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More selected projects



The relationship between public spheres and the feminine and the marginalization of women's sexual protagonism. Normality of advertising speeches that still treats the woman figure as a product, the art market that petrifies us as muses, religions that treats us as its servants and constant abuses, from the imposition of standards that escapes the ethnic and cultural context of our origin, to jargons co-created by the media that corroborates to the blamefully in legal and social treaties, even us as victims. The codes used are of universal communication and the aim of this project is to appropriate and corrupt.

The body transits between public and private. It explores the method in porno-graphical digital bases in order to tension the current culture values, exposing it. Everything is discussed on the Internet, transcending the geographical speech; borders, nationalism - behaviors are corrupted as they corrupted to strategically create its power devices - oppression and morality towards female sexuality. 

The body as a representation of product being constantly deconstructed. Ir represents the abuses that are present in the advertising/systemic discursive tactics, consequentially in the stereotype of the social imagery. The body of women from underdeveloped countries - in this case an Ibero-American (the artist in question, latina) - used explicitly in a political-economic arena - that is, of how it's distributed inside an organization.

In the intervention aside, a Brazilian passport, edited with glitch (corrupted) that censors its origin, bar code and basic information. The only uncensored fields are gender (profile picture) and the surname "Jesus", given to Natives and African slaves in Brazil during the colonial period.


The no physicality - Performance in digital media​​​​

The no physicality as a social experiment seeks to connect already established speeches, like the post-colonialism and globalization. The no presence explores the time/subject/space as it feels exploited.

Side image: Voodoo - inflatable doll and pins.


Self Service on Tinder app - The weekly self-service menu, containing feijoada a Brasileira, Döner Kebab and Fast-food. The experiment resulted in choice of starters by the users and jokes, until the banishment by the app.

Below, the photo gallery with the food and some messages received from users until the ban by the app. 

*As it's an app with Geo-localization, it happened that one of the users got clearly irritated and looking for who would be the self-service at the place.



tinder luiza prado  6tinder luiza prado  6


The deconstruction of the Social Imagery - Streaming Performance in WebCam Model websites - The actions were made in sex live stream sites like Jasmin and I-Camz and then uploaded to sex video platforms like Redtube and Xvideos. The objects used in the performance are stereotypically sexist or food. The food has its focus on the work due to its place in moral developments. Food symbolizes the body in a bio-political arena - the consequences of exploitation and the association of women as the harvest/food.

Normalization of the trauma Glitch and Gif -  Glitch as performative documentation; the error, the repetition. The transfiguration in Gif format, reproducing an instant infinitely - The file is archived in the memory. This act is a desensitizing psychological mechanism.

The public and private sphere, the sexual marginalization and the normalization of other means of abuse - Datamoshing and Databending - The Datamoshing was made in two processes: First in porn videos, replacing the original audio for sounds of war, stock exchange and automobiles, together with audio stimulation which causes irritation, discomfort and anxiety. In these videos were also included religious subtitles, political speeches, and advertising writings. The second part was made with videos of tyrants and dictators, TV programs and material wealth. In these videos were included sounds from pornography together with the same audio stimulation mentioned above.

Special thanks to Guilherme Todorov for the help with the videos and Celio Barros for the audio stimulation.