André Martinez grew up in Porto Alegre, in southern Brazil, in an environment where music was part of everyday life. His parents sang and played instruments, and music was a constant presence at home. He began in dance in childhood, studying for twelve years with Nilva Pinto and, at different moments, with other mentors. This experience shaped a direct relationship between body, rhythm, and composition.

During his teenage years, as personal computers were becoming more widely accessible, he developed an interest in technology. This interest would later lead him to pursue a degree in Systems Analysis, establishing early on an uncommon combination: that of the dancer and the technologist.

In the 1990s, while still young, he created his first original works: musical performances that brought together texts by major poets with music and choreography. In these works, he was responsible for artistic conception, scriptwriting, direction, and choreography, bringing together word, sound, and movement within a single field of creation, always in collaboration with other artists. In that same period, he also sang with the Quintanares choir, conducted by Adroaldo Cauduro, and with the vocal group Vox Polis, directed by Paulo Dorfman.

Toward the end of the decade, his artistic and technological paths begin to converge, bringing his work into closer alignment with the transformations of each period.

The first movement takes place in writing. At the beginning of the blogging era, he created Tempoética on the Blogger platform, which was later featured as a Blog of Note, at a time when publishing texts online was itself an emerging practice.

In the following years, he became active in the cultural field, working on projects related to audiovisual production and its circulation. In 2005, already based in São Paulo, he published Democracia Audiovisual. The book is not an artistic work, but a milestone that reinforces an already present interest: what happens when new media expand access and shift modes of production.

Before the widespread adoption of camera phones, he began working with videodance and musical documentaries using accessible digital cameras, such as early Cyber-shot models. The camera moves into the hand, bringing with it the possibility of producing images outside established production systems.

From that point on, his work expands across different formats — audiovisual, videodance, cyberfilms, design — maintaining a continuity between body, image, sound, and text.

Over a decade of study, he sought to deepen his visual approach and repertoire, culminating in two postgraduate programs: Goethean Phenomenology applied to social practice, at Rhodes University (Grahamstown, South Africa), and Design at Escola da Cidade (São Paulo, Brazil).

With the rise of music streaming and the emergence of generative AI technologies, this trajectory finds a new development: authorial music production.

Composition — melodies, harmonies, lyrics, and arrangements — as well as part of the vocal performance, remains the core of the practice, developed in collaboration with his brother, Carlos Martinez. From this material, generative systems are employed in the final shaping of arrangements, textures, and variations, expanding the possibilities of sonic organization.

Music shifts from being a form to functioning as a field: a space in which direct decisions and automated processes coexist and interact.

Within this context, musical creation expands into the construction of personas and fictional universes, where voice, image, and presence are organized as extensions of the compositional process itself.

Throughout this trajectory, André Martinez works from moments in which new tools become available but are not yet stabilized. Blogs, digital cameras, generative systems — each of these conditions concretely reshapes the ways in which work is produced, circulated, and recognized.

Today, this shift reaches a more unstable point.

The relationship between creation, economy, and recognition no longer unfolds in a continuous way. Platforms, validation systems, and institutional circuits attempt to fix criteria of authenticity within a field where image, voice, and presence have ceased to be sufficient evidence.

It is at this limit that the work positions itself. Not as a response, but as an operation. By embracing mediation, grounding creation in a trajectory, and simultaneously expanding it through means that destabilize its own reading, the work places pressure on the parameters that seek to define it.

Authorship ceases to be a given condition. It becomes something that must be constructed — and contested.