-
ANALIVIA CORDEIRO
ARTIFINATURAL Body
curator
FRANCK JAMES MARLOT
18.05 - 20.07.24
-
Presenting Analivia Cordeiro's work for the first time at Galerie Luciana Brito is a real challenge. Her protean work spans several artistic fields, including dance, performance, computer art, ethnography and architecture, while employing different media such as video, photography, drawing, painting and sculpture. Despite this diversity, a common denominator unites these practices: the movement of the body as the expression of an artistic and plastic language.
Analivia Cordeiro began her artistic journey with dance, and quickly seized the opportunities offered by computer technology to assist and enrich her choreographic score. This exploration evolved over time, leading the artist to establish a fruitful dialogue between her dance practice and new technologies, positioning her as one of the pioneers of video-dance associated with computer art.
The need to preserve movement sequences and choreographic work prompted Analivia to develop notation and archiving methods inspired by the work of Rudolf von Laban, among others. New technologies then changed the conception of tedious, repetitive work and opened up new plastic possibilities. The computer process in turn became a source of creative inspiration for the artist. Illustrating this evolution, the interactive installation MUTATIO, 2019-2024 and the video dance piece 0°= 45°,1974, set 50 years apart, open and close the exhibition.
It offers a documented dive into the world of performance, highlighting the first notations with 256 kb of memory, 5 Mb of storage working on computer Digital PDP 11 of the computer center of the State University of Campinas. This piece transforms the performance into a living sculpture, reinforcing the interaction between the dancing subject and its environment.
The piece, MUTATIO, 2019-2024, welcomes visitors and actively invites them to participate, by viewing in real time a three-dimensional capture of their own movements through colored filters. This technology, one of the first motion capture systems created in 1983 and developed in collaboration with the computer scientist Nilton Lobo, is the result of computer modeling of the dancer's body, followed by the digitization of movements (Nota-Anna).
The combined brass and polymer sculptures offer three-dimensional portraits in motion, captured and analyzed, illustrating the fusion of technology and artistic expression. A series of paintings, Dancing on the Paper series, 2017-2024 in which the artist's body explores the paper in the same way that this same body invested the performance space are presented on the wall. These paintings are relayed by videos that transcribe the elaboration of the process with rhythmic sounds.
The body is a mechanical tool that expresses the notations generated by programming. Through its singularity, this same dancer's body participates in a machinic artifice always respecting deeply its human nature from which a work of art emerges. Analivia Cordeiro conceives of a post-human world in which man remains the key and the stake in the re-formation of the world in the making as it evolves with new media.
Franck James Marlot -
A N A L I V I A C O R D E I R O
"0°‹—›45° versão I", 1974vídeo monocanal PAL ou NTSC, formato 4:3 | single channel video PAL or NTSC, 4:3 aspect radio
duração: 3’23” | duration: 3’23” -
-
Analivia Cordeiro | Artifinatural Body
Analivia Cordeiro and Franck James Marlot
14.05.24
Filming and Editing: Matheus Marchetti and João Paulo Belentani.
-
-
-
-
-
-
-
-
Vista da exposição "Analivia Cordeiro. From Body to Code" no ZKM | Center for Art and Media Karlsruhe, 2023.
© Foto: Felix Grünschloß -
From Choreography to Code
Peter WeibelFULL TEXT
The body is no longer the dominant focus; this decentered dance form has expanded to include further expressive possibilities; for example, from the body to the code. With this expansion, dance has freed itself from its historical shackles of being purely body art and has pushed forward into new dimensions of anthropology. A great and innovative pioneer of this extension of dance into media art and anthropology is Analivia Cordeiro. For the artist, the role of notation is significant. Her work on choreographic notation is comparable to G. W. F. Hegel’s work on the Concept. It forces the choreographer to make rational decisions that go far beyond pure expressiveness.
...If her performances nevertheless possess immensely expressive value, then it is because she teaches us a secret code, which consists of the fact that the more complex the geometry (i.e., the movements, positions of the body in space), the greater and more intense the expressiveness.
...Analivia Cordeiro’s abstract notations are an exact demonstration of the path from expressive body choreography to the coded movement of the body in space and time. In this, she has even in a way anticipated the motion capture system.
...Only today, when the extension of dance into the media has reached the mainstream, do we understand the artistic achievement of Analivia Cordeiro—with what tremendous imagination and mathematical rigor she has conquered and shaped terra incognita.
(Weibel, Peter; From Choreography to Code; em From Body to Code, ZKM e Verlag Himer; Alemanha, 2023)
-
-
A N A L I V I A C O R D E I R O"Nota-Anna Bicleta do Pelé + Arquitetura do Movimento", 1999-2014
vídeo 4:3, cor, com som | video 4:3, color, sound
duração: 1'47'' | duration: 1'47'' -
Analivia Cordeiro
1954, São Paulo, Brazil. Lives and works in São Paulo, BrazilAnalivia Cordeiro develops her artistic research in a hybrid and multidisciplinary way, with a particular interest in the study of corporal language, focused on various aspects of expression and consciousness, including their relationship with digital media. Her experience with dance began in her childhood and has, ever since, been the central guiding point of her career in the visual arts. A pioneer in the so-called computer dance field and multimedia performance, the artist began to use the computer as a tool for understanding artistic processes as early as 1973, when she became Brazil’s first video artist with the work M3X3, which already foresaw the representativity of information technology in the everyday life of society. In 1981, she created the Nota-Anna software, an application for transcribing the body’s motion, resulting in scientific analyses for the tracing of corporal movements. Analivia’s investigation works with the organic/artificial duality in body language and, in parallel, the control/freedom duality in its relationship with technology, considering corporal language as a semantic filter for reality, an intermediary for dialogue with the public. This has led to her innovative productions in both art and technology, which kindle multisensorial experiences and also work with health, affectivity and self-knowledge , dialoguing with technology, art, the body and the mind.Analivia Cordeiro holds a BA in architecture from the Faculdade de Arquitetura e Urbanismo of USP (1976, São Paulo), an MA in multimedia from Unicamp (1996, Campinas-SP) and a PhD in communication and semiotics from PUC (2004, São Paulo-SP); she has furthermore done postdoctoral work for the Universidade Federal do Rio de Janeiro (UFRJ, 2010, Rio de Janeiro) and for the Universidade de São Paulo (USP, 2018, São Paulo). Between 1977 and 1979 she studied contemporary dance and choreography at Merce Cunningham Dance Studio in New York and at Alwin Nikolais Studio. Recently, the artist featured her first major solo international exhibition, at the ZKM - Museum of Contemporary Art (2023, Germany) and Centro Atlántico de Arte Moderno, Las Palmas (2023, Spain), besides participating in a show at LACMA (2023, USA). The shows and events in which she has participated notably include the 1973 International Festival of Edinburgh; the 12th Bienal de São Paulo (1974, São Paulo, Brazil); LatinAmerica 74, at Institute of Contemporary Arts (1974, London, GB); International Conference Computer & Humanities/2, at the University of Southern California (1976, Los Angeles, USA); Art of Space Era, at Von Braun Civic Center of Huntsville Museum of Art, 1978; Brasil Século XX, Bienal de São Paulo (1984, Brazil); Arte e Tecnologia, at Itaú Cultural (1996, São Paulo, Brazil); the 27th Annual Dance on Camera Festival (1998, New York, USA); SIGGRAPH (2008, USA), B3 Biennale of Moving Images – Expanded Senses, at Museum Angewandte Kunst (2015, Frankfurt, Germany); Video art in Latin America, Laxart (2016–2017, Los Angeles); Radical Women: Latin American Art, 1960–1985, at Hammer Museum (2017, Los Angeles, USA), Brooklyn Museum (2018, New York, USA) and the Pinacoteca de São Paulo (2023 and 2018, São Paulo, Brazil); Coder le Monde, at Centre Georges Pompidou (2018, Paris, France); and Control and Chance: Art in the Age of Computer, at Victoria & Albert Museum (2018, London, GB). Her work figures in important collections, including those of the Museum of Fine Art, Houston (USA), Victoria & Albert Museum Collection (GB), the Museum of Modern Art of New York (MoMA-NY, USA), the Museo Nacional Centro de Arte Reina Sofia (Spain), the Museum of Concrete Art (Ingolstadt, Germany), MAC-USP (Brazil), the Pinacoteca do Estado de São Paulo (Brazil), Itaú Cultural (Brazil), and the collection of Oskar Schlemmer (Switzerland/Germany). Among her various activities, the artist is a member of the International Dance Committee (IDC), of UNESCO.
-