Luiza Prado Corrupted System
Luiza Jesus do Prado, know as Luiza Prado On codifications, the universal, pornographic lan-
is a Brazilian transdisciplinary artist.
Her research is about artistic intercession
in the cognitive and neural system. The
feminine, anti-colonization, syncretism,
indigenous ancestry, gender, politics and
psychosis - these subjects, among others,
are related to his work that is triggered
by his biography.
https://luizaprado.art
Luiza Prado’s video work “Corrupted Sys-
tem“ can be watched via:
https://href-zine.net/
luiza-prado
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guages and how to corrupt them
The relationship between public spheres and the feminine and
the marginalization of women’s sexual protagonism. Normali-
ty 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.
href zine: What really fascinated us when we saw the
videos of your work for the first time, was the way
that you developed critical engagements with those
videos by re-contextualising them. Instead of just
abstracting and deconstructing them, you reworked the
videos, each into new assamblages that carry a bundle
of very precise critiques. By data moshing and embed-
ding the pornographic videos into new contexts, you
outline the problematic connections, so that it can
be hardly overseen. For us this resonated pretty much
with what you mention in the subtitles of your proj-
ect. Do you think “landscaping” as form of embedding
can be a way to corrupt what you mentioned as codes of
universal communication? (Or what do you think could
be other ways of appropriating and corrupting codes
of universal communication?)
Luiza Prado: I analyze this in several ways, the material world
and the digital world and from that, create a synthesis. In this
project, I treated codification and pornographic language as a so-
cial theater, it is a language that can be used both in terms of its
initial representation or as a metaphor. Bringing “our material
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 world” a good example of appropriation and corruption of these
codes, would be great collective movements in favor of chang-
ing harmful habits to a group, a simple and clear example would
be to mention racism, in my opinion it is not natural for a child
born racist, but if she grows up in an extremely racist society, she
has a good chance of reproducing racism or becoming a racist
person, how to corrupt this vicious circle? Deconstruction, more
precisely decoding these universal languages that are diverse in
this construction and social structuring.
- 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, nation-
alism – behaviors are corrupted as they corrupted to strategically
create its power devices – oppression and morality towards fe-
male sexuality. -
You mention “discussion” here, as a tool to tran-
scend geographical speech; borders, nationalism on
the one hand, but oppression and morality towards fe-
male sexuality on the other hand. You point out that
the effects that the digital processes of abstraction
and transcending have on female sexuality, are quite
ambiguous. How do you think, can the resulting chal-
langes be approached? (In your work, we find, you use a
very interesting multi-directional method of applying
both: An increased level of abstraction with the data
moshing, but at the same time also an emphasized, more
deeply embedded version of the pornographic videos.)
Much is discussed about oppression when it is explicit, but view-
ing everyday issues can be more complex, especially for those
who do not suffer direct impacts from these oppressions. The
choice of pornography in this case was deliberate, is a language
that I particularly like to address in public performances for ex-
ample, because it causes a primitive reactivity that spells drives
obscure and often do not want to be shared, when I bring the
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image of pornography along with everyday issues of oppression
religion, advertising, politics and economics) I want to make it
explicit, as a whole it is a micro-macro analytical synthesis that
is contextualized in a satirized way. For example, when using
multidirectional sound it was intended to cause mental discom-
fort for the viewer without him realizing it, it is a way of pointing
out these invisible and structural strategies of domination, such
as the geographic, nationalist and even colonizing issue that is a
invisible frontier of the relation of power and interests and how
they use the feminine as an object during all construction and
maintenance in different ways.
- The body as a representation of product being constantly decon-
structed. It represents the abuses that are present in the advertis-
ing/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. -
Can we develop imaginations about representations of
female sexualities that extend beyond the female body
and sexuality as a product? Into which other realms
do you think female sexuality can shift? Or how would
female sexuality, or women’s sexual protagonism, how
you called it, look like in such an imagination?
One of the means can be precisely the transcendence and return
to the codified space and its adaptation to our bodies and not
the other way around, in this case, normalizing it - For me, the
apex of sexual protagonism is the pre-established “non-plastic”
language and not mainstream performative, it is the body that is a
body in itself, regardless of how the feminine is declared, for me
the apex of sexual protagonism is to be what you want to be with-
out needing to justify what you are, or want to be, despite being
what you wants to be, and not having to run into barriers and inti-
mate scripts also built in this sexual dilemma of standardization.
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