"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.
September 8th Tina Mariane Krogh Madsen will do a the Body Interfaces
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.
Press text (in Danish):
Mariane Krogh Madsen Body
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."
performance art, researchPosted by Tina Mariane Krogh Madsen Tue, September 04, 2018 15:49:34 Tina
Mariane Krogh Madsen presented her paper “Affective
Assemblages – Performing Relational Environments" at the Affects
Interfaces Events conference in Aarhus (DK). The conference is hosted by
the Affective Interfaces research group from Aarhus University and will
be held on August 29-30. Both days are filled with panels and
presentations, and will include keynotes by Erin Manning, Brian Massumi, Andrew Muprhie,
and Susanna Paasonen. The conference was held at Godsbanen
Skovgaardsgade 3-5 Aarhus C.
performance art, researchPosted by Tina Mariane Krogh Madsen Mon, May 07, 2018 15:09:16 Tina Mariane Krogh Madsen and Malte Steiner are currently artists-in-residency at Kultuurrikauppila in Ii, Finland. Their residency started April 3rd and will end on May 31. 2018.
During the residency they are working on a collaborate exhibition and concert as well as doing their individual works and research.
The opening is at 18h on May 16th and the exhibition can be visited until May 29th. The opening hours are: sat-sun 11am - 3 pm, mon-fri 1pm - 6 pm at Taidekeskus KulttuuriKauppila Kauppilantie 15, 91100 Ii, Finland.
May 19th a special edition of the Iijoki Relations video-installation will be shown at Nättepori in Ii, as part of a narration festival for senior residents.
May 29th Madsen and Steiner will premiere their electro-acoustic concert Surface Tension at the auditorium in Nättepori, Ii. The piece is also part of the Art Ii Biennial 2018. The concert starts at 18h.
date: June 15. 2017 // Closing date: June 22. 2017
// the first durational graphic notation will be created in the
installation space 20h
to the installation and its processes by the artist.
hours: June 16-18: 16-20 (from
16-18h the artist will do a durational notation in the back
(from 15-17h the artist will do a durational notation in the back
16h-18h the artist will do the last durational notation and
be presented in
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.
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
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.
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.
Interfaces – site-hacking: critical urban performance practice
Place: Goethe Institut Bulgaria, Budapeshta St. 1, 1000 Sofia, Bulgaria
call for participation.
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.
workshop will be in three parts:
Introduction to the method and to critical spatial practices.
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
Performance at the sea-coast in Bergen, the Mill (NO)
the performance intervention at Piksel 2016, Body Interfaces will be
used to challenge and work with the scientific concept of “zero-level
the sea-level), used to map
surfaces in topography.
The departure point will be a site specific
intervention on a selected area nearby
in Bergen. This method
will be challenged
as a performance concept and
to gather information from
the Body Interfaces
The data collected
will be notated on site as a part of the performance as
well as samples will be gathered for further use.
The performance will
challenge scientific methods and concepts as well as introduce new
ways to structure and collect
information, where chance and failure are accepted conceptions
Tina Mariane Krogh Madsen is a Danish artist, curator and researcher based in Berlin, Germany. TMKM holds a MA in Art History from Aarhus University (DK) and is a graduate from College of Arts Crafts and Design in Nørresundby (DK).