Abstract

This article examines the antecedents and background of the antithesis between art and beauty. It also considers if this confrontation, typical in modern aesthetics, provides necessary conceptual categories to comprehend the situation of art in the communication era, characteristic of a generalised aesthetisation. Departing from the ideas posed by Yves Michaud, Mateu Cabot, Didi-Huberman and Mario Perniola, the author dismantles the false opposition between art and beauty; she proposes a strategy to avoid an antithetical position and exhorts the readers to recover a different experience from beauty.