Cão mulato: cópia original

Abstract

When in 2003, the original copy of the Cão Mulato will be ended, we'll give him the clone of a viralata, originating from of six pure races of differents origins. The appearence of the work will be shown itself through the genetic clone, of those original mestizo copies, that will be frozen and supply the primordial matter of the dog. The Project Cão Mulato is shows my intention of using the techniques of screening DNA, study and determinate relationships between genomas and fenomas of a biotecnical product, starting from a Blood-Formula previously tested. This process places the Cão Mulato among the project-works for next millennium, precognizing a new visual reason. The Cão Mulato is not produced by nature, doesn't exist in our habitat, it's not performing any application and it derives its meaning from the reflection about the subjects that will come, in the field of discussion on the image in contemporary art. I determinate the use of an animal and of genetic manipulation for the need of this aknowledgement in the discussion of the original-copy and for the plurality of circulation of images in contemporary art. It appears like an inquiry regarding the survival of the patterns and its dissolution in the ‘atomization' of the statements in the Post-Modernism. The clones Cão Mulato are potentially unlike each other and they bring itselves the logic of simulation, where the model it's not used as original, the Real becomes alibi of the model and nothing distinguishes the operation of the imaginary from the operation of the Real. I seek to use the basic knowledge of genetics and of the animal improvement, not to improve some quality/function/taste, but to obtain products purely visual and goal the problematics about its condition and validity. The Cão Mulato, as if it was a readymade (inverted?), is an industrial product, " a sign fated to be manipulated ", biotecnical object, produced by industry, and not a self-expression vehicle or formal innovation. This readymade, it goes by the project (industrial) of the artist and its production is made in partnership with the institution. It's also proposed as a away out for the readymade, starting from the moment that brings in its conception the ‘contradiction' of the making. The structure of contamination that it's made trough the walk of mulatação, that is to say, of the miscigenation, it's its own structural becoming in permanent re-combine. It is a disarray, that revolves the norms, as an entropic-process, it reordains them with its own laws. For the intrinsic capacity to produce diversity, the mulatação it renders ironical, for opposition, to the notions of solid matter and clear reason. These, disappear in benefit of the indetermination. For this they produce a general disorientation and the displacement of the relationship between forms and conte characteristic of the miscigenation of the non representation of a start point, but of a reception zone where the Central Point reveals permanent oscillation, links with the language concept as a structure in movement and also to relate concept without classifiing-work. I work the creation with the notion of unclassified matter, for that reason, in progress. Making-it flow and the final form become impossible to be determinated. This dissertation constitute while theory partly fundamental of the work since this proposal centers its emphasis in the virtuality of proceding and not in the final product, this depending on the operativity of the idea that concentrates and spreads in the Base Central Cão Mulato. It appears a new technological order and as artists we can and should find a form of reacting to this, or not. Art can invent the mulatação while operation that replace an area of the Science in the sphere of Art and open a discussion in regard to classifications. A structure that dilutes the arguments of the puristic speech and it crosses the recent practice of the readymade and the tradition of the artist-artisan. I propose the Institution of a partnership, in the production of an object that negotiates its art condition in advance and brings social value in its negotiation as collective and political decision.