The corpse possesses an exceptional power of evocation on which are based two practices that seem to be very much far from each other : contemplation of charnel, that uses human remains as visual support for meditation on death, and contemporary productions in visual arts that use human remains as artistic materials. These two practices question the line between thinking with death and thinking of death by developing strategies that have a double objective : to grasp the essence of death and the anguish that it generates. In this article, our objective is to shed light on the indicators that reveal the occupied places of the three moments of husserlian phenomenological reduction in these strategies : reflexive conversion, imaginary variation and transcendental épochè.