Desconstruçao of the quadrants temporality and image inside of metropoles. While Latin enteriores in them broke for the city imageticos light in search of politicas historias, loves, denounce and resitencia to the tyrannous governments of its paises with much coffee in way the nostalgica atmosphere exilio it them years made bitter for the Latin American dictatorship. In them we saimos for same Paris de Julio Cortazar, Marios Vargas Llosa, Eduardo Galeano, Carlos Fuentes and Gabriel Gacia Marquez in way to another politico social context americas them, that in turn, in it discloses a problematica in such a way to them dificil how much has some decadas either in the social ambito and not less what politca is mentioned. It was as soon as we leave in November of 2006 for Paris. In one room of hotel of the square la nacion, after one day entire walking for more than 12 hours for the streets and bollevard of the city that reflects the image of the Gloria and conhecimeto we arrive exastos at the dormitorio. Recepcionados for the Blanca, woman of half age that occupied loby of the hotel with a yellow smile not in the direction blase of expressao, but yellow of the color, color of teeth. The two Bons said, as soon as we enter, to soir fixed looking at in the eyes the measure that pronounced one for each. We go up. After sensaçao of descanço that the bath provided and as we do not entendiamos almost nothing of limited programaçao of the TV I decided to catch again schemes it fotografica and to play with formaçao of situaçoes/images. It was with my friend Eloir Santos and, for consequite, the target or model of experimentaçoes finished being it. I begin it resisted a little because it was cançado, muttered sufficiently. But with one pouo of persistencia finished for accepting when it said that we fariamos Art. Magica word to the ears sensives and intent eyes of that the entire day, as well as I, metropole was enraptured with the exuberancia of one. The first photo occurred with lying it. As it was seeing it only of profile, of the right side, I asked for so that it placed mao left in the way mouth that I could not see extensao of the arm. Made this, the image was there in my front formed for the cranio and for mao that it was projected with a force that sensaçao that it caused me was of a person being engolida e, as in one I finish gesture, asked for to aid atraves of that still resitia to the world not chewed. It was the fight enters the sobrevivencia of the pure image and the deglutinador, the antropofagico of itself exactly. Surreal Uma expressao. Second to happen it it did not need nothing more, was enough to look at for the result in the screen of lcd of camera. Thus, quickly I was it ties the bathroom and it caught a great dental wire piece and skirted the face of the Eloir in such a way that small the dental wire formed divisoes in its face, nothing with pain or suffering, everything was being made there after one day entire of visits the bonanza places, incriveis foods and much wine. The resulted image was stronger than the first one. It had a sequencia of tres or four with same situaçao of the face. E and this that we decide to initiate the great project of vinculaçao for metropoles. But ahead I will explicitarei better such project. Now I am, still, in the process of criaçao that it serves as sustentaçao for what we are questioning. Already with the second bred image they had excessively appeared of catarze that situaçao had proportionate. In some hours we prodizimos sets of ten of photos. No longer Brazil, the time distanciou criaçao and resells those images that long ago are bred as one especie of convulçao for more not having space for as much that we saw and we feel in the rationalizing city. They had remained questions. Questions that the measure that the days passed and more pesoas, our friends, knew those that engraçasdos moments of one room of hotel of Paris proporciaram inside now caused, here in Brazil, situaçoes constrangedoras, definiçoes and questions that not even passed for our head, such as: “voces estao questioning religiao catolica”, “the Eloir if still hurt making this” or those that had not obtained to recognize not even the model and had said that the image represents torture simply. I abstain from any deifiniçao plausivel or for the simple fact not to have consciencia of the process of criaçao. Childbirth of this I begin to apply theory and to arrive the premise that we have in mind. Remotarei me it school of Frankfurt with discussao regarding the traditional theory and theory criticizes using, as cientifico endorsement, the Horkheimer thinker. The thought cannot be understood distanciado of the praxis historica that produced it. It is not obtained to seperar organizaçao social of the human thought. All thought has a espacialidade and temporality, mentions to the thinker Max Horkheimer in “traditional Theory and theory criticizes”, 1937 text. Nao fariei explanaçao teorica cientifica regarding the workmanship of the sociologo alemao and yes I will use as starting point and demostraçao of what in it makes to suffer them to the pos-contemporaneidade with its impediments and contradiçoes, mainly contradiçoes. Start for displaying contradiçao that the image caused. Seen Ja what some manisfestaram regarding what they turn the image nao and cited result of nenhma of those proposiçoes. Nao was thought with intention to dislike and nao was, much less, idealized. In one it analyzes of the workmanship in its finalizaçao and the context of criaçao nao ha nothing that comes to justify expresao that the face in presents them, but exists in indirect lines noçao of manipulagem. We manipulate. Manipulasmos the total image inconsequentemente unprovided of propositos, searching one only linguem visual expressiva and is of padroes without adjectives. The result was this that voces estao seeing for the streets. Contradiçao this, therefore, in the meaning a time that the significant nothing condiz with observaçoes warm or nao that I come receiving regarding the image. This and questao fudamental. Questao was this that in it made them to stop pra reflecting regarding the image. Van gogh for example painted with glad colors pretty fields, but she cut the propria ear at an insanity moment. Significant nao condiz many times with the meaning if thus to observe from the premise of that “the thought cannot be understood distanciado of the praxis historica that produced it”, as to explain as much beauty in colors of pictures made for a tormented, sad and solitario man? Or still, when we bring this questao to our days we every day see propaganda in showing the atravez of images that do not condizem with situaçao real. The classico example is the propagandas of imobiliarios empreedimentos that bring atraves of the condominios much security, peace and quality of life. Lie. The attempt of vender the meaning molded what our society has very left to construct and a falacia. All in we know them that it does not exist, for example, security in place some and exactly thus publicitarios of traditional order they continue to vender a significant enganoso. The not condiz image with the reality. This makes me to remember another propaganda, duly modified: “the image not and nothing. Headquarters and everything. It obeys its headquarters, drinks agua”. Explicitado questao of the image childbirth now for another ideia that we saw to be destruida with the praxis. One is about questao of condiçao of locality. We made these photos being Brazilian, we house the images in a Japanese site and now, as part of the project in the attempt of demostraçao that the espacialidade and a resultant, when treated in the one order metropole, dispensavel we glue in walls spread for the world: São Paulo, Rio De Janeiro, Recife, London, Paris, Barcelona and Amsterdam. If all thought has origin practises, historica, social that condiz with the espacialidade and time, according to Horkheimer. Our thought followed of criaçao of some imgens in distinct territorio to the one of birth and culturizaçao comes to show opposes it. We create one frankenstein apatrida qua to it I oppose of the personage of Mary Shelley nao comes stops in destroying them and yes to prove plus one contradiçao of the pos-contemporaneidade.