Body Interfaces

Body Interfaces

Body Interfaces research


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.

stone/sound - floor/movement - video exhibited at Fata Morgana Galerie, Berlin (DE)

performance art, researchPosted by Tina Mariane Krogh Madsen Wed, September 28, 2016 22:54:39
The video documentation of the Body Interfaces experiment: stone/sound - floor/movement from Body Interfaces: A Processual Scripting and performed at Grüntaler9 in April 2016, was exhibited at the Fata Morgana Galerie in Berlin (DE) as a part of the Extant exhibition.



Fata Morgana Galerie
Torstrasse 170
Berlin, DE 10115
Opening September 15th
18:00 - 21:30
From September 15th - September 29th (Open from Wed - Sun by appointment)

Extant
adjective ex·tant \ˈek-stənt; ek-ˈstant, ˈek-ˌ\
in existence : still existing : not destroyed or lost

Curated by Keegan Luttrell

Artists:
Michelangelo Contini
Ida Koitila
Tina Mariane Krogh Madsen
Olga Tzikouli
Nuno Vicente

How do we reflect our existence through interventions with objects, materials and instances in order to pose questions about our own humanity? Extant looks at artists who are using their practice to understand not only our existence as a human race, but also how objects contain themselves through creating a sense of awareness and contradiction. Extant pushes beyond the threshold of what it is to know and embody, resulting in a contemplation of how we can contain what remains.

Spanning several mediums and forms, the artists of Extant bring matter out in the open by re-contextualizing the inherent nature and properties of the objects in play. The struggle between the overt and the covert is continuously taking place, procuring new methods of determining the validity of our existence.

http://www.fatamorganagalerie.com

Crossover, Kiel

performance art, researchPosted by Tina Mariane Krogh Madsen Wed, September 28, 2016 22:19:07
Methods from the Body Interfaces research was used in the two performances ccreated for the Crossover project initiated by Atelierhaus im Anscharpark in Kiel (DE).


Tina Mariane Krogh Madsen (DK)
Title: Borderland(s)

A reflection on how identity and sense of belonging can be projected into a place. The intention is to combine the experience of the here and now with the knowledge of history and how we process and recall historical information.

Part 1. is a silent performance walk in the mfg5 former military area.

Part 2. is a performance in the Flandernbunker, activating and re-contextualixing materials collected on the walk.

Materials: paper, pen, found objects.






Workshop at Electropixel #6, Nantes (FR)

performance art, researchPosted by Tina Mariane Krogh Madsen Wed, August 17, 2016 19:39:18

The workshop will take place on August 20. 2016 at 14h at Les Nefs, Ils de Nantes.

body.data.space (site.hacking)
is a workshop that centers around the possibilities of analyzing and recapturing urban space through performance practices and thus hacking its functions through the use of the body and its relation to site and environment. The workshop will explore territories, observe and intervene!

Using 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 the technological tool to use as a critical instrument. In the area where the workshop will take place initial hierarchies and power structures will be deconstructed through engaging with a selected site, data-mining with and through the body as a catalyst.

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.
3. 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 place.

The workshop will be held in English.
Duration 3 hours on a selected location in Nantes: Les Nefs.

Photo: Xoel Friere, Body Interfaces performance at Electropixel 2015


Body Interfaces: Contesting Agency, paper presentation at the Interface Politics conference in Barcelona, April 2016

performance art, researchPosted by Tina Mariane Krogh Madsen Wed, June 08, 2016 13:43:22
The Body Interfaces research is developing new theoretical and practical ground, to analyse and de-construct narratives through site-specific practices. To infiltrate and use the transformative potentials of performance to intervene and re-activate histories connected to the places and sites where the interventions take place.


For the Interface Politics conference held in Barcelona, Spain from April 27. to 29. 2016, Madsen will present her work as a critical performance practice, read through theoretical approaches to the topic.

The conference is organized by GREDITS (Design and Social Transformation Research Group) (from Bau, Design College of Barcelona), IMAGIT/BCN (European consortium for multidisciplinary research), of which HANGAR (Production and Research Centre for Visual Arts in Barcelona) is a member and the MEDIACCIONS Research Group from the Open University of Catalonia (UOC).

Below is the paper abstract and slides from the presentation:

Tina Mariane Krogh Madsen: Body Interfaces – Contesting Agency

Body Interfaces is an artistic performance research that combines working with the body and (as) materiality in the tradition of site specific performance art combined 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 world and the actions that it partakes, with the body as an embodied technology in itself. It is a proposition to go beyond the mere body / machine dichotomy to an understanding of the interface as a crucial part of experiencing and sensing in everyday life, through and with the body. As theorized by Branden Hookway, the interface is seen as culture, a relational space also existing outside, but still in relation to technology. Hookway describes how two entities interact, where the threshold of the two begins and ends with the interface as a liminal condition that deals with these entities in interaction and distinguishes the interface as a "between faces" and "a facing between" (Hookway, 2014).

Site-specificity is an important component of the research, where the body and the senses are connected to the chosen environment through the interfacing act and thus creating a critical reflection and reading of contemporary society. Paul Rodaway formulates how the representation of sensuous experience is connected to the culture where it is performed; how the body relates to the given space and time, being within and a part of the world (Rodaway, 1994). This way of mapping spaces gives a possibility to recreate contemporary narratives as a part of the interfacing process, a critical relational practice that potentially can deconstruct structures and hierarchies on various levels. The interface is here a site of contestation, both in relation to actual materialities, but also in its relation to the surrounding environment and society (Hookway, 2014). Space is in this context not neutral ground, it is an ideological instrument for us to use (Lippard, 1997), where space is socially constructed, which affects our interaction with it (Lefebvre, 1974). Additionally the way that we act in the environment, in which we are present, is structured and manipulated by strategies (of power), which can be acted upon through everyday spatial practices (de Certeau, 1984). The narratives of the interfaces thus become the historical and political notions and relations inscribed into the site, where the Body Interfaces interaction takes place.

Tags/ keywords: materiality, site specificity, performance art, contestation, sensuous experience



Tina Mariane Krogh Madsen, paper presentation and final panel discussion: Lluís Anyó, César Escudero, Tina Mariane Krogh Madsen, moderated by Jara Rocha.

All photos: Malte Steiner

Slides from the presentation (in pdf)


Interface Politics conference website










Day 8, Friday April 22: re-performance and re-visiting the scripting - research collaborator: Ilya Noé

performance art, researchPosted by Tina Mariane Krogh Madsen Thu, May 19, 2016 14:15:42
The last day of the processual scripting invited performance artist Ilya Noé to re-perform and reflect on the process so far. The day began with Madsen retelling the process of the week, going through the material from all the days and the performances; connecting these to other documents from the archive. While Madsen was talking, Noé noted down and drew the process on a big piece of paper on the floor in the space. Visitors came into the space and witnessed this process.

After going through the actions and performances of the whole week, Madsen and Noé took out certain elements from the scripting and created a new score to be performed on this last day, consisting of actions based on events from the week. Suddenly certain objects introduced to the process by visitors became central and highlighted, while others were not used at all.

This score was to be first performed by Ilya Noé, then later by Tina Mariane Krogh Madsen, re-interpretating and concluding the process, based on the actions of Noé. This re-performance of the re-performance were documented and is to be used for another re-performance later on, where Noé will do another re-performance of the re-performance, based on Madsen's actions.

Important for the process is the fact that Noé did not witness any of the performances during the week, she only has the knowledge of this through images, performance remains and the retelling from Madsen. Additionally when Noé will re-perform the piece again, she will do this based on video documentation only, since she was not to be present at Madsen's re-performance. This way the re-performance is performed by the artist, who conceptualized the performance and was in the whole process and through an artist who did not witness anything live, but retold through accounts and documentation. This gives an extra layer of interpretation as well as it discusses the information provided through documentation.

Ilya Noé performing the Re-performance
Photo: Malte Steiner.



Tina Mariane Krogh Madsen performing The Re-performance of The Re-performance
Photo: Malte Steiner.






Day 7, Thursday April 21: rituals

performance art, researchPosted by Tina Mariane Krogh Madsen Thu, May 19, 2016 12:47:25
The concept of Body Interfaces deals with the space and the interactions with the site. The processual scripting had this day a focus on ritual - here in relation to interactions with the space.

Different actions was performed in the space:
- counting and registration of all inventory of the archive.
- measuring the space with the body
- interaction with surfaces and sounds of the space (combined with the measuring process as well).



Day 6, Wednesday April 20: re-performance - research collaborator: Aleks Slota

performance art, researchPosted by Tina Mariane Krogh Madsen Thu, May 19, 2016 12:33:30
Through the focus on re-performance and re-activation of materials, today's guest, performance artist Aleks Slota, interacted with the materials in the space, being on site the whole day.

A collaborate performance was created, that dealt with the relation that both artists had to the materials of the Body Interfaces archive at this stage of the process. The concept was to break down the structure of the space and collectively re-organize them again.

A notation was made which set the ground rules. It was sealed and the performance was set to begin at 20h. The duration of the performance was not communicated to the audience, but would either stop at 21h or when the artists had come to a state of the organization that both were satisfied with. No verbal communication was allowed.
The performance started with both artists shaking hands, then putting on black rubber gloves to mark the agreement and the beginning of the performance. The performance ended with both artists collectively carrying the discarded material in a big plastic sack, to be placed outside the gallery space as garbage. This material was not allowed to be included in the archive again.


Aleks Slota website






Day 5, Tuesday April 18: chance as method

performance art, researchPosted by Tina Mariane Krogh Madsen Thu, May 19, 2016 12:26:01
The fifth day of the processual scripting was also the first day alone in the space to work with the archive. The method of chance was investigated on the organisational structures of the material and the space.



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