About AnaVitória
In Ana Vitória’s recent work, where she broadens the understanding of corporeal presence in the world through her sensitive relations with the plastic thought of Lygia Clark, we see a body – hers – that is refining itself in the subtle detail of movements defined only by her, that shows her mastery and authenticity. There are 3 moments of the show where she fills in the place with her poetic virtue:
- When she drags herself from the circle to the chair: only Ana Vitória knows how to perform that journey with the tiny and tense unfolding of her legs’ and arms’ muscles paced by her dancing passion.
- When she turns the chair around, in an effort that could almost turn around the world
- When she ends her presence in scene, the light and smooth asymmetry of her arms that elevates and dissolves all matter
Only her expression allows it to exist: these 3 unmistakable moments in her speech.
Everything else reflects her choices and are so well thought and executed by sound, lightning and scenical artefacts to show how a wide circumstantial field is only there to shelter the unique and unexpected: the trained vitality of a body that, corporal as it is, becomes symbol thus language.
Iole de Freitas
Visual Artist
Ana Vitória, in her new work “Afinal o que há por trás da coisa corporal?” (What is behind the corporal thing, after all?) performs a trajectory inspired by her dialogue with Lygia Clark, producing an aesthetical dimension where shape and matter become operators of common place deconstruction.
While she develops her experience, we observe provocations brought by Lygia to contemporary thought. Conducted by the egg – idea full of affections where the shapeless world emerges as an object taken in its enlightened concreteness – Ana Vitoria’s most recent work invites us to open ourselves to the reunion, as an intensive experience, enabling the transformation of shapes.
The scene layout between spectator and artist questions the perspective. This proposition enables the widening of the perceptive field through three-dimensionality as the work, multiplying its displacement output, is able to understand itself in the space between, opening the viewer’s perception based on different affection ways. When allowing the viewer to take part in her work, Ana Vitória doesn’t write a closed destination that the work should follow, but offers us the chance to withdraw the obstacles that usually impose where a work of art should start and end.
Therefore we pass from a motionless opposition of shape and matter to a mid-dimension zone, energic, molecular, that lets us perceive an energetic matter in movement, carrying singularity or hecness, that are implicit shapes combined with deformation processes.
Art, as performed in this work of Ana, consists in following matter fluxes, consists in offering our feeling capacity the possibility of capturing invisible forces, of showing the metamorphosis moment. When searching the evidence of time in the body, the artist reveals that eternity, as matter in movement and not as transcendent emptiness, points to life as artwork, a sensorial mass product of experience, where memory and desire compose their existential upgrades.
Hélia Borges
Ficha Técnica
Credits
National premiere 2010
Performative Installation by ANA VITÓRIA
Creation and Performance – Ana Vitória
Ambiance – Sérgio Marimba
Light Design – Milton Giglio
Band-aid costume – Cláudia Diniz
Production – Lenny
Visagism – Rose Verçosa
Theatrical Consultancy – Suzana Saldanha
Soundtrack organized by Ana Vitória – with Smetak, Luiz Gonzaga, Armand Amar and Bizet.
Sound Design – Michael Sexauer
Photography – Renato Mangolin
Video Dance – Ana Vitória and Rodrigo Godim
Design – Vanderlei Lopes and Karin Palhano
Communication Advisory – Meio e Imagem
Production – Neco FX
Realization – Iroco Produções Artísticas
www.anavitoria.com.br
Translated with www.DeepL.com/Translator (free version)
Agradecimento
Thanks
To my mother Edvalda Bomfim
Amin Murad, Angel Vianna, Adriana Rattes, Aninha Franco, Alessandra Clark, Andrea Chiessorin, Cultural Association “The World of Lygia Clark”, Eva Doris, Glória Maria, Helena Lustosa, Ilka Nazaré, Jom Tob Azulay, Karen Brustolin, Kika Freire, Lúcia Rodrigues, Lenny Niemeyer, Maurício Agnelli, Maria Alves de Lima, Marcelle Piton, Suely Rolnik, Suzy Muniz and Silvia Soter.
* Title authorized by the author Suely Rolnik from her text “After all what is behind the body thing?”, published in the catalog Lygia Clark, from work to happening. We are the mold – you can blow (edited in collaboration with Corinne Diserens to accompany the exhibition at the Musée de Beaux Arts de Nantes and the Pinacoteca do Estado de São Paulo).