With the emergence of the metropolis, the relationship between photography and the city is no longer direct. Those new urban configurations, extraordinarily extensive, complex and obscure, don’t allow to be easily portrayed. That which once was one of the first objects of photography started to escape it. The urban chaos, the undifferentiation of architecture and the visual pollution created by advertising present the same opaque, senseless view. Moreover, the metropolis’ limitless scale obstructs any unifying approach, any attempt to articulate its several places and atmospheres.
Perhaps the most instigating example of those paradoxical attempts of portraying what cannot be apprehended are Cássio Vasconcellos’s aerial photos: panoramics, but at the same time narrow, limited cuttings that once again bring us only a fragment of the metropolis that escapes us.