The Brazilian artist, choreographer and dancer has been exploring the relationship between body, movement, visual and audiovisual art and media art since the 1970s. She talks to us about her work, now on show at the Centre for Art and Media Karlsruhe, including M3X3 from 1973, one of the first dance choreographies conceived for video by means of computer notation.

On a sharp, bright, blue-sky day in mid-February, I enter the ZKM (Centre for Art and Media) in Karlsruhe, in the south-western Baden-Württemberg region of Germany. A former armaments factory, built in precast concrete more than a century ago, it remained active during the second world war, then re-opened as an art and media museum in 1997. I am shortly to interview Analivia Cordeiro, a Brazilian artist, choreographer and dancer and pioneer of computational and video-dance practices from the early 1970s onwards, and I have come here to see the first comprehensive exhibition in Europe of her works. When I speak to Cordeiro (b1954) soon after my visit, she tells me: “ZKM means memory, it means history and it’s a kind of survival of memory. They understand what I do. I was very, very lucky: they can place it in history, the right place. They recovered the quality of all the videos.”

Cordeiro is best known for a prodigiously early dance-video work entitled M3X3 made in 1973 when she was 19. It is included as a seminal work of dance and technology in an exhibition of early computer-related art at the Los Angeles Museum of Art. Asked why she thinks this work is now gaining such positive recognition, more than half a century after she made it, Cordeiro says: “I predicted the way the body would move, those movements cut it, they are very orthogonal: break-dancing, street dancing, they all move this way now. I suppose I was predicting the body language that would come later.”

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