Since 2005 Regina Parra has been elaborating paintings, videos, performances and installations that examine oppression, insubordinationand, and resistance. Born in São Paulo, the artist has a Bachelor's degree and Master's degree in History of Art, but initially trained in Theater under the guidance of Antunes Filho.

In the field of Theater, she would work as assistant director until 2003, and the experience in this area has brought to her production a special view on the many vectors of meaning that can simultaneously cross compositions between human bodies, objects and spaces.

In 2008, Parra was part of a group that ended up being known as "2000e8", formed by eight São Paulo artists who had in common the desire to investigate the powers of painting in contemporary times. Since then, her research has increasingly focused on signaling the colonial heritage, finding, shifting and twisting active vestiges of patriarchal injustices, colonialism, and capitalism.

In archeology, it is often the fragments of objects (unfinished, damaged, discontinued) that, by offering more questions, lead us to more closely surround the culture in which they originated. Regina's works, in the same way, though essentially politicized, do not reach us with totalizing dogmas or pretentiously complete answers to the political dilemmas of the present. It is the gaps in her work that inspire us with important questions about our culture and above all about our activity in the face of the structures of power, control and oppression.

Selected by the first open edition of the 3M Exhibition, Regina Parra presents the new work "You must go on". A large red neon light set in the center of Largo da Batata, displaying an excerpt inspired by the novel "The Unspokable," written by the Irishman Samuel Beckett in the context of the post-Second World War in 1953.

The expression, reflected in the passers-by, may make us realize how fragile and resilient, vulnerable and powerful we are at the same time. The square is especially fertile for the works of Parra. The artist has been working for some years on issues related to the negotiation of the real from the perspective of non-hegemonic groups (such as immigrants, and women). The square, being this public space by definition, becomes an environment conducive to its reflections and reverberations. At a time when the narratives about Brazil will be fought with maximum intensity, in this traditional scenario for the political manifestations in SP, the work of Regina Parra can make us observe our insurgent impulses and our thresholds of resistance.

What makes us tolerate oppression? Where is the critical point of the insurgency? At what point can dissatisfaction transform the immobility of subservience into disobedient creations? How can faith in the insurgent movement lead to a transformation in power structures? How is it possible to build this new system, this new gift? You must go on. I can't go on. You must go on. I'll go on.