Abstract:
This paper proposes a reading of the photobook Noturnos São Paulo (2002), by Cassio Vasconcellos, articulating considerations about the imagetic consistency of urban photographs that form it and issues associated to the memory of the device itself and of the book/object. The critical work is supported by authors such as Didi-Huberman, Derrida, Benjamin and Merleau-Ponty; it seeks to reflect upon the transtemporal links, the phantoms that the photographic image encompasses, thus reaching its own poetic core.
Keywords:
contemporary photography; city; poetics; Cássio Vasconcellos
