view of a formal-material relativism that results in a new horizon of fictional possibilities.

(EN) Negation, in its many shapes and forms, is an integral part of the history of twentieth-century art. If we look at the world through the dialectical logic of the ever-changing struggle between theses and antitheses, art too comes out as a result of the clash of two inseparable counterparts. Creation is destruction, just like destruction is creation. This diploma thesis tries to explore the broad topic of negation by defining two main interests, which are the topics of destruction and dropping out of the art scene. It sees both cases as a way of revolting against the position of the artist and art in the consumer society of the West. The text handles the phenomenon of destruction in art through multiple examples of artistic movements and the social context after the Second World War and especially during the 1960s, when many artists tried to work with the potential of destruction in art. In the final part devoted to leaving the artistic milieu, the possibility of simultaneously being and not being part of the world of art and the (im)possible future of art in times of climate crisis is explored with the help of the example of Slovak post-practice artist Radim Labuda. Key words: negation in art, destruction art, anti-art, dematerialisation, 20th century art, contemporary art, political art,...