'Séparés, on est ensemble' Mallarme e o inefável devir fotográfico
Resumo
It is intended, through Stephane Mallarme's verse "Apart, we are together" ('The White Water Lily'), to think the metamorphosis of meaning drowned from Walker Evans' photos to the passengers of New-York subway and the concept of "contemporaneity". Firstly, we'll consider the relation between the photographed subjects and their greatly common and quotidian faces which are filled with potentialities and drives that subtly manifest themselves among the city noise, with the frame chosen by Evans' optics which turns them disproved of identity and uncanny, familiarly uncanny (in the Freudian sense of 'Unheimliche'), as they were spectrums of meaning. This moment will be then articulated with the agambenian notion of "contemporary", and where we'll underline photography (and the referred work of Evans, particularly speaking) as an incomplete object, as something that is not ontologically determinate but changeable, something to-be.
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Este trabalho está licenciado com uma Licença Creative Commons - Atribuição-NãoComercial 4.0 Internacional.