The present thesis investigates what the italian philosopher Giorgio Agamben called the semiology from the point of view of the Sphinx in his book Stanzas: word and phantasm in western culture. In the chapter The perverse image: the semiology from the Sphyns s point of view , the philosopher was proposing a signification model that was not grounded on the signified, but on the barrier resisting signification that, for him, was the indelible mark of an objection to the imposition of meaning. For him, Oedipus would be the paradigm of the western culture, in which it was forged what Agamben called the metaphysics of the signified, given that the tragic protagonist solves the Sphinx s enigma. Therefore, Agamben rethinks the status of language as the adequacy of the signifier to the signified to build a perspective centered on the dissonance implied in the sign and on the assumption of the enigmatic as a means of language operation. In view of Agamben s affirmation, that in aesthetics this formulation of the sign s discord exemplarily appears, I develop in this research a study on the semiology from the point of view of the Sphinx and its relations with contemporary art. To accomplish this goal, in the first chapter I make a diagnosis on the way that the thinking on language becomes preponderant to twentieth century art since the linguistic turn and the advent of Linguistics and Psychoanalysis; in the second chapter, I investigate the concept of demonic, according to Agamben s affirmation that the sign is formed by the demonic distortion of the bond that unites each signifier to its own signified and, lastly, I approach the theme of unfamiliarity (uncanny) in the relationship between art and language, with the starting point being the essay Das Umheimliche, published by Freud in 1919, one of the influences to Agamben for thinking on his notion of Sphinx s semiology.