Uma abordagem pode ser mínima e ao mesmo tempo inflacionária. Em inglês, a fronteira entre o destruir e o pisar, também o apenas estruturar (em algumas orelhas), é borrada no mic do fat—boy slim. High ou middle culture? 
Alessandro Zir has a transmedial profile. His formal education included a PhD in Interdisciplinary Studies (Dalhousie, Canada), a bachelor's degree in philosophy, another in social communication, and master studies in psychology. He studied also music, has worked as translator, and published some of his own experimental fictional texts, besides being for intermittent periods a researcher and university professor in Brazil (with a book, chapters and papers published mostly abroad in Canada, Chile, England, Poland, Portugal and USA, and other works presented at institutions such as the Max-Planck-Institut für Wissenschaftsgeschichte and the Norwegian University for Science and Technology). His flirting with the latter bespeaks his transit through science studies (the multiprized academically applauded Canadian genius Ian Hacking was the external examiner of his thesis). But that in an iconoclastic tradition going back to much controversial figures such as Paul Feyerabend. Alessandro was interested in the end points and paradoxes surfacing on the verge of rationality (whose philistine denial adds to both technocratic fanaticism and the rising coefficient of extinction). Hence his concern for languages, for irreducible differences (idiotisma), and his obstinate commitment to scribing (écriture), even at the expense of employability & respectful (?) scholarship (given the shameful of yore prevailing mediocrity mediocracia of universal academia), c'était la vie & flourishing mismatch. Hence the essential ambiguity precluding instrumentalisation (which arguably lies at the roots of contemporary political and intellectual demise). Wo aber Gefahr ist, wächst das Rettende auch has been his only ethical credible motto (Danto definitely lost praying in a Foreword to Beuys). To the point where one commutes subjective obsessive inklings into the most strict objective clues (estudo para uma paisagem de Parreiras, Warhol's skin). His more direct engagement with visual culture (in video and photography) aims exactly at this: to bring out the indicial (sometimes understood as iconic), ambiguous, fragmental character of signs and images, in a way to both underline and deconstruct the sensorial expressiveness of the "material" itself. Which for him is actually not material, but spectral. Which for him is the ultimately real. Which lends to his inquest a dimension bordering wizardry and witchcraft (Aleisteir Crowley habe Ich auch gelesen, most seriously, manao tupapau). 
Have you to be a Cartier-Bresson pour donner des lettres de noblesse à l'excentricité? To live a life that was une école de désobéissance? Yes. One is nonetheless haunted under many influences, all singular. Never willing to compromise, his trajectory has been bumpy. Wraithlike, obliterated (don't poke your nose into my papers, the smell of ink will poison you). So what. 
As much as cinema, photography, classically speaking, has more to do with processes such as manifesting, perhaps capturing and conjuring, that is, letting unusual forces appear and eventually registering them (or rather, their relics). It seems the opposite of staging. André Basin expatiate on that. Depth of field and the post-war ruins in Italy. What else is neorealism? But the surrealism of a Cartier-Bresson, what else is it? One should substitute for objects arrays. Automatic writing (everything in reality is a gesture, something you could sketch in an ideogram, Julia Kristeva would say). Absent-mindeadly, ominous. Avail yourself of the modern, the postmodern, and the medieval-archaic alike (we live past eschatology, yes Auschwitz, Hiroshima, terror, antiterror, annihilation & glacial strife). Writing about le sauteur de flaque, Pierre Assouline says the device scans (l'appareil scrute, always the same anagram) the rumor by digging in the rubbings. Que dire de cette petite affiche dans le fond? Everywhere il y a des affiches. Insignia of plasticity itself. Die plastische Kraft. The praying mantis. Television. After the 80s no one should be courteous to deciduous institutions (being you Italian or Brazilian). 
​While walking through museums, for instance, my intention has been to release the images from all the discursive networks that supposedly support them as officially sanctioned cultural artefacts (and if these networks were not official, my intention would be the same). Culture beyond culture. Under the plough. The images should hound us to the extent that we fail to name them, as reverie impressions or memory failures. The truth is in their auras, and more than ever if the aura is lost. When it is lost. Call your answering service (you are your own ronin)! 
The following projects can be thus roughly divided in walkings, that is, indoors and outdoors wander-pilgrimages. But it is the parergon itself that moves (from Dada to Fluxus, all relevant issues concern it), and sometimes it is ni dedans ni dehors. Otherwise, bricolages at home. The hinter outside land, Arcadia: unsichtbare Natur, sichtbare Geist. Warhol's charity to cheer up monsters. 
Blackboards pédagogiques & others: 
- Wie man dem toten Hasen die Bilder erklärt (série) (2019); 
- Montages, invitations, alloys (2015-2019);
A/Z flaneur, some indoors walkings (les hiérarchives): 
- Orsay: en profane I (2018); 
- Orsay: en profane II (2018); 
- Orsay: en profane III (2018); 
- Marmottan Monet: en profane (2018); 
- Pick a Soul (ass you wish) (2018); 
- Pompidou: the inframince is sensual (2018); 
- Pompidou: la déchirure du cercle (2018); 
- Pompidou: warum sind eure so klein? (2018); 
- L'oeuvre &/ou le vrai oeil — parerga I (2018);
- L'oeuvre &/ou le vrai oeil — parerga II (2018);
- L'oeuvre &/ou le vrai oeil — le nez I (2018);
- L'oeuvre &/ou le vrai oeil — le nez II (2018);
- Cluny: The Praying Mantis (2018);
- Paseo con un sibarita ingles (2017); 
- O Anjo na Parede: guardian images (2015); 
- Muzeum Narodowe (Warsaw) (2015);
- Muzeum Lubelskie (2015); 
- Paseo con Santo Ovidio (2015); 
- Entre sueños y pesadillas (Figari) (2015); 
- Een wandeling door het Museum Catharijneconvent I (2014);
- Een wandeling door het Museum Catharijneconvent II (2014);
- Een wandeling door het Centraal Museum (Utrecht) (2014);  
- Een wandeling door het Rijksmuseum (2014); 
- Een wandeling door het Stedelijk Museum (2014); 
​- Paseo por el MNBA (Buenos Aires) (2014); 
- Paseo por el MALBA (2014); 
- Paseo por el Museo Fernández Blanco (2014);
A/Z flaneur, some open-air walkings: 
- À la recherce du chat de Cheshire (apparition  et mélange) (2018); 
- Cathedrale engloutie (avec tous ses oiseaux) (2016-2018);
- Die priesterliche Dramatisierung von Herrn Satan (2017);
- Warsaw (street art, facades, workers, children) (2015);
- Lublin (A Paz del Tornillo) (2015);
- Stark Canals & Alleys (mi Holanda oscura) (2014); 
- Urban Graffiti (Buenos Aires & Córdoba) (2014-2017); 
- Urban Graffiti (Montevideo & Colonia del Sacramento) (2015); 
- Urban Graffiti (Amsterdam & Utrecth) (2014);
- Urban Graffit (Lisbon I) (2011); 
- Urban Graffiti (Lisbon II) (2011); 
​- Urban Graffiti (Lisbon & Setúbal) (2011); 
- Ruínas & Fachadas (Lisbon I) (2011);
- Ruínas & Fachadas (Lisbon II) (2011);  
- Ruínas & Fachadas (Lisbon III) (2011); 
- Ruínas & Fachadas (Lisbon IV) (2011); 
Ni dedans ni dehors: 
- Le mal d'archive: Paris & ses églises I (2018);
​- Le mal d'archive: Paris & ses églises II (2018); 
- Western Indias (Umbral &/ou l’échappé du sens) (2017); 
- Western Indias (Convocação do Mito: O Hierofante) (2017); 
- Western Indias (Curupira &/ou doubled demon) (2017); 
- Córdoba: objetos y templos (2017);
- Een kat, voorwerpen, pleinen en tempels (2014);
- Buenos Aires: objetos y templos (2014);
- Lisboa, Setúbal: igrejas & mosteiros (2011);
A/Z at home: 
- Southern Lapwing (Memoire sans souvenirs: a associação dos lugares) (2015, 2017);
- Southern Lapwing (Paisagem) (2012, 2015); 
- Sharp Digital SP &/or Self-Portrait as Vulcan (2019);