Nosso corpo estranho, seguido de Charlie Brown não frequenta museus de arte

Abstract

This thesis is part of creative writing research. In th e brief tradition of the works presented within this academic field in Brazil, the usual format of the thesis is in two parts: a fictional or poetic creation, and an essay. In my thesis it is possible to say that there are not two, but three parts, all of which have, as a starting point, the presence of the text and narrative and literary tools i n the exhibitions of visual arts, as well as the relationship between literature and art. Thus, we have the first part, the narrative Nosso corpo estranho, that tr ies to narrate exclusively with exhibition texts (interpretation labels and wall texts) the life, the work and the conflicts of the artist Jo ã o Pedro. This work, printed and presented in a book format, does not intend to be a novel or a novella, but a portable exhibition. The second part of this thesis, the essay Charlie Brown n ão frequenta museus de arte, proposes the idea of thinking about museums as a space to read and narrate, or, even, as a book or a literary genre or media. In this part, amongst s everal examples discussed, the narratives/exhibitions by Yuri Firmeza and Sophie Calle, Joan Fontcuberta, Damien Hirst and Max Aub are highlighted Finally, the third part, Anexo (ou o terceiro cap í tulo de uma tese que não quer terminar), is a record of an experience created and developed especially for the thesis defence. It s a brief a ttachment explaining the context and showing the photographic record of the exhibition Nosso corpo estranho, which opened at the public thesis defence (February 28, 2019) and remained open for public visitation with a schedule of talks, classes and debates until April 30, 2019. This exhibition turned the portable exhibition into a wall book (to parody an expression by Enrique Vila Matas), becomi ng an inverted mirror of the printed narrative and opening new possibilities of reading and thinking. This research, at first, was understood as a work between literature and the visual arts. However, it also made its way through museography, museum histor y and expography.