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blinkvideo - research of video art, performance and multimedia installations.

blinkvideo - research of video art, performance and multimedia installations.

blinkvideo the platform for . . .

artists we provide a platform for extensive presentation of media works, gallerists get a direct contact to international professional audiences, collectors find a worldwide overview of contemporary trends in moving image, curators can do research via keywords and compilations, teachers use presentation opportunities for students and all professionals get password protected, extensive information about video works worldwide.

FLUID STATES. SOLID MATTER
Videonale 18.

On what basis do we live, think and act nowadays? And how are we shaping this basis for the future? The works of the exhibition FLUID STATES. SOLID MATTER open a discourse on these questions. How does our thinking of the relationship of human beings to their environment change when we no longer see the body as solid and autonomous - as it has been the case until now - but as fluid. As fluid bodies - or "Bodies of Water", as gender researcher Astrida Neimanis puts it -
we as human beings no longer stand above nature, but in interaction with it, with the living being, with the systems that surround us.
Image: © Ida Kammerloch, Resusci Anne, 2019/2020

Alexandra Meijer-Werner

Between 1993 and 2002 Alexandra Meijer-Werner's artistic work focused on creating video installations with multiple projectors, and combining sound, texture and interaction with the public. She also produced a number of documentaries which evidence her profound interest in personal transformation and the awakening of human consciousness.

Please have a look to an introduction of her work on blinkvideo.
Image: © Eugenia Meijer-Werner

Moving Images / Moving Bodies
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curated by Ludwig Seyfarth

Research into the human body and interpersonal relationships remain central themes in video and moving image art. Artists from Bulgaria and Germany, whose work is related in content, will be shown in pairs over the next weeks. The exhibition planned for November 2020 in Sofia has been postponed until 2021. Instead, a consecutive presentation of selected films by artists from Moving Bodies/Moving Images is presented on blinkvideo.
image: © Elitsa Dimitrova

Shooting Ghosts
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curators: Kalin Serapionov, Krassimir Terziev

What we propose in this programme is a highly subjective and fragmented view on current practices in moving image in the Bulgarian art scene. We focused on practices that show affinity with speculative narratives - narratives that not just record what is in front of the cinematic eye, but also capture all the ghosts that are unreachable by the apparatus, thus projecting speculative views that intend not merely to describe, but to transform the world.
image: © Veneta Androva

Featured videos

Alexandra Meijer-Werner
Kreislauf / cycle … revolution … circulation, 1997

Kreislauf is an oneiric trip about the continuous cycle of human rebirth. Our dreams create the fabric in which the threads or individual tendencies appear and disappear, only to become visible once again. The dynamic of this video is a weave of repetitions and juxtapositions of the experiences that create the dance of life. Everything is cyclic, nothing disappears; everything is perpetually mutating in landscapes of anguish and joy, violence and calm, solitude and union. The traveler is the active force of his own fate when he realizes that what is most significant in life is the act of living itself.

Björn Braun
without title (excerpt), 2012

Sandra Boeschenstein
Besuchte Linie auf Granit, 2014

I encountered the roundworm in the Alps when I attempted to repair the water catchment of the cabin after a storm. I wished for this animal found at the spring to be a visited line, then searched for potential visitors and found, just nearby, a nest of firebugs in a dried chestnut leaf, which I placed just outside of the image field. The granite slab, roundworm, bugs’ nest and a fly lived their lives within a radius of 100 meters. My part in this was to bring them into direct proximity for the duration of an hour, to focus my camera and to breathe onto the upper part of the lens, in order to increase the atmospheric depth of the picture. Finally, to come to the allegation I’ve made via the title that something was a line that actually is an animal (when normally, in a contrary approach, characteristically formed lines represent animals or the like). The combination of the simplicity in the foundation / bedrock with a simultaneous insecurity in view of scale and nature of this white line, holds my fascination.

Isabella Fürnkäs
In Ekklesia, 2015

The title, ‘In Ekklesia,’ comes from the Greek word ‘ecclesia,’ which refers to the democratic parliament that served Athens in its halcyon days by being open to male citizens every other year. Solon, an Athenian legislator and a sage, allowed all citizens to serve the parliament regardless of their social class in BC 594. The Ecclesia made decisions about war, military strategies, and all judicial and administrative issues. This work satirizes various facets of humans and machines in the 21st century, unconsciously within a dystopian environment. Isabella Fürnkäs introduces a method of combining and overlaying countless images in her work, providing the new experience of sensations that act in ambiguous flows, movements, interference, and interjection. The piece is about the new metaphysical and material connections appearing through digital conversations that are divorced from the general notion of time and space, as well as isolation and alienation. Text by Hyun Jeung Kim (Nam June Paik Art Center Seoul)

Ryan Gander
Man on a bridge - (A study of David Lange) , 2008

A digital video transferred from 16 mm film shows a number of slightly differing takes of the same short sequence: A man walks over a bridge and seems to notice something over the railing to his left hand side. As he moves in for a closer inspection, the film cuts, which is then followed by another take of the same shot.

Wim Catrysse
MSR, 2014

On the Kuwait roads the journey goes in a western direction, past military bases and a line of oil transporters. Dreary sound sequences are pumped out by the radio. In the middle of rubbish heaps by the roadside a pack of wild dogs is trying to find shelter from the wind. Wim Catrysse presents the Kuwait desert both as a post-apocalyptic setting and as protagonist. During the journey, the car window is an obstacle, made even more so by the screen. The viewer, dumped in the desert, does not manage to reach it through the window. MSR, the Main Supply Route, is the main highway used to coordinate military operations in the Gulf War in 1990/91 and the War in Iraq in 2003. Filming is forbidden here, so the pack of wild dogs carries the story at first. But their behaviour keeps on bringing the desert into focus as the principal actor. Underlined by the sound track, its seeming hostility to life awakens the impression of a dystopian timelessness reminiscent of the apocalyptic scenarios in films and makes the viewer feel ill at ease. Catrysse examines conventions, both in a political-dogmatic and in a filmic sense.Nathalie Ladermann

Johanna Reich
CRAWLER, 2020

A crawler is a searchbot in the internet which Johanna Reich uses to collect special comments or phrases about the most discussed topics during the last years like A.I., climate change, digital revolution, gender and the turn of democratic systems. Johanna Reich selects several of the collected phrases composing a robot performance: self-driving projectors move across the exhibition space and project comments about a.i., gender or climate change onto the audience and architecture.

Annika Kahrs
solid surface, with hills, valleys, craters and other topographic...., 2014

solid surface,with hills,valleys,craters and other topographic features,primarily made of ice„solid surface, with hills, valleys, craters and other topographic features, primarily made of ice“ is set in a planetarium with a projected starry sky, in the center of which is situated a light spot, that explores the space. The Film deals with the moment, shortly before the actual visualization of pluto’s surface properties, whereas the entire cupola hall of the planetarium serves as a metaphorical projection surface of Pluto. The round light spot formally points to the shape of the celestial object and functions as placeholder for its soon arising image.

Ann Oren
The World Is Mine, 2017

In cosplay of the Japanese cyber diva Hatsune Miku, the artist moved to Tokyo, seeking an identity in the world of Miku fanatics, where she was drawn into a love affair with one of the fans. Miku is a Vocaloid, a vocal synthesizer software personified by a cute animated character. Her entire persona: lyrics, music and animation – is fan created, and that's her charm. She even performs sold out concerts as a hologram. By transforming herself into a Miku character through cosplay, Oren enters a world of real hardcore fans where fantasy is more real than reality and the differentiation between the two becomes obsolete. The film examines the performative nature of cosplaying – dressing up and playing the role of fictional characters – as a hybrid space where reality blurs into fetishistic fantasies and pop culture clichés. Combining fan-made lyrics and songs, Oren's trials and tribulations in the fictional Miku world unfolds through vague erotic episodes and encounters with characters whose ontological status remains mysterious, bringing to mind the adventures of a modern Alice in a virtual Wonderland.

Jonathan Monaghan
Den of Wolves, 2020

Den of Wolves is a seamlessly-looping video installation drawing on a range of references to weave a new multi-layered mythology. The work follows three bizarre wolves through a series of increasingly surreal retail stores as they search for the regalia of a monarch. Composed of one continuous camera shot, the work is an immersive, dreamlike journey drawing connections between popular culture, institutional authority and technological over-dependence.

Stefan Panhans
HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – H.V.Installation Mix, 2018

At transmediale, Stefan Panhans and Andrea Winkler show their work HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – Hybrid Version, a new project that combines film, installation, and staccato stage reading (on blinkvideo we are showing a trailer of the integrated film). With everyday racism, celebrity worship, stereotypes, and the dominating power of the economic all on the rise, precariously and flexibly traveling cultural workers of different origin deliver a sort of spoken word battle about their experiences and dreams. They constantly switch roles and, at the same time, form a choir that clashes with the rapped reports of everyday life. As in a collaborative gymnastic exercise—surrounded by scenery made up of set pieces from outfits of airports, hostels, and courier services, from self-optimization tools and game show displays—they fight for a voice and to be heard, building new alliances along the way. for more information: opening of transmediale

Mariola Brillowska
Children Of The Devil, 2011

Mariola Brillowska’s animation film relates the total collapse of the family system in the 21st century. Six cartoon episodes present an unsparing account of how children become murderers of their parents.

Julia Charlotte Richter
Point Blank, 2019

“Point Blank” refers to a film scene from "The Misfits" (1961) that is now re-enacted and further contextualized. In the original scene, the recently divorced main character Roslyn (Marilyn Monroe) rises up against three worn-out cowboys and, in the middle of the desert, confronts the men with all their lacks and lost dreams. In “Point Blank”, we see a young woman wandering around in surreal desert landscapes, a journey into the remoteness of the world and her own inner life. With every step out into the desert, the girl descends into her own depths searching for a place that seems to be suitable for her emotions and words. Unlike Roslyn, the young woman now refers to absent addressees: "Liars", "Murderers" and "Dead Men" she screams and turns around wildly. The words, which spread like bullets in the air, fall back on her. Except for a faint echo, there is no resonance at this place that depicts the obsessions of a distorted, patriarchal society and has become a dramatic backdrop of yearnings within the collective history of cinema. Where Roslyn was able to elicit a terrified astonishment from the three men, the character in Julia Charlotte Richter's video remains to herself and unheard, the desert as the only witness of her manifesto, her anger and her strength.

Ulrich Polster
Frost, 2003 / 2004

The night city. Industrial ruins filmed in contrejour. Memories from childhood. Different places and times combined at the mountain. It is a hollow portrait of Eastern Europe that carries the traces of its history.

Ene-Liis Semper
FF REW, 1998

Dimitri Venkov
The Hymns of Muscovy, 2018

The film is a trip to the planet Muscovy, which is an upside down space twin of the city of Moscow. As the title of the work suggests, the journey also takes us back in time. Gliding along the surface of the planet, we look down to the sky and see historic architectural styles fly by - the exuberant Socialist Classicism aka Stalinist Empire, the laconic and brutish Soviet Modernism, and the hodgepodge of contemporary knock-offs and revivals of the styles of the past. An essential companion to this journey through time and space are Hymnic Variations on the Soviet anthem by the composer Alexander Manotskov. The anthem was written in 1943 and has undergone three editions of lyrics yet musically remained unchanged to now serve as the official anthem of the Russian Federation. Manotskov used an early recording of the anthem as source material to create three electronic variations each corresponding to an architectural style. As if in a twist of Goethe’s phrase, architecture plays its frozen music. Look closely, can you hear it?

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blinkvideo is a website for the research of video art. Founders: Julia Sökeland, Anita Beckers. blinkvideo ist eine Plattform zur Recherche nach Videokunst

Analívia Cordeiro

Works


Galleries

Anita Beckers Gallery
Anita Beckers
Braubachstraße 9
60311 Frankfurt am Main
Germany

Phone: +49 69 73900967
E-Mail: info@galerie-beckers.de




Biography


1972-1976 Architecture and Urbanism College – FAUUSP, São Paulo / BRA

1996 Master at Multimedia Department of Art Institute of UNICAMP, São Paulo / BRA

2004 PhD in Semiotics at Pontifícia Universidade Católica de São Paulo / BRA

2009 Pós Doctorate at Universidade Federal do Rio de Janeiro / BRA


Exhibitions, Seminars (selection)

2019
Tanz Bewegung Geste Bild, Kunsthalle Göppingen, Göppingen / DE
Faces, Es Baluard, Palma de Mallorca / ES
Fairest on the Fair, Outpost, Manila / PHIL
El giro notacional, MUSAC Museo de Arte Contemporáneo de Castilla y Léon, Léon / ES

2018
Chance and Control, Victoria&Albert Museum, London / UK
Radical Women: Latin American Art, 1960-1985, Pinacoteca de São Paulo, SP / BRA
35. International Film Festival, Jerusalem / ISR
Coder Le Monde, Centre Pompidou, Paris / FR
Radical Woman: Latin American Art, 1960-1985, Brooklyn Museum, Brooklyn NY / USA
Unforgettable Kicks, Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro / BRA
Algoritmos Suaves, Valencia / ES
Los Algorotimos Suave, Centre del Carme, Valencia / ES

2017
First Reception. Analivia Cordeiro & Aldona Kut, Galerie Anita Beckers, Frankfurt / DE
Radical Women: Latin American Art, 1960-1985, Hammer Museum, Los Angeles / USA

2016
Movement Notation Workshop– from Computer Dance to Nota-Anna, Centro Pecci, Prato / IT
A Dança como Cinema (Dance as Movies), at CINUSP Paulo Emílio, University of Sao Paulo / BRA
M 3x3 installation at the exhibition The End of The World, Centro Pecci / IT

2015
B3 Biennale, Frankfurt am Main / DE
10th Biennale Mercosul, Porto Alegre / BRA
Exposicção Manuara na Livraria da Vila, Shopping JK, São Paulo / BRA
M 3x3 creation documents na Moving Image Contours: Points for a Surrounding
Movement at Tabakalera in San Sebastián / ES
Movement Notation Workshop– from Computer Dance to Nota-Anna, Tabakalera / ESSan Sebastian-Donostia / ES
Movement Notation – from Computer Dance to NotaAnna, (W) Mercosul Bienal, Porto Alegre / BRA

2011
Zonas de Contato, Paço das Artes / BRA

2009
Bienal Mercosul, Porto Alegre / BRA

2008
SIGGRAPH, Los Angeles / USA

1999
The 1999-2000 Sawyers Seminar at University of Chicago / USA
L’Ombra dei Maestri – Rudolf Laban: gli spazi della danza, Università degli Studi di Bologna / IT

1998
27th Annual Dance on Camera Festival, New York / USA

1978
Art of Space Era at Von Braun Civic Center of Huntsville Museum of Art / USA

1976
International Conference Computer & Humanities/ 2 at University of Southern California
WGBH - TV Public Channel / USA
20th American Dance Guild Conference, New York / USA

1974
LatinAmerica 74 at Institute of Contemporary Arts, London / UK

1973
International Festival of Edinburgh / UK
XII Bienal de São Paulo / BRA
The Bat-Sheva Seminar on Interaction of Art and Science, Jerusalem / ISR


Choreography and Dance Interpretations


2018
M3x3 installation in the exhibition Soft Algorithms, Comunitat dei Musei of Valencia, Valencia / ES
Sculptures, videos M3x3, Trajectory, Micron Virtues, Air, Architecture of the
movement, Note-Anna in the individual exhibition Chutes Unforgettable, Museum
of Modern Art, Rio de Janeiro / BRA
M3x3 and creation documents at the exhibition Encoder Le Monde, Center Pompidou, Paris / FR
M3x3 at the exhibition Chance and Control, Victoria & Albert Museum, London / UK
M3x3 no 35. International Film Festival, Jerusalem / ISR

2017
M3x3 at LOOP Art Festival, Barcelona / ES
M3x3 at LatinAmerican Videos, Los Angeles / USA
M3x3 and Cambiantes at the Radical Women exhibition, Hammer Museum, Los
Angeles; Brooklyn Museum, New York, USA; and Pinacoteca, São Paulo / BRA
M3x3 in Videos view in LatinAmerica, Laxart, Los Angeles / USA

2016
M3x3 Installation at the End of the World exhibition, Centro Pecci, Prato / IT
M3x3 at A Dance as Cinema, CINUSP Paulo Emílio, USP / BRA

2015
M3x3 installation at Anita Beckers Galerie booth at International Art Fair ARCO,
Madrid / ES
M3x3 installation, M3x3 creation documents at Moving Image Contours: Points
for a Surrounding Movement, Tabakalera, San Sebastián / ES
M3x3 Installation at B3 Moving Image, Frankfurth / DE

2014
Manuara, Brazilian Museum of Sculpture MuBE, São Paulo / BRA

2013
M3x3 installation 1 at SP Arte, Anita Beckers Galerie, São Paulo / BRA

2009
Improvisations "Angulos Challenges" and "From Skin to Space" at Musicircus,
Mercosul Biennial, Porto Alegre, RS / BRA
piece "Prepared Body" at RadioVisual at Mercosul Biennial, RS / BRA

2008
M3x3 in the exhibition "1969-1974 one day that have finished" Museum of
Contemporary Art USP, São Paulo / BRA

2007
Unsquare Dance with X-Motion software and Choreographies in co-authorship
with Luiz Velho, Instituto de Matematica Pura e Aplicada Rio de Janeiro / BRA
Unsquare Dance Choreography at SIGGRAPH / USA

2003
"M3x3" in the show Made in Brazil, Instituto Cultural Itaú, São Paulo / BRA

1999
Video exhibition: "Laban's Concepts of Movement", "0-45", "Slow Billie Scan" and
"Striptease" at the IX International Festival of Videodance - Il Coreografo
Elettronico, Institut Français de Naples Grenoble, June 1999 / BRA

1998
Exhibition of the "Striptease" video at the 27th Annual Dance on Camera
Festival, Walter Reade Theater at Lincoln Center, New York / USA

1997
Striptease and 0 = 45 in the Mediaçòes exhibition, at Instituto Cultural Itau, São Paulo / BRA

1996
M3x3, 0 = 45, Cambiantes and Trajectories in the 4. Image Technology Studio.

1994
M3x3 in the exhibition "Brazil Sec.XX". Bienal de São Paulo São Paulo / BRA

1988
Cambiantes of the Video Dance - Carlton Dance Festival, MIS, São Paulo / BRA

1987
Transmission by the Slow-Scan system of Slow Billie Scan of the Museum of
Image and Sound for the Dax group, Carnegie Mellon University / USA

1985
0 = 45 in Brazil'70 / 80 - new media / multimedia, FAAP, São Paulo. / BRA

1984
Cambiantes in Informatics 84, Riocentro, Rio de Janeiro / BRA

1983
Cambiantes and M3x3 in the 1st Exhibition of Computational Arts of SUCESU-SP / BRA

1978
Video Dance Workshop under the direction of Merce Cunningham and Charles
Atlas, Merce Cunningham Dance Studio, New York / USA
Janette Stoner Dance Company at Carl Schurlz Park H. Field, NY / USA
Street Performances - Rits & Runs II directed by Gus Solomons Jr., NY / USA
Choreography: Brazilian Memories at Brook Theater, New York / USA
Cambiantes in Art of Space Era, Von Braun Civic Center of Huntsville Museum of
Art, Alabama / USA

1976
M3x3, Gestures and 0 = 45 at the 20th American Dance Guild Conference by the
Massachusetts Institute of Technology, Cambridge / USA
M3x3, Gestures and 0 = 45, public TV station - WGBH -, Boston / USA
Choreography, programming, direction and interpretation: Computer Dance -
Cambiantes -, processed in the Computing Center of UNICAMP.

1975
M3x3 and Gestures in Latin America 74, Espace Cardin, Paris / FR
M3x3 and Gestures at the Galleria Civica D'Arte Moderna, Ferrara / IT
M3x3 and Gestos at the International Conference Computer & Humanities / 2,
University of Southern California, Los Angeles / USA
Choreography, programming, direction and interpretation: Computer Video-
Dance - 0 = 45 - processed at Computer Center of UNICAMP.
M3x3, Gestures and 0 = 45: Goethe Institute, São Paulo / BRA

1974
M3x3 in Systems Art in LatinAmerica, International Cultureel Centrum, Antwerp / BEL
M3x3 in Latin American Films and Video Tapes, Media Study of State University of
New York, Buffalo / USA
M3x3 in the Center of Art and Communication CAYC, Buenos Aires / ARG
Artistic Research at the State University of Campinas, TV Cultura de São Paulo / BRA
Choreography, programming, direction and interpretation: Computer Dance -
Gestures - processed in the Computing Center of UNICAMP / BRA
M3x3 and Gestures in The Bat-Sheva Seminar on Interaction of Art and Science, Jerusalem / ISR
M3x3 and Gestures at LatinAmerica74, Institute of Contemporary Arts, London, England.1974 / UK
M3x3 and Gestures: course Esthétique et Mass Media: la Télévision taught by
René Berger, Université de Lausanne / CH

1973
Methods of Creation in Dance on TV Cultura de São Paulo / BRA
Choreography, programming, direction and interpretation: Computer Video-
Dance - M3x3, Computer Center of UNICAMP and TV Cultura de São Paulo / BRA
M3x3 at Interact Man: Machine: Society, International Festival of Edinburgh, Scotland / UK
M3x3 at the XII São Paulo Biennial / BRA

1966/71
Maria Duchenes Group in several presentations in São Paulo / BRA


Architecture, Documentary and Fine Arts


2005
Work of Mobile Art - DJMobile co-authored with Nilton Lobo, in Life Goes Mobile
space, NokiaTrends, curated by Lucas Bambozzi, Anhembi, São Paulo / BRA
Work of Mobile Art - Ex-Image co-authored with Nilton Lobo, Life Goes Mobile,
NokiaTrends, curated by Lucas Bambozzi, Cais do Porto, Rio de Janeiro / BRA

1999
Conception and direction of CD-Rom Waldemar Cordeiro, Galeria Brito Cimino, São Paulo / BRA

1980
Movie Kwarùp at the Contemporary Dance Workshop of UFB, Salvador.

1975
S-8 filming of the Kwarùp ritual ceremony in the Kamaiurá tribe in the Xingu
National Park. Assembly and edition sponsored by FAPESP / BRA

1974
Premio Acquisition of the film M3x3 by MAC USP.

1973
Multienvironment, representing FAU USP in 1st. Bienal de Arquitetura, São Paulo / BRA

1969
Costume at the Maria Duschenes Group show of the National Theater Festival, São Paulo / BRA

1967
Prize of the Art for Young People exhibition of the newspaper O Estado de São Paulo / BRA
Distinguished work at MAC USP.


Didactic Activities


2017
Wellness, Therapy and Technology workshop, Centro Pecci / IT

2016
workshop Movement Notation - from Computer Dance to Note-Anna, Centro Pecci, Prato / IT

2015
Workshop Notation of the Movement - from Computer Dance to Nota-Anna, 10. Mercosur
Workshop "Searching for Cyber-Harmony: a dialogue between body awareness
and electronic media", Kinetic-Digital exhibition, ItauCultural, São Paulo / BRA
Workshop Movement Notation - from Computer Dance to Note-Anna,
Tabakalera, San Sebastian-Donostia / BRA

2002
Workshop at the II International Symposium on Dance in Wheelchairs, UNICAMP, São Paulo / BRA

1999
Workshop "the 1999-2000 Sawyer Seminar at The University of Chicago",
October, Chicago / USA
Lecture / demonstration at the meeting "L'Ombra dei Maestri - Rudolf Laban: gli
spazi della danza", Università degli Studi di Bologna / IT

1995/97
classes for the Fashion Course of Faculdade Santa Marcelina, São Paulo / BRA

1997
"Nota-Anna and the Laban Method" Workshop, Itaú Cultural Institute, São Paulo / BRA

1996
Course Laban Method in the Specialization Course - Jungian Psychotherapy with
a focus on physio-psicological integration, Sedes Sapientae Institute, São Paulo / BRA

1990
Course Laban Method, graduate of the Course of Performing Arts of ECA USP.
Course Laban Method applied to Dance in the Training Center in Contemporary
Dance, Cultural Office Oswald de Andrade, São Paulo / BRA

1989
Course Laban Method of Movement Analysis at the Institute of Psychology, USP.

1983-1987
Direction and classes at Escola Danças Analívia, São Paulo / BRA

1975
Movie M3x3, on the program of the "Bezalel Academy of Arts", Jerusalem / ISR

1972-1973
Dance for children in the "Pró-Art" Music Seminars, São Paulo / BRA


Awards, Collections and Scholarships


2019
Nomination as a Member of the International Dance Council CID of Unesco

2017
Movement notation 1976 in the archive of the artist Oskar Schlemmer, Switzerland / CH
M3x3 video and paper A Language for Dance at the Victoria & Albert Museum collection, London / UK

2015
BEEP Award for Electronic Art, ARCO Art Fair, Madrid / ES
M3x3: video, photos and documents in the collection of the Reina Sofia Museum, Madrid / ES

2014
M3x3installation in the collection of the Museum of Concrete Art, Ingolstadt / DE

2000
Scholarship by FAPESP Foundation of Research Support of the State of São Paulo / BRA

1996
Scholarship by FAPESP Foundation of Research Support of the State of São Paulo / BRA

1976
Scholarship by CnPQ for the edition of the film Kwarìp.

1974
M3x3 in the collection of the Museum of Contemporary Art of USP / BRA

1967
Prize of the Contest of Art for Young people of the newspaper "The State of São Paulo" / BRA

Analívia Cordeiro
1972-1976 Architecture and Urbanism College – FAUUSP, São Paulo / BRA 1996 Master at Multimedia Department of Art Institute of UNICAMP, São Paulo / BRA 2004 PhD in Semiotics at Pontifícia Universidade Católica de São Paulo / BRA 2009 Pós Doctorate at Universidade Federal do Rio de Janeiro / BRA Exhibitions, Seminars (selection) 2019Tanz Bewegung Geste Bild, Kunsthalle Göppingen, Göppingen / DEFaces, Es Baluard, Palma de Mallorca / ESFairest on the Fair, Outpost, Manila / PHILEl giro notacional, MUSAC Museo de Arte Contemporáneo de Castilla y Léon, Léon / ES 2018Chance and Control, Victoria&Albert Museum, London / UKRadical Women: Latin American Art, 1960-1985, Pinacoteca de São Paulo, SP / BRA35. International Film Festival, Jerusalem / ISRCoder Le Monde, Centre Pompidou, Paris / FRRadical Woman: Latin American Art, 1960-1985, Brooklyn Museum, Brooklyn NY / USAUnforgettable Kicks, Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro / BRAAlgoritmos Suaves, Valencia / ESLos Algorotimos Suave, Centre del Carme, Valencia / ES 2017First Reception. Analivia Cordeiro & Aldona Kut, Galerie Anita Beckers, Frankfurt / DERadical Women: Latin American Art, 1960-1985, Hammer Museum, Los Angeles / USA 2016Movement Notation Workshop– from Computer Dance to Nota-Anna, Centro Pecci, Prato / ITA Dança como Cinema (Dance as Movies), at CINUSP Paulo Emílio, University of Sao Paulo / BRAM 3x3 installation at the exhibition The End of The World, Centro Pecci / IT 2015B3 Biennale, Frankfurt am Main / DE10th Biennale Mercosul, Porto Alegre / BRAExposicção Manuara na Livraria da Vila, Shopping JK, São Paulo / BRAM 3x3 creation documents na Moving Image Contours: Points for a SurroundingMovement at Tabakalera in San Sebastián / ESMovement Notation Workshop– from Computer Dance to Nota-Anna, Tabakalera / ESSan Sebastian-Donostia / ESMovement Notation – from Computer Dance to NotaAnna, (W) Mercosul Bienal, Porto Alegre / BRA 2011Zonas de Contato, Paço das Artes / BRA 2009Bienal Mercosul, Porto Alegre / BRA 2008SIGGRAPH, Los Angeles / USA 1999The 1999-2000 Sawyers Seminar at University of Chicago / USAL’Ombra dei Maestri – Rudolf Laban: gli spazi della danza, Università degli Studi di Bologna / IT199827th Annual Dance on Camera Festival, New York / USA 1978Art of Space Era at Von Braun Civic Center of Huntsville Museum of Art / USA 1976International Conference Computer & Humanities/ 2 at University of Southern CaliforniaWGBH - TV Public Channel / USA20th American Dance Guild Conference, New York / USA 1974LatinAmerica 74 at Institute of Contemporary Arts, London / UK 1973International Festival of Edinburgh / UKXII Bienal de São Paulo / BRAThe Bat-Sheva Seminar on Interaction of Art and Science, Jerusalem / ISR Choreography and Dance Interpretations 2018M3x3 installation in the exhibition Soft Algorithms, Comunitat dei Musei of Valencia, Valencia / ESSculptures, videos M3x3, Trajectory, Micron Virtues, Air, Architecture of themovement, Note-Anna in the individual exhibition Chutes Unforgettable, Museumof Modern Art, Rio de Janeiro / BRAM3x3 and creation documents at the exhibition Encoder Le Monde, Center Pompidou, Paris / FRM3x3 at the exhibition Chance and Control, Victoria & Albert Museum, London / UKM3x3 no 35. International Film Festival, Jerusalem / ISR 2017M3x3 at LOOP Art Festival, Barcelona / ESM3x3 at LatinAmerican Videos, Los Angeles / USAM3x3 and Cambiantes at the Radical Women exhibition, Hammer Museum, LosAngeles; Brooklyn Museum, New York, USA; and Pinacoteca, São Paulo / BRAM3x3 in Videos view in LatinAmerica, Laxart, Los Angeles / USA 2016M3x3 Installation at the End of the World exhibition, Centro Pecci, Prato / ITM3x3 at A Dance as Cinema, CINUSP Paulo Emílio, USP / BRA 2015M3x3 installation at Anita Beckers Galerie booth at International Art Fair ARCO,Madrid / ESM3x3 installation, M3x3 creation documents at Moving Image Contours: Pointsfor a Surrounding Movement, Tabakalera, San Sebastián / ESM3x3 Installation at B3 Moving Image, Frankfurth / DE 2014Manuara, Brazilian Museum of Sculpture MuBE, São Paulo / BRA 2013M3x3 installation 1 at SP Arte, Anita Beckers Galerie, São Paulo / BRA 2009Improvisations Angulos Challenges and From Skin to Space at Musicircus,Mercosul Biennial, Porto Alegre, RS / BRApiece Prepared Body at RadioVisual at Mercosul Biennial, RS / BRA 2008M3x3 in the exhibition 1969-1974 one day that have finished Museum ofContemporary Art USP, São Paulo / BRA 2007Unsquare Dance with X-Motion software and Choreographies in co-authorshipwith Luiz Velho, Instituto de Matematica Pura e Aplicada Rio de Janeiro / BRAUnsquare Dance Choreography at SIGGRAPH / USA 2003M3x3 in the show Made in Brazil, Instituto Cultural Itaú, São Paulo / BRA 1999Video exhibition: Laban's Concepts of Movement, 0-45, Slow Billie Scan andStriptease at the IX International Festival of Videodance - Il CoreografoElettronico, Institut Français de Naples Grenoble, June 1999 / BRA 1998Exhibition of the Striptease video at the 27th Annual Dance on CameraFestival, Walter Reade Theater at Lincoln Center, New York / USA 1997Striptease and 0 = 45 in the Mediaçòes exhibition, at Instituto Cultural Itau, São Paulo / BRA 1996M3x3, 0 = 45, Cambiantes and Trajectories in the 4. Image Technology Studio. 1994M3x3 in the exhibition Brazil Sec.XX. Bienal de São Paulo São Paulo / BRA 1988Cambiantes of the Video Dance - Carlton Dance Festival, MIS, São Paulo / BRA 1987Transmission by the Slow-Scan system of Slow Billie Scan of the Museum ofImage and Sound for the Dax group, Carnegie Mellon University / USA 19850 = 45 in Brazil'70 / 80 - new media / multimedia, FAAP, São Paulo. / BRA 1984Cambiantes in Informatics 84, Riocentro, Rio de Janeiro / BRA 1983Cambiantes and M3x3 in the 1st Exhibition of Computational Arts of SUCESU-SP / BRA 1978Video Dance Workshop under the direction of Merce Cunningham and CharlesAtlas, Merce Cunningham Dance Studio, New York / USAJanette Stoner Dance Company at Carl Schurlz Park H. Field, NY / USAStreet Performances - Rits & Runs II directed by Gus Solomons Jr., NY / USAChoreography: Brazilian Memories at Brook Theater, New York / USACambiantes in Art of Space Era, Von Braun Civic Center of Huntsville Museum ofArt, Alabama / USA 1976M3x3, Gestures and 0 = 45 at the 20th American Dance Guild Conference by theMassachusetts Institute of Technology, Cambridge / USAM3x3, Gestures and 0 = 45, public TV station - WGBH -, Boston / USAChoreography, programming, direction and interpretation: Computer Dance -Cambiantes -, processed in the Computing Center of UNICAMP. 1975M3x3 and Gestures in Latin America 74, Espace Cardin, Paris / FRM3x3 and Gestures at the Galleria Civica D'Arte Moderna, Ferrara / ITM3x3 and Gestos at the International Conference Computer & Humanities / 2,University of Southern California, Los Angeles / USAChoreography, programming, direction and interpretation: Computer Video-Dance - 0 = 45 - processed at Computer Center of UNICAMP.M3x3, Gestures and 0 = 45: Goethe Institute, São Paulo / BRA 1974M3x3 in Systems Art in LatinAmerica, International Cultureel Centrum, Antwerp / BELM3x3 in Latin American Films and Video Tapes, Media Study of State University ofNew York, Buffalo / USAM3x3 in the Center of Art and Communication CAYC, Buenos Aires / ARGArtistic Research at the State University of Campinas, TV Cultura de São Paulo / BRAChoreography, programming, direction and interpretation: Computer Dance -Gestures - processed in the Computing Center of UNICAMP / BRAM3x3 and Gestures in The Bat-Sheva Seminar on Interaction of Art and Science, Jerusalem / ISRM3x3 and Gestures at LatinAmerica74, Institute of Contemporary Arts, London, England.1974 / UKM3x3 and Gestures: course Esthétique et Mass Media: la Télévision taught byRené Berger, Université de Lausanne / CH 1973Methods of Creation in Dance on TV Cultura de São Paulo / BRAChoreography, programming, direction and interpretation: Computer Video-Dance - M3x3, Computer Center of UNICAMP and TV Cultura de São Paulo / BRAM3x3 at Interact Man: Machine: Society, International Festival of Edinburgh, Scotland / UKM3x3 at the XII São Paulo Biennial / BRA 1966/71Maria Duchenes Group in several presentations in São Paulo / BRA Architecture, Documentary and Fine Arts 2005Work of Mobile Art - DJMobile co-authored with Nilton Lobo, in Life Goes Mobilespace, NokiaTrends, curated by Lucas Bambozzi, Anhembi, São Paulo / BRAWork of Mobile Art - Ex-Image co-authored with Nilton Lobo, Life Goes Mobile,NokiaTrends, curated by Lucas Bambozzi, Cais do Porto, Rio de Janeiro / BRA 1999Conception and direction of CD-Rom Waldemar Cordeiro, Galeria Brito Cimino, São Paulo / BRA 1980Movie Kwarùp at the Contemporary Dance Workshop of UFB, Salvador. 1975S-8 filming of the Kwarùp ritual ceremony in the Kamaiurá tribe in the XinguNational Park. Assembly and edition sponsored by FAPESP / BRA 1974Premio Acquisition of the film M3x3 by MAC USP. 1973Multienvironment, representing FAU USP in 1st. Bienal de Arquitetura, São Paulo / BRA 1969Costume at the Maria Duschenes Group show of the National Theater Festival, São Paulo / BRA 1967Prize of the Art for Young People exhibition of the newspaper O Estado de São Paulo / BRADistinguished work at MAC USP. Didactic Activities 2017Wellness, Therapy and Technology workshop, Centro Pecci / IT 2016workshop Movement Notation - from Computer Dance to Note-Anna, Centro Pecci, Prato / IT 2015Workshop Notation of the Movement - from Computer Dance to Nota-Anna, 10. MercosurWorkshop Searching for Cyber-Harmony: a dialogue between body awarenessand electronic media, Kinetic-Digital exhibition, ItauCultural, São Paulo / BRAWorkshop Movement Notation - from Computer Dance to Note-Anna,Tabakalera, San Sebastian-Donostia / BRA 2002Workshop at the II International Symposium on Dance in Wheelchairs, UNICAMP, São Paulo / BRA 1999Workshop the 1999-2000 Sawyer Seminar at The University of Chicago,October, Chicago / USALecture / demonstration at the meeting L'Ombra dei Maestri - Rudolf Laban: glispazi della danza, Università degli Studi di Bologna / IT 1995/97classes for the Fashion Course of Faculdade Santa Marcelina, São Paulo / BRA 1997Nota-Anna and the Laban Method Workshop, Itaú Cultural Institute, São Paulo / BRA 1996Course Laban Method in the Specialization Course - Jungian Psychotherapy witha focus on physio-psicological integration, Sedes Sapientae Institute, São Paulo / BRA 1990Course Laban Method, graduate of the Course of Performing Arts of ECA USP.Course Laban Method applied to Dance in the Training Center in ContemporaryDance, Cultural Office Oswald de Andrade, São Paulo / BRA 1989Course Laban Method of Movement Analysis at the Institute of Psychology, USP. 1983-1987Direction and classes at Escola Danças Analívia, São Paulo / BRA 1975Movie M3x3, on the program of the Bezalel Academy of Arts, Jerusalem / ISR 1972-1973Dance for children in the Pró-Art Music Seminars, São Paulo / BRA Awards, Collections and Scholarships 2019Nomination as a Member of the International Dance Council CID of Unesco 2017Movement notation 1976 in the archive of the artist Oskar Schlemmer, Switzerland / CHM3x3 video and paper A Language for Dance at the Victoria & Albert Museum collection, London / UK 2015BEEP Award for Electronic Art, ARCO Art Fair, Madrid / ESM3x3: video, photos and documents in the collection of the Reina Sofia Museum, Madrid / ES 2014M3x3installation in the collection of the Museum of Concrete Art, Ingolstadt / DE 2000Scholarship by FAPESP Foundation of Research Support of the State of São Paulo / BRA 1996Scholarship by FAPESP Foundation of Research Support of the State of São Paulo / BRA 1976Scholarship by CnPQ for the edition of the film Kwarìp. 1974M3x3 in the collection of the Museum of Contemporary Art of USP / BRA 1967Prize of the Contest of Art for Young people of the newspaper The State of São Paulo / BRA

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