Salvador, Brazil, 1930
Rio de Janeiro, Brazil, 1991
Hanger, ironing board, basket, wardrobe, syringe, thread and needle, vaccination card, perforated tickets and stamps are some of Letícia Parente’s objects of daily use. A teacher and a chemist, a researcher and an artist, Letícia deconstructs and reconstructs her daily life in an inaugural laboratory in Brazilian art. The artist generated a distinctive experimental repertoire by transiting between painting and printing, photography and audiovisual, video and installation, kinetic art and the most unusual objects with a scientific acuity. Far from the determinations of form and scientific rationality, Letícia searches the limits of art processes.
A Doctor in Chemistry, Letícia Parente taught at the Federal University of Ceará and Pontifical Catholic University of Rio de Janeiro. Parente was one of the pioneers of Brazilian video art and participated from 1975 to 1991 in some of the most important video art exhibitions in Brazil and in foreign countries. Her video Trademark (1975) has become an emblem of Brazilian video art. Between 1970 and 1991, she conceived paintings, drawings, objects, photographs, audiovisual works, postal art and photocopies, videos and installations in which the experimental and conceptual dimensions predominate. In 1973, Parente had her first solo exhibition, where she showed paintings and drawings at the Museum of Contemporary Art in Fortaleza, Ceará. With the installation Measures, in 1976, Parente took part in the first Art and Science exhibition in Brazil, which occurred at the Museum of Modern Art in Rio de Janeiro. In 1981, she participated in the 16th International Biannual of São Paulo, presenting a video and a postal artwork. Leticia Parente published several books, among them a work about the philosophy of science called Bachelard and Chemistry (1990).