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
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.
“Afinal o que há por trás da coisa corporal ?”
Estréia nacional 2010
Instalação Performática de ANA VITÓRIA
Criação e Performance – Ana Vitória
Ambientação – Sérgio Marimba
Desenho de Luz – Milton Giglio
Roupa Band-aid – Cláudia Diniz
Confecção – Lenny
Visagismo – Rose Verçosa
Consultoria Teatral – Suzana Saldanha
Trilha Sonora organizada por Ana Vitória -com Smetak, Luiz
Gonzaga, Armand Amar e Bizet.
Desenho de som – Michael Sexauer
Fotografia – Renato Mangolin
Vídeo Dança – Ana Vitória e Rodrigo Godim
Programação Visual – Vanderlei Lopes e Karin Palhano
Assessoria de Comunicação – Meio e Imagem
Produção – Neco FX
Realização – Iroco Produções Artísticas
À Minha Mãe Edvalda Bomfim
Amin Murad, Angel Vianna, Adriana Rattes, Aninha Franco, Alessandra Clark, Andrea Chiessorin, Associação Cultural “O Mundo de 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 e Silvia Soter.
* título autorizado do pela autora Suely Rolnik do seu texto “Afinal o que há por trás da coisa corporal?”, publicado no catálogo Lygia Clark, da obra ao acontecimento. Somos o molde – a voce cabe o sopro (editado em colaboração com Corinne Diserens para acompanhar a exposição no Musée de Beaux Arts de Nantes e na Pinacoteca do Estado de São Paulo).