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Gradiente rosa

Brasilia, at last: imagetic-fictional narratives as a utopia of a social reality

The general objective of this research is to analyze the exhibition “Brasília, finally” through the methodology of the curator as an anthropologist (Sansi, 2019), superimposed on the three layers of interweaving called conceptual-theoretical, imagery-fictional and museum devices.

This exhibition, carried out by the artist from Paraíba and a resident in Brasília, Christus Nóbrega, had as its raw material the stories told by the artist's mother about the stories of Brasília, at the time when she made some trips between the capital and Paraíba. 

The artist used these memories and photographs of the time, along with utopian ideas about how he would have liked the construction of Brasília to create imaginary-fictional narratives with the use of Artificial Intelligence (AI), which privileges stories of subaltern, excluded, and peripheral people. , such as the populations of the northeast, quilombolas, indigenous peoples, and LGBTQIAPN+.

Traditionally, art exhibitions are seen and discussed from the perspective of Art History, which focuses on a semiotic analysis (Barthes, 2012) or Iconological/Iconography (Panofsky, 1996). In this research, there is an interest in analyzing this exhibition from the perspective of Visual Anthropology and cultural studies.


Brasília, DF, Brazil

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