El arte como prótesis de la vida

Abstract

From the instalation Dados, by Marcel Duchamp, this article examines the statute of art and contemporary artist. Duchamp’s proposal, about thinking a “vacuum of the real” and the subtitle of his work (Ovaire tout la nuit) give cause to a reflection about the origin’s notion, that crosses Tarsila do Amaral’s painting O ovo, and the Maria Martins’ sculptures Iara and L’Impossible, in order to show how the sense depends no more on a stable form, but on a mould or a cast, not symbolical or iconical. On the same line, Clarice Lispector`s writing –with her reflection about the egg and the hen– appears also as a realism refutation.