| Summary: | The present document intends to demonstrate the validity of the structure and strategy of the game in the artistic process, more than drawing a parallel between game and art. Starting by finding the differences, with regard to the antagonism of the seriousness of the game and the work, it unfolds to show that the game has always been and is always (and will be) present in art (and in life) – Chapter I, The game in art and the art in the game. As soon as we get that out of the way, we set out to explain ‘what game is’ and what constitutes it in its genesis – Chapter II, The polarity of the word game – highlighting its particularities and discovering its system while the echo and coincidence increasingly manifests itself – Chapter III, the peculiarity of the game – resulting in one of the points of greatest interest and attraction, an inherent duplicity that inevitably unites game and art – Chapter IV, The double play / the double game. Thus, we move towards that which is the main figure of this paper, the artist, - Chapter V, The Pawn , the artist=naught - the creative subject who moderates realities that aim at doubles. With a sharp approach to a third realm, one that seems to be out of our control, we conclude this investigation talking about chance and data, - Chapter VI, My niece is cold – supporting an idea that revolves around winning and losing. the moment when the game is over (and cyclically renewed). Can the game be considered as artistic process?
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