"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.
(site.hacking) is a workshop
that centers around
the possibilities of
urban space through
performance practices and
its functions through
the use of the body and
its relation to site and
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
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.
Below is the paper abstract and slides from the presentation:
Krogh Madsen: Body Interfaces – Contesting Agency
an artistic performance
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
Interfaces is inscribed
in the body's relation to the world and the actions that it partakes,
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
as a crucial part of experiencing and sensing in everyday life,
and with the body.
relational space also existing outside, but still in relation to
two entities interact, where the threshold of the two begins and ends
the interface as
condition that deals with these entities in interaction and
faces" and "a facing between" (Hookway,
is an important component of
body and the senses
are connected to
a critical reflection and reading of
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,
This way of mapping spaces gives a
contemporary narratives as a part of the interfacing process, a
critical relational practice that
potentially can deconstruct structures
on various levels.
interface is here
a site of contestation, both
in relation to actual materialities, but also in its relation to the
surrounding environment and society
not neutral ground, it
ideological instrument for
us to use (Lippard,
1997), where space
our interaction with it (Lefebvre,
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
the historical and political notions and relations inscribed into
the site, where the Body
materiality, site specificity, performance art, contestation,
Tina Mariane Krogh Madsen, paper presentation and final panel discussion: Lluís Anyó, César Escudero, Tina Mariane Krogh Madsen, moderated by Jara Rocha.
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.
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).
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.
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.
performance art, researchPosted by Tina Mariane Krogh Madsen Thu, April 21, 2016 23:11:29 The
performance artist Joël
Vervimp entered the Processual Scripting with a concept to organize
the Body Interfaces archive after a principle based on the mass between two entities. When
these two were touching each other, a line was drawn and the graphic line was
transferred to a diagram structured after the connection between the
moon and the sun. The durational performance would first end when the
circle of the diagram was filled out, which lasted approximately 6 hours.
The process was completed with the participation of the visitors, who
The first experiment came out of yesterdays playing with the Bjólfur stones on the floor titles (in the intro of the sound performance). The sound between the floor of Grüntaler9 and the three Icelandic stones made a great crisp sound in combination with the acoustics of the space.
I therefore decided to make a Body Interfaces intervention with my body moving over the stones, sliding them over the tiles. I recorded the session with a GO PRO-camera, to make the interaction more evident.
From 17h, research collaborator Nathalie Fari arrived and a three hour collaborate research session began, which included everyone entering the space - as well as those hijacked out on the street.
Nathalie Fari had brought the book Thought in the Act: Passages in the Ecology of Experience by Erin Manning and Brian Massumi. A passage of the book were the base for creating four steps "preparing for the creative chaos"!
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).