Alice Anderson — À propos — Slash Paris

“Dancing means finding Nature within yourself.”

Her unique approach linking art and dance evokes the pioneering choreography of Mary Wigman, Loïe Fuller, and Isadora Duncan; the kinetic art of the Bauhaus; or Nicolas Schöffer, who attempted to create interactions between machine and human, robot and dancer. […]
These are not “paintings” in the traditional sense of the word but “Geometric Dances.” This general term includes pieces of different sizes made in various ways, with the subtitle sometimes indicating the object or material that has left its shape or imprint. […]
Alice Anderson has a special relationship to objects, which to her are “non-human entities.” She tries to memorise all the tools of today’s technology, including computer batteries, phones, alkaline batteries, drones, hard drives, and even packing boxes, either by shrouding them in copper-coloured wires or leaving their imprint on a canvas. When working with these wires, she uses slow gestures and makes the imprint through dance movements either alone or in a group, thus restoring a link between the living and the material, the human and the non-human.[…]
The artist says she is not concerned with the visual results or the aesthetic appearance of the works. What counts for her is the physical relationship with her environment: the pattern results from the energy of a body in motion. The material status of these “paintings” is ambiguous. Although they evoke gestural abstract paintings or even drip paintings, they are actually traces of performances whose motifs are random, while still very strong and visually coherent.

In this way, Alice Anderson connects with shamanic and ancient practices, affirming a connection to living beings while incorporating new technologies. […]
Alice Anderson’s approach embodies this dichotomy between artificial intelligence, new technologies, and ancestral culture. She embraces ecofeminism, which connects women’s rights to the preservation of nature.[…]
By poeticising objects, by the energy of collective movement, by the breath of the dancers, and by the slow ceremony of her performances, the artist tries to find a third way between science and art, thus renewing both the language of dance and the language of the visual arts.

Marie-Laure Bernadac, The Dance of Art, the Dance of Life, press release of the exhibition Alice Anderson, HUMAN / NON-HUMAN INTERACTIONS Almine Rech gallery, London, 2022