Dança em mudez: Mário Cesariny leitor de Maria Helena Vieira da Silva

The essay is dedicated to Mário Cesariny's critical exercise on Maria Helena Vieira da Silva paintings. We seek to think how the poet engages in this dialogue to elaborate a thought about the image and its temporalities. Articulating his texts to the work of authors such as Aby Warburg, Walter Benjamin and Georges Didi-Huberman, we seek to circumscribe Mário Cesariny's work in a theoretical scene that dedicates itself to the disarticulation of pre-established knowledge about the arts and their historical materiality. The siren's song and the texture's sewing unfold throughout the pages as images that move the reading that is conceived here.