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by Lyz Parayzo
December 1, 2017 – December 31, 2017

Every month Marginalia invites an artist, curator or project to provide a series of images that will serve as the background of Terremoto, in relation to their practice and current interests. At the end of each month, the identity of our guest is revealed and the whole series of images is unveiled.


Among the images I picked for this edition of the Marginalia section, I made a curatorial work with documentation from two presentations of my performance FATO-INDUMENTO, one of them in the School of Visual Arts of Parque Lage and one more in Tato Gallery. The action is carried out from a male body, which is wrapped little by little with strips of paper and paste that form a dress. This way, the idea of man is questioned as a “real” construction or a cultural performance, a reflection from Butler on body and gender. The action was created in collaboration with the artist Augusto Braz in 2014 within the University of the State of Rio de Janeiro, as part of a performance lab called Ateliê da Performance. It was my first authoral work as an artist where each sign was built during the process of its ten performances throughout Rio de Janeiro and São Paulo.

Continuing with the reflection on gender and body, the second work chosen was the action Political Manicure, where the traveling Salón Parayzo is staged and the manicurist-artist-trans does your nails in public with variations of pink. Besides the documentation of the salon and the frame of its stage in the SESCs Birigui, Santos and Araraquara, there are also some drawings/sketches of the scenography.

Other strand of my work are installations I build to show audiovisual pieces with post-pornographic content. In this sense, I selected a design of the installation project Papai is resting, a documentation of its completed staging and a frame of the video set in this piece, where I appear with a Barbie panties and a pubic wax “asa delta” style.

With the silver the European didn’t manage to take from Brasil, I made my series of War Jewels, a set of jewels/prostheses/armours for war bodies, those bodies that have a perfomativity beyond a heteronormative binary logic. I consider these metallic objects extensions of my body. The first two, the UnhaNavalha #1 and #2 were created from the desire for a luxury revenge. The PopCreto Concertina necklace is a conversation with Brazilian concrete art, at which time the work with formal abstraction in the country begins, specifically with the moment in which Waldemar Cordeiro abandons the rigor of the rupture manifesto and adopts colors beyond the primary and uses the hands to paint. I also shared a personal ring called Bixa, which is a replica of the bug sculpture by Brazilian neoconcrete artist Lygia Clarck, artist who helps me build my work with its relational aesthetic.

The relationship with Brazilian art is not exclusive with the decade of the 60s. With the documentation of a performance made in collaboration with the artist Victor Arruda I make a relationship between groups of different generations and different work platforms, Arruda being one of the most important figures of the 80s generation. Two-dimensionality takes shape, literally, and is mixed with performance actions of 2010 from the live re-reading of an Arruda painting from the 90s. At another time, a re-reading of the Carioca police uniform to say that the fagot body is present, a documentation of the work Bixa Present exposed in the House-France Brazil closes the series by Lyz Parayzo.

The ass artist of the Latin American world has also been censored by Instagram for this project. I love playing with precariousness, I think of it as a violent and pink beauty.


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