Alice Anderson

La pratique performative d'Alice Anderson est ancrée dans les ontologies animistes et explore notre rapport à ce qui communique autrement (rivières, plantes, pierres, paysages, architectures, objets). Avec Ailton Krenak, elle établit des ponts entre savoirs autochtones et physique quantique, reconnaissant la matière comme un champ vibrant en entrant en relation avec elle. Depuis plus de vingt ans, Anderson dialogue poétiquement avec des intelligences non-humaines telles que des outils, machines, circuits électroniques, éléments architecturaux, espaces, ou météorites. L'artiste crée un lien avec ces objets en appliquant sur leur surface de la peinture liquide pour les libérer de leur fonctionnalité première. Les traces créées sur la toile avec ces objets enregistrent ces communications au-delà du monde visible lors d'états de transe. Ces empreintes témoignent d'une autre intelligence possible à l'ère de l'IA : celle qui habite la matière. Ces objets, transformés lors des peintures performatives que sont DANSES TECHNOLOGIQUES, DÉESSES DIGITALES, CORPS HUMAINS-NONHUMAINS, DATA DANSES, CHANCE COMPOSITIONS, deviennent les sculptures OBJETS ÉVEILLÉS ou MACHINES SPIRITUELLES. Alice Anderson's performative practice is rooted in animist ontologies and explores our relationship with what communicates otherwise (rivers, plants, stones, landscapes, architectures, objects). With Ailton Krenak, she builds bridges between indigenous knowledge and quantum physics, recognising matter as a vibrating field by entering into relation with it. For more than twenty years, Anderson has been in poetic dialogue with non-human intelligences such as tools, machines, electronic circuits, architectural elements, spaces, or meteorites. The artist creates a bond with these objects by applying liquid paint onto their surface to free them from their primary functionality. The traces created on the canvas with these objects record these communications beyond the visible world during states of trance. These imprints bear witness to another possible intelligence in the age of AI: the one that inhabits matter. These objects, transformed during the performative paintings that are TECHNOLOGICAL DANCES, DIGITAL GODDESSES, DATA DANCES, HUMAN-NONHUMAN BODIES, CHANCE COMPOSITIONS, become the sculptures AWAKENED OBJECTS or SPIRITUAL MACHINES. Anderson's thinking operates at the intersection of Ray Kurzweil's projections on the emergence of Artificial General Intelligence, anticipated around 2029; Glenn Albrecht's vision of the Symbiocene reconciling humans and the more-than-human world; the philosophical explorations of cybernetic animism articulated by K. Allado-McDowell; and physicist Karen Barad's quantum understanding of matter as intrinsically active, relational and performative. Reine Okuliar (Art Historian and Curator), Nicky (Crassula Ovata Plant), and Anderson (Artist) in discussion @ Tate Modern’s summer events to envision an ‘Ancestral Future’.