textual repetition is a participatory performance by Tina Mariane Krogh Madsen which took place in the library of Villa Terminus in Bergen (NO) as a part of the Performance Art Bergen Open Festival 2022. Tina Mariane Krogh Madsen here facilitated a durational and processual reading anchored in the books already present in this room and connected to site-specific topics, where Madsen brought additional three books important for their research in affect and performance art. People visiting the room were invited to read lines from this mix of books and repeat them, in a loop, knowing that these will never be exactly the same, but have difference inscribed through their continuous enunciation as repetitions.

This track is the first of a row of cycles which took place during this 2,5 hours performance.

textual repetition, PAB Bergen - Cycle 1

kivi meditaatio # III, a part of Governing Bodies Helsinki, performed live at Akusmata on June 4th 2022.

kivi meditaatio # III,  live at Akusmata

Body Resonance was recorded in Seyðisfjörður (IS), November 2015.. The sound was played back in the space of Liebig12, Berlin (DE) as the installation Body Resonance 15.06.2017-22.06.2017.

The publication created for this sound piece can be found here - with this publication connections and new nodes can be traced (note the first page is blank): 
http://performance-protocols.net/Body_Resonance_publication.pdf



--- Press text ---
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 and how it interacts with specific places and environments, creating a critical dialogue and engagement. Body Resonance takes literally the direct confrontation between spatial structures and the body, whereby the soundscape is a recording of the artists body moving while hitting against the walls and floors of an echoing empty space. These actions were 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 interacting with the surfaces, its echoes, as well as the silent passages in-between, together create a composition based on movement, intensity, and anticipation. In the installation, the recorded sound is installed, played and relocated in the 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 recreate and reactivate performative processes. The artist will therefore do a durational processual notation responding to her own body sounds of the installation for a variable duration 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 these actions the sound of the notation will fusion together with the sounds of the installation, and thus create a new site-specific soundscape and mode of expression.
The transcribed actions are available for purchase as a printed artist booklet, specially produced for this installation.

Body Resonance (action for installation)

little fists is a 15 minutes long noise composition created during the last months of 2017

little fists

DL # I (silence)

DL # I(noise)

Tina Mariane Krogh Madsen, Tonal (2018): Composition of stretched voice and prepared music-box

Tonal

Cloudburst

Blue Blood was an art installation created by Tina Mariane Krogh Madsen for the first floor of 1000fryd for the Culture Night in October 11, 2002. Seventeen years later this material was re-visited as BB [02/19] in the same room that houses Art Room 1000fryd today. In its original form Blue Blood was also a deconstruction, a reinterpretation of identity and gender-roles as we know them. BB [02/19] is in its new form a dynamic entity. The actual re/deconstruction was performed as an opening performance whose duration was dictated by its process. It was an essential part of the transformation that all elements were regarded as active agents in a dialogue. The performance consisted of several smaller actions which were ritualistic, transformative and expressive.

The remains were installed in the room for the next two days, along with the sound of the opening performance and its actions. Here an interaction occurred between the action itself and the performance document as installation.

BB[02/19]

As a constellation of water-shaped lava stones, hardware objects, and a singing bowl - this piece reflects on the relocation of these stones from the coastline of Reykj́avik (IS) into a new composition in the studio. The appearance of the stones are in both cases dependent on external factors, here the tide (high or low)of the coastline as well as the interaction with other elements in the studio. Live recording with no amplification, overdubs etc. at the SÍM residency (Reykj́avik).

Sjávarföll II

Tina Mariane Krogh Madsen (DK) is an interdisciplinary artist researcher, working in the intersection between performance art, media and sound. Besides working on own projects, Madsen is also the other half of the industrial-noise duo TMS and the live-coding outfit codepage (both together with Malte Steiner).