Letícia Parente
Directing
Biography
Letícia Parente (1930–1991) was a Brazilian visual artist who specialized in politically charged video art. Her surreal short films feature elements of body art and performance art. Much of her work is centered around protesting the use of mass torture by the military dictatorship in Brazil throughout the 1970s. Besides her work in activism and art, Parente also held a PhD in chemistry and never left her scientific career after discovering art.
Known For
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Quem Piscou Primeiro?
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Telefone Sem Fio
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Nordeste
Letícia lies on an ironing board in front of her maid who calmly irons her mistress, clothed, with the same attention to detail as someone who irons out a flat piece of clothing. The artist is calm like an empty suit; she doesn’t move, she doesn’t complain, she simply lies there. She is an ordinary piece of clothing, on any given day. There is no indifference, it is just another task accomplished. In the mistress maid relationship there is no tension, just silent complicity.
Tarefa I
The artist sows the word 'Brasil' into the sole of her foot.
Trademark
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De Aflicti
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O Homem do Braço e o Braço do Homem
The artist apply herself with 4 injections. After each, she writes names for her vaccines in a internacional health control file in order to exit the country.
Preparação II
Letícia Parente was a pioneer of video in Brazil, and In is one of her earliest video works. It depicts the artist entering a closet, suspending herself from a hanger, and closing the door. Parente used video as a political tool to protest the military dictatorship in Brazil, and to comment on the mass torture committed by the government. Much of her work concerned domestic space and its association with conventional roles to which women were expected to conform. Several videos by Parente transform daily household tasks into forms of resistance.
In
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Especular
In Preparação I (Preparation I) Letícia Parente prepares herself to go out. In front of a bathroom mirror, she places bandages over her mouth and eyes, draws eyes and a mouth over the bandages, fixes her hair, takes her bag and leaves the room. This masquerade becomes a political commentary about the female gaze, voice, modes of interaction, sociality and corporeality in Brazilian society during the 1970s.
Preparação I
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Onde
A woman close to things asks about the ways of existing. the body, the name, the house, the thickness in which the subject is inscribed and daily modeled.