(São Paulo, SP / 1981) Regina Parra dedicates herself to painting, photography, and video. In her poetics, the artist seeks to reveal the devices of segregation and violence that permeate social relationships. The official narrative of the history of Brazil, and those who were (and still are) undervalued by it, become subjects of alterity for Regina. Her research is on the fissure and marks of humiliation inscribed on these subjects. The interest does not lie in specific places or contexts, but in situations of transit, in a kind of interval between the past and what is to come in space and/or time.
In the last few years, she held exhibitions at: Galeria Millan, São Paulo, Brazil (2016); Pivô, São Paulo, Brazil (2014); Galeria Effearte, Milan, Italy (2012); Centro Cultural São Paulo, Brazil (2011); Fundação Joaquim Nabuco, Recife, Brazil (2010). Select group shows include: Sights and Sounds, The Jewish Museum, New York, USA, Totemonumento, Galeria Leme, São Paulo, Brazil, Arquitetura e Paisagem Urbana, Museu Brasileiro da Escultura, São Paulo, Brazil (2016); Encruzilhada, Parque Lage, Rio de Janeiro, Brazil (2015); Cães sem Plumas, Museu de Arte Moderna Aloisio Magalhães, Recife, Brazil (2014); 17th Festival Internacional de Arte Contemporânea Sesc_Videobrasil, Sesc Belenzinho, São Paulo, Brazil (2011); A Carta da Jamaica, Oi Futuro, Rio de Janeiro, Brazil, À Sombra do Futuro, curated by Luiza Proença, Instituto Cervantes, São Paulo, Brazil, and Grupo 2000e8, Sesc Pinheiros, São Paulo, Brazil (2010).
In 2012, she was considered for the Prêmio de Videoarte of Fundação Joaquim Nabuco and nominated for the Emerging Artists Award, Cisneros Fontanals Art Foundation, Miami, USA. She was also awarded the Prêmio Ateliê Aberto Videobrasil (2011) and the Prêmio Destaque da Bolsa Iberê Camargo (2009).