→ Archaeology of everyday life: objects of use, André Parente and Katia Maciel
→ Hello, is this Letícia?, André Parente
→ The measure of the house is the body, Katia Maciel
→ The video art of Letícia Parente, Rogério Luz
→ The third way. Interview, Fernando Cochiaralle
→ An apparent world, Jorge La Ferla
→ I, the world of myself, Clarissa Diniz
→ Persistence of consciousness: marks of identity, Cristina Tejo
→ Letícia Parente: video art as a practice of divergence, Luiz Cláudio da Costa
→ Portrait of Letícia Parente, Fernando Cocchiaralle
→ Measurements, inside and out, Roberto Pontual
→ The body inscribed in the poetic creation of Letícia Parente, Kathleen Raelle de Paiva Silveira.
→ The three generations of Brazilian video, Arlindo Machado
→ Video art in Brazil: A historical perspective, Thamara Venâncio de Almeida
→ Letícia Parente’s first video: The wall of a building called Brazil, Katia Maciel
→ Letícia Parente: Embodying New Media Art Strategies in 1970s Brazil, Paulina Pardo Gaviria
→ Testimony on video art in Brazil, Cacilda Teixeira da Costa
→ "Zanini's MAC", video art and pioneers: 1974-1978, Carolina Amaral de Aguiar
→ Participation and interactivity in video installations, Roberto Moreira da S. Cruz
→ 8th International Vídeo Art Festival
→ The Subversion of Media Exhibition
→ The Flesh of the Image, Marisa Flórido Cesar
→ Distorted Paths: Seams, Resignifications and the Sensitivity that Renews Over Time, Daniela Castro
→ Origins, Records and Displacements in Marca Registrada, Manoel Silvestre Friques
→ The Body in the Foreground - An Analysis of the Video Marca Registrada by Letícia Parente, Regilene Aparecida Sarzi Ribeiro
→ Body, Video Art and the Role of Media Languages in the Construction of Meaning and Visuality in Visual Arts, Regilene Aparecida Sarzi Ribeiro
Archaeology of everyday life: objects of use
André Parente and Katia Maciel
A coat hanger, an ironing board, a basket, a cupboard, a syringe, thread and needle, a vaccination record, punch cards and a stamp are some of the objects used by Letícia Parente. A teacher and chemist, researcher and artist, Letícia breaks down and recomposes her daily life in an inaugural laboratory of Brazilian art.
Letícia lived in Salvador, Fortaleza and Rio de Janeiro and from there, she built a personal map that mixes several sensations of Brazil.
The artist generated a unique experimental repertoire by moving between painting and engraving, photography and audiovisual, video and installation, kinetic art and the most unusual objects, with scientific acuity. Far from the determinations of form and the rationality of science, Letícia seeks the limits of the processes of art: one example is the attempt to send herself, by mail, to the 16th São Paulo Biennial, an act of radicalization of mail art at that time.
The curatorship was based on research into the archives of Letícia Parente's works, texts and writings, designing a retrospective view of her work for the traveling exhibition, which spans each of the three cities in which she lived.
At Oi Futuro in Rio de Janeiro, the exhibition brings together a set of videos by the artist from Bahia and the audiovisual Armário de mim. In it, the house and the body are the two main axes of investigation with which Letícia works to indicate an archaeology of everyday life, and the cultural, political and social situation of a Brazil stitched together on the soles of the feet.
At the Museum of Modern Art in Salvador, in addition to the set of videos installed in the Solar do Unhão mansion, we chose to show, in the chapel, the installation De aflicti, in a new installation: the projection occupies the altar, while the photographs that make up the video are presented in the side arches.
At the Museum of Contemporary Art in Fortaleza, we gathered the works from a cross-section based on the series territory, house, women and body, inventoried by the artist, which mix audiovisual, photocopy and postal art, objects and installations.