February 19, 2021
Recordings and Conversations with choreographer Renata Pereira Lima
Compiled by Addison Bale
This article comprises recorded conversations between Renata and I, emailed voice-memo monologues from Renata, and passages of my writing that augment our correspondence. To address the confluence of talking points and multi-media, we divided the article into themed chapters whereby transcripts of conversation, monologue, and my editorial writing coalesce around Renata’s trains of thought. What follows is a patchwork of collaboration. Let this appendix act as a multi-portal through which you click into our motley dialogue. —Addison Bale
II. My friend Ren (an Intro)
III. The White Boy Drawings
IV. Polyamory → Understanding Death
V. Hard drives, choreography, the bible, and being an artist
VI. Quad (In Reverse)
Renata Pereira Lima:(b. 1994) is a Cuban/Brazilian artist whose work explores the body as a vessel of reactionary and archivable phenomena. Through site-specific performance / installation, video-making, and gestures of dance, her research in choreography seeks to minimize expectations of narrative and maximize the body’s ability to communicate on a tactile level: the space the body moves through, the energetic tone of the environment or natural light, and the sounds that pervade the space and therefore, the body in movement, all represent indeterminate happenings to be examined. Rhythm, bodily rhythm, is essential even as the dance is translated into installation or video, which continues a thematic obligation to the scaffolding of time itself.
Aside from choreographing and editing her own body of work, Renata splits her time between Mexico City and New York as a movement director and collaborator on music videos, dance films, and commercials.