Thereby, filmmaking has become a natural extension of choreography as a tool for annotating and archiving dance within the interface of digital content. Where dance could otherwise be considered ephemeral, it becomes an example to be revisited, expanded out from the site-specific. The process of editing is the direct embodiment of dance in document: a visual of music, irony, and juxtaposition. In real-time the body dances, creating space— interrupting or coalescing with space— and by recording, echos the shapes of dance within the shape of video. The digital product thereby synthesizes the physical and environmental structure of performance, repeating the dancers’ steps via zoom-ins or jump-cuts, then layering the digital onto the real, subverting performance to create a document of a moment. Videos are often short, collaged with found-footage, overlaying the dancing subject (Renata) with other media such as recordings, drawings, and writing, that intersect to form her archive of shareable content and sketched for future projects.
Above all, Renata´s work is concerned with isolating choreographic moments in everyday behavior. In habitual, quotidian patterns and routines such as shuffling across the street or picking fruit at the market Renata makes light of the natural and unconscious choreography of human movement and human decision making. Her work overall pushes the limits of choreography into the domain of the rapidly shifting and crypto-ized contemporary art world.
Aside from choreographing and editing her own body of work, Renata splits her time between Mexico and New York as a model, director and collaborator on music videos, dance campaigns, and commercials.
Written by Addison Bale