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| Parente Leticia Born in 1930 in Salvador, Brazil and died in 1991 in Rio de Janeiro. She lived and worked in Fortaleza and Rio de Janeiro. LETÍCIA PARENTE BY LETÍCIA PARENTE The main characteristic of my work is that it is not attached to any particular characteristic. Its dynamics is more spread out than linear. I allow it to follow a process, my process of discovery and view. Its evident roots of unity are inside me and result from the interaction of my reality with the social and historical reality of the time and moment in which I live. It is more interrogative than descriptive. It serves an intentional purpose as strictly as I can as well as the most coherent reading I can deliver -which does not mean that it fails to achieve a broader picture- coupled with the work interaction with those who enjoy it. The audience participation is an aspect that is expected and taken into account. There is a variation of media. There is a selection of media. There is an addition and a combination of media. Preferably unconventional media. Criticism against the traditional form of art, provided that is not taken as an object of consumption, in the sense that it is not intended for sale, though it may happen. It is open to various levels of interpretation and audience, without a concern for selection or dilution, and it frequently becomes a shocking event within “artistic orthodoxies”, since it does not exclude or impose any kind of person. Thus, this adds a new critical aspect in relation to the art system and demystifies it. In some works, the method of approach may be enriched with a perspective or view that is used in scientific subjects. It is the destruction of another taboo. The rationality it requires, however, does not intend to put the logic on a pedestal – it also becomes subject to criticism and denunciation. The verification of the human being without proselytism or dogmatization may well be the most constant and present concern. GENERAL PROPOSAL OF THE VIDEO WORK The artist intends to set the coordinates mainly regarding time and space. The space reference point is frequently the author herself as an element that is sometimes passive and sometimes active in the action. The technology, represented by the resource that is always present, is most of the time a visible or an invisible character. It may be an obstacle in the cuts, a bridge that connects the close to the far side and something that denotes the distance -so as to cross it or increase it- among the various levels of the character’s inner consciousness. In brief, the video is expected to provide the possibility of confronting the experience at the deepest level, from the visceral to the tactile, bodily level, with those surrounding areas from the immediate exterior. Time is now “enlarged” by the machine power, like a photographic enlargement of a detail. The technology maximizes everything to the fullest possible extent, through all access paths and all voices that provide the ability to penetrate the occurrence. One of the most important aspects is that contradictions remain unsolved; they are rather emphasized, whether subtly or repetitively, constantly or fugaciously. PREPARAÇÃO I/Preparation I The artist stands in front of a bathroom mirror and gets ready to go out. She sticks an adhesive plaster to one of her eyes and draws an open eye with an eyebrow pencil on it. She does the same to the other eye. Then, she also covers her mouth with a plaster and draws a mouth with a lipstick on it. She arranges her hair. She takes her purse and leaves. MARCA REGISTRADA/Trademark In a crude manner, derived old traditional children’s games, the author sews on the sole of her own foot with black thread the words MADE IN BRASIL. At a times of political dependency on US foreign policies, which materialized in a long standing US backed dictatorship, the words are spelled in English but remain centrally Brazilian by the spelling of the country’s name with an ‘s’ thus becoming an act of resistance. DE AFLICTI (ORA PRO NOBIS) Gestures of entwined, contracted and twisted hands and feet are successively shown in fixed images. Each image arises from the dark and then dissolves in the dark. A voice prays a litany: ORA PRO NOBIS. The rhythm is like closing and opening an eye (the camera eye), called by the invoking. TAREFA I/Task I In a series of domestic actions performed in the intimacy of the home involving making up, ironing or storing in cupboards, the artist performs tasks that are associated with the role of women in the family as guardians and keepers of the household, but she transgresses them by employing a tragicomic detour of meaning. In Task I, the artist lies down on an ironing board and someone irons her clothes as she wears them. The action, hundred times repeated in an unconscious manner in every day life, becomes now a theatre where social and gender role play subvert the notions of the real and shed light on absurdity, submission and servitude.  Download CV |  Preperacao/Preparation Marca Registrada/Trade Mark, 1975 De Aflictibus-ora pro nobis, 1979 Tarefa I/Task I, 1982 |
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