General proposal of the video work by Letícia Parente

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The artist intends to establish the coordinates of each archaeological situation, especially in relation to time and space.

The referential point of the space, in most cases, is the author herself as a passive, sometimes active element of the action.

Technology, represented by the ever-present resource, is most often a visible or invisible character. It can be an obstacle in the cuts, a bridge between the near and the far and denoting the distances, to overcome or expand them, between the different levels of the character's internal consciousness. In short, what is wanted in the video is the possibility of confronting experiences at the deepest level, at the level of the visceral, passing to that of the tactile body with those suffered in the regions surrounding the immediate external.

Time is now "extended" by the power of the machine, like the photographic increase of a detail. Technology leverages to the maximum, through all access routes and through all the voices that add the ability to penetrate the event.

One of the most important aspects is that the contradictions remain unresolved, but, before even highlighted in a subtle, sometimes repetitive, constant or fleeting way.

 

PREPARAÇÃO I

The artist arrives in the bathroom mirror and is going to prepare to leave. Glue a tape over one eye and draw an open eye over the tape with an eyebrow pencil. Do the same with the other eye. Then, cover the mouth with tape too, and draw a mouth over it with a lipstick. Straighten your hair. Take the bag and get out.

Year: 1975
Duration: 6 minutes
Format: ½-inch pack-holder
Camera: Jom Tob Azulay

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MARCA REGISTRADA

The author sews the sole of the foot with a needle threaded with black thread. The inscription “MADE IN BRASIL” borders.

The work intends to materialize the idea of ​​reification of the person, a characteristic of society in the present historical moment. The thingification implies belonging. However, belonging also transcends objectification by virtue of the deep and inextricable connection with the homeland. The registered trademark may resemble the “iron” of the animal's possession, but it also forms the basis of its structure and above which the person will always be constituted in his historicity: when standing on the soles of his feet.

Year: 1975
Duration: 9 minutes
Format: ½-inch pack-holder
Camera: Jom Tob Azulay

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IN

The artist enters her own empty closet and hangs herself through her clothes, over her shoulders, on a hanger. The cabinet door is closed, closing it.

Year: 1975
Duration: 3 minutes
Format: ½-inch pack-holder
Camera: Jom Tob Azulay

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PONTOS(missing)

A hand draws a quill pen on a cardboard. After drawing, the pen is cut and sewn with a needle and black thread on the index finger of the left hand. Then the pen is immersed in an inkwell and a point is marked on a sheet of paper.

Year: 1975
Duration: 6 minutes
Format: ½-inch pack-holder
Camera: André Parente

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PREPARAÇÃO II

4 injections are given by the person himself. After each application, words are written on an international health control form for leaving the country. The records are made in the column under the title VACCINES:
- cultural anti-colonialism
- anti-racism
- anti political mystification
- anti mystification of art

Year: 1976
Duration: 7 minutes
Format: ½-inch pack-holder
Camera: Ana Vitória Mussi

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CHAMADA(missing)

The artist enters an apartment, arrives in the living room where a sound recorder and a telephone are on a table. He records the question: “HELLO, IS IT LETICIA?”. Repeat the question many times. Stop recording. Back the tape. Start the recorder again and leave the question echoing. Call the phone to your own apartment and leave the phone close to the recorder. He leaves the apartment, goes down the stairs, arrives at the street, goes down the slope, enters his own building, goes up the stairs, arrives at the door of his apartment, opens the door with the key, listens to the phone ringing, takes it off the hook, hears his recorded voice asking, "HELLO, IS IT LETICIA?" He replies, "IT'S LETICIA ..."

The artist is called and identified by three access routes. An immediate, silent interior, silent from itself to itself. Invisible. Another through your body, calling itself and leading itself, by the legs crossing the physical space to your home and answering: “ALO, AM I SAME ...”

The third way takes place within the technological environment that records her voice, transmits it over the phone to her home, makes her wait until she arrives, calls her and to whom she replies: “IT IS LETICIA ...”

Year: 1978
Duration: 10 minutes
Format: ½-inch pack-holder
Camera: André Parente

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QUEM PISCOU PRIMEIRO

Two people (André and Angela Parente) sitting in front of a mirror looking at each other through it. Behind both a panel and in that panel a hole through which the lens of a video camera (the third eye) exits towards the mirror. People watch themselves to see who blinks first. At a certain moment the game is over ... But who blinked first?

Year: 1978
Duration: 4 minutes
Format: ½-inch pack-holder
Camera: Letícia Parente

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ESPECULAR

Two people, sitting on the floor, facing each other, are connected by a kind of double stethoscope so that the tubes that come out of each other's ears are connected in the middle, through a common tube.

The first states:
- I'm thinking you're listening to what I'm talking about.

The second responds:
- I am thinking that you are listening to what I am talking about what you thought I was listening to what you were talking about ...

The first continues:
- I am thinking that you are listening to what I am talking about than you are thinking that I was listening to what you were talking about I was thinking that you were listening to what I was talking about ...

And it continues like this until the fifth term.

Year: 1978
Duration: 4 minutes
Format: ½-inch pack-holder
Camera: Letícia Parente

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O HOMEM DO BRAÇO E O BRAÇO DO HOMEM (in co-authorship with André Parente)

You see the image of a neon advertisement of a man's body from the waist up, stretching and contracting one of the arms, in a symbolic gesture of display of strength. (It's the announcement of a fitness center.)

After a few minutes with this scene, a man appears naked, from the waist up, moving his arm in the same way. As the gesture is repeated, the man shows fatigue and does not sustain the rhythm encouraging the movement.

Year: 1978
Duration: 6 minutes
Format: ½-inch pack-holder
Camera: André Parente and Letícia Parente
Model / actor: André Parente

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ONDE(in co-authorship with André Parente, missing video)

Letícia left nothing written about the video WHERE. It is a game of images to infinity caused by the recording of recording the image of a TV set that transmits the very image of what is being recorded. Therefore, it constitutes a short circuit of the image (from the image (from the image (from the image) to infinity).

Year: 1978
Duration: 4 minutes
Format: ½-inch pack-holder
Camera: André Parente

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DE AFLICTI (ORA PRO NOBIS)

They appear successively in still images, gestures of hands and feet intertwined, contracted and contorted. Each image emerges from the dark and then dissolves in the dark. A voice says a litany: ORA PRO NOBIS. Rhythm is like closing and opening an eye (the eye of the camera), summoned by invocation.

Year: 1979
Duration: 10 minutes
Format: ½-inch pack-holder
Photos: André Parente
Camera: André Parente

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NORDESTE

A rustic leather suitcase is dragged by the author to the center of the visual field. The suitcase is opened and two live snakes can be seen on a white sheet. The artist seeks to remove the sheet without being hit by the snakes. When removing it, close the suitcase and hug with it. Background music: Caetano Veloso's song: on the day I left ... ending with the verse “and the suitcase smelled ...”

Year: 1981
Duration: 3 minutes
Format: Betamax, colored
Camera: Cacilda Teixeira da Costa

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TAREFA I

Letícia left no notes on this video. The artist lies down and folds the ironing board and someone irons her clothes (she is inside).

Year: 1982
Duration: 3 minutes
Format: Betamax, colored
Camera: Unknown

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VOLTA EM REDOR DO GLOBO (missing)

Inside a car arriving at an intersection is a journalist with the newspaper O Globo making spontaneous gestures (almost ritualistic in the presentation of “merchandise”), taking the newspaper, showing the title and making the circle demarcated by asphalt around the globe.

Year: 1981
Duration: 8 minutes
Format: Betamax, colored
Camera: Cacilda Teixeira da Costa

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CARIMBO

The artist is addressed on the face with the address of Biena1. A photo of your face faces the video recorded with the address and is again addressed to Biena1. In the biena1 the package is opened and the sender actress's face appears as the recipient, on the screen of another video, in the reception office of Biena1.

Year: 1981
Duration: 10 minutes
Format: VHS, color
Camera: Roberto Sandova1

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VERDE DESEJO / FOME DA CIDADE (gone)

A boy sees a man eating a coconut at a beach restaurant. You want the coconut. Get on a coconut tree and take it out. Open it with your hands. The coconut is empty. The boy's disappointment and the city's hunger.

Year: 1983
Duration: 3 minutes
Format: VHS
Camera: Unknown

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TELEFONE SEM FIO (co-authored with Ana Vitória Mussi, Anna Bella Geiger, Fernando Cocchiarale, Ivens Machado, Miriam Danowski, Paulo Herkenhoff, Sônia Andrade,)

The group of artists (authors of the video) plays on a cordless phone, making the message go from ear to ear and observing the deformation it undergoes.

Year: 1976
Running time: 13 minutes
Format: ½ reel holder
Camera: David Geiger