'Séparés, on est ensemble' Mallarme e o inefável devir fotográfico

José Filipe P. M. Silva


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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