Body Interfaces technical requirements and materials:
CV Tina Mariane Krogh Madsen:
This blog is an ongoing update on the activities of the Body Interfaces artistic research project.
For portfolio, go to the project website: http://tmkm.dk/works/bodyinterfaces.html
Body Interfaces concept and method
"The body as interface" is an artistic concept and research that comes out of a long research in body-based performance practices, site specific art and technology. The project has a very expansive interpretation and definition of the terminology of "interface" and aims to take the combination of body - interface to a wider understanding, as a relational space between two entities, concerning the aspects of bringing together two parts, as well as separating them, being a threshold condition for the two.
The research combines working with the body and (as) materiality in the tradition of site specific performance art combined with a newer understanding of the body that we have derived through our use of technology and its terminology. The project will benefit from the methodology of technology and not use technology as such; it will research in the physical sensations and meeting points that the body has with the surroundings, inspired by tools required from studying the body in technology with the concept of the interface as a main focus point. The interventions deals with the body as interface for experience, communication in relation to other materialities and the environment that surrounds and interact with these. The interface is here read as a transmitting entity and agency between the body and the surrounding surfaces; translating signals through interaction in and with the environment.
Photo: Tina Mariane Krogh Madsen: Body Interfaces - Environments II, Viðey (IS) 2017.
On September 8th Tina Mariane Krogh Madsen will do a the Body Interfaces performance Environments III at KunstCentret Silkeborg Bad, Gjessøvej 4, 8600 Silkeborg (DK). The performance will be in the park of the art center and have a duration of approximately 60 minutes. The performance starts at 14:00h.
Mariane Krogh Madsen
Body Interfaces: Environments III
der har til formål at legemliggøre interface-begrebet
gennem analoge interaktioner med omgivelserne.
Kroppen som grænseflade
skal her ses som en transmitterende og medierende enhed, hvor
relationen mellem krop, omgivelserne
tematiseres og udforskes. Yderligere er målet at skabe en kritisk
rumlig praksis, hvor udvalgte steders historik og karakteristika
bearbejdes og afsøges.
Interfaces: Environments performance
blev skabt på Fljótstunga Artist Residency på Island i 2015, hvor
af stedets naturlige
elementer blev udført via kropslige registreringer og interaktioner.
har sidenhen affødt flere forskellige iterationer med hvert sit
specifikke omdrejningspunkt, hvor den seneste var en intervention på
tilsvarende på Island.
på Kunstcenteret Silkeborg Bad vil
parken og ende
ca. 60 min."
Link to the event calendar (in Danish): http://www.silkeborgbad.dk/det-sker.html
Link to the programme: http://aie.au.dk/fileadmin/user_upload/Preliminary_20Programme_20AIE_version_201.pdf
June 16-18: 16-20 (from 16-18h the artist will do a durational notation in the back space).
June 19-21: 15-19 (from 15-17h the artist will do a durational notation in the back space).
Closing 22.06: 16-20 (from 16h-18h the artist will do the last durational notation and all previous notations will be presented in the installation space).
The sound installation Body Resonance originates from Tina Mariane Krogh Madsen’s extensive Body Interfaces performance work. The research deals with the threshold condition of the body in interaction with specific places and environments, creating a critical interaction and engagement. Body Resonance takes very literate the direct confrontation between the structural elements of the space and the body, where the soundscape is a recording of the artists body slamming into the walls and floors of an echoing empty space, created in the Hof Art Studio at the Skálar Sound Art Residency in Seyðisfjörður (IS), November 2015. The sounds of both the flesh of the body hitting the surfaces, its echoes, as well as the silent passages in-between, create a composition based on movement, intensity, and anticipation. In the installation, the recorded sound is installed, played and relocated in the empty frontal space of Liebig12, with only a transcript of the actions as a guide for the listener.
The space of Liebig12 will only be inhabited by the play-back of the sounds recorded, giving the visitors the opportunity to create their own connections, with a given choice to read the transcribed notated actions together with the sounds or simply just listen to the sounds themselves.
A crucial part of Madsen’s work is to rework and recreate performative processes. The artist will therefore do a durational processual notation responding to her own body sounds of the installation for 2 hours every day in the back space of Liebig12. The front space and the back space will be visually separated, to give the installation its own space and the artist working in response to the sounds an additionally own concentrated space. Total sonic separation is, however, not possible, nor intended. During this action the sound of the notation will fusion together with the body sounds of the installation, and thus create a new site-specific soundscape and mode of expression.
actions are available on site as a printed artist booklet.
Tina Mariane Krogh Madsen: Body Interfaces: 10.1.1 100 Continue, performance at the Sofia Underground International Performance Art Festival, 28.04.2017 at the electro-control room at the National Palace of Culture, Sofia (BG)
“The (body) may continue with its request. This interim response is used to inform the (body) that the initial part of the request has been received and has not yet been rejected by the (mind). The (body) SHOULD continue by sending the remainder of the request or, if the request has already been completed, ignore this response. The (mind) MUST send a final response after the request has been completed.” >
Body Interfaces is an artistic performance research by Tina Mariane Krogh Madsen that combines working with the body and (as) materiality in the tradition of site-specific performance art with an understanding of the body derived through a methodology coming from technology. The interface in Body Interfaces is inscribed in the body's relation to the environment and the actions that it partakes in, with the body as an embodied technology in itself. It is a proposition to go beyond the mere body/machine dichotomy, the traditionally known Human Computer Interface and the contemporary more ubiquitous interface approach still depending on computer hardware and software. Instead the research aims at a representation and understanding of the interface as a crucial part of experiencing and sensing in everyday life, through and with the body. We now engage with the world, with our body as also technology that interfaces and activates relations through everyday practices.
Body Interfaces thus researches in the physical sensations and meeting points that the body has with the surroundings, inspired by tools and methods coming from studying the body in technology with the concept of the interface as its main focus point. For the Sofia Underground Performance Art Festival the HTML command '100 Continue' is rewritten into a performance score to be performed with the body. The structure and the duration of the piece is nailed down to be a total of 10 acts of each 10 minutes duration, a divided sum that in total also equals 100 minutes. The performance thus deals with how time is structured by a principle, here both through the command line as well as the given parameter of the instruction chosen by the performer. Time will in this way be a central element in the structure of the piece, as well as it is an important part of the protocol controlling the performance.
Site-specificity is an essential part of the Body Interfaces research. The site is the departure point and data-feeder for the performances, where the senses become important catalysts for the interaction with the site as a vital part of the interfacing process. Body Interfaces wish to challenge and incorporate formats and terminologies inherent from technology and scientific practices; creating a DIY, open and analogue approach to these. The data collected through the actions will be notated on site as a part of the performance as a live scripting act.> This paragraph is a modified version of the HTML 100 response to be found on various sites related to HTML, e. g. on the protocol lists at W3 https://www.w3.org/Protocols/rfc2616/rfc2616-sec10.html and Connected: An Internet Encyclopedia, http://www.freesoft.org/CIE/RFC/2068/72.htm, the text in brackets is changed and inserted by the artist.
Interfaces – site-hacking: critical urban performance practice
Place: Goethe Institut Bulgaria, Budapeshta St. 1, 1000 Sofia, Bulgaria
Open call for participation.
The workshop will be held in English and is open to all levels, but please send a line about your previous experience with performance art, so the workshop can be planned the best way possible. Duration 3 hours on a selected location in Sofia.
Body Interfaces workshop centers around the possibilities of analyzing and recapturing urban
space through performance practices and thus hacking its normative
functions through the
use of the body and its relation to site and environment. The
workshop will explore territories,
observe and intervene! Time will be used as a central element in
structuring the form
of the interventions as well as time is connected to the way the body
will use movement in
urban space. Referring to the method of Tina Mariane Krogh Madsen's
Body Interfaces research, the body will be used as a data-gathering
tool to explore places and interact with these. It introduces spatial
theory and tactical intervention practices, where the body will be a
technological tool that
can be used as a critical instrument. In the area where the workshop
will take place initial hierarchies
and power structures will be deconstructed through physical
engagement with the selected
site, facilitating a type of data-mining with the body.
The workshop will be in three parts:
1. Introduction to the method and to critical spatial practices.
2. Observation and registration – uncovering how the site is used, what is its characteristics and how is it systematized.
Intervention – how can we as performers hack into the use and the
structure of space and
create critical situations and potentially disrupt the use and the
thought of space and
If you are interested to participate, contact us on: firstname.lastname@example.org
Images from the workshop: