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// english below //
Blåt Blod var en installation som blev skabt til første sal på 1000fryd til Kulturnatten den 11. oktober 2002. Sytten år efter skal dette materiale genbesøges, i selv samme rum som huser Art Room 1000fryd i dag. Projektet er således i den mest konkrete forstand stedsspecifik og er for sin egentlige reaktivering i form af en de/rekonstruktion afhængig af netop dette rum.
Blåt Blod var i sin oprindelige form også en dekonstruktion, en nyfortolkning af identitet og kønsroller som vi kender dem. Installationen var del af en serie af projekter omhandlende genskrivningen af normative idealer. Nu skal denne fortælling igen rystes. Den oprindelige installation skal her ses som hoved-teksten, hvis elementer gennem de/rekonstruktion diskuteres. Betydninger bliver nedbrudt og nye forbindelser opstår, hvor fragmenter fra tidligere tilsynekomster og dialoger skaber nye dissonanser og resonanser.
BB[02/19] er i sin nye form en dynamisk enhed. Selve de/rekonstruktionen vil blive performet som en åbningsseance hvis varighed dikteres af processen. Det er en væsentlig del af materialets transformation at alle elementer ses som aktive agenter i en dialog, i en ny tilstand og tilblivelse. Performancen består af flere små aktioner, som er rituelle, transformative og ekspressive. Der vil være en naturlig improvisatorisk tilgang til arbejdet med de forskellig elementer.
Efterladenskaberne vil i de efterfølgende to dage være installeret i rummet sammen med lyden fra åbningsperformancen og dens aktioner. Her opstår et samspil mellem selve handlingen (som er afholdt, det flygtige) og performance dokumentet som installation (sporene efter både de/rekonstruktionen og den oprindelige installation). Denne dobbelte reference stiller tilsvarende spørgsmål ved hvad der sker i genaktiveringen af kunstnerisk materiale, hvor der vækkes en historisk relation til kunstnerens praksis dengang og nu.
TINA MARIANE KROGH MADSEN (f. 1977) er dansk kunstner og researcher, der arbejder med konceptuelle strategier, performancekunst, lyd og open source teknologi. Madsen undersøger i sit omfattende research projekt Body Interfaces kroppen som grænseflade og affektiv teknologi, der aktiverer andre agenter og materialiteter. Hendes lydkunst spænder fra minimale og konceptuelle lydinstallationer til elektro-akustiske kompositioner og intense noise-koncerter. Madsen har ligeledes en interesse i arkiv- og dokumentationspraksisser i relation til flygtig kunst, hvilket hun også underviser i. Madsen er uddannet fra Seminarium for Håndværk og Design, hvor hun begyndte at studere performancekunst i 1999, og har en cand. mag i kunsthistorie fra Aarhus Universitet. Hun har fra 2013-2018 været bosat i Berlin, Tyskland, og har de sidste 20 år præsenteret og performet sine værker internationalt. Madsen arbejder ligeledes som freelance kurator og har senest skabt platformen Performance-protocols.
Hjemmeside:
TINA MADSEN
// english //
Blue Blood was an art installation created for the first floor of 1000fryd for the Culture Night October 11, 2002. Seventeen years later this material is to be re-visited in the same room that houses Art Room 1000fryd today. The project is thus site-specific and for this actualization and de/reconstruction dependent on this specific space.
In its original form Blue Blood was also a deconstruction, a reinterpretation of identity and gender roles as we know them. The installation was part of a series of art projects working with the rewriting of normative ideals. Now this narration needs to be shaken again. The original installation should here be regarded as the main text whose elements are discussed through their de/reconstruction. Meanings are broken down and new connections emerge where fragments from previous appearances and dialogues create new dissonances and resonances.
BB [02/19] is in its new form a dynamic entity. The actual de/reconstruction will be performed as an opening performance whose duration is dictated by its process. It is an essential part of the transformation that all elements are seen as active agents in a dialogue, in a new state of becoming.The performance consists of several smaller actions which are ritualistic, transformative and expressive. There will be a natural improvisational approach to working with the different elements.
The remains will be installed in the room for the next two days, along with the sound of the opening performance and its actions. Here an interaction occurs between the action itself (which is in the past, the ephemeral) and the performance document as installation (the traces of both the deconstruction and the original installation). This dual reference raises questions to what happens during the reactivation of artistic material, where a historical relation is created to the artist’s practice, both then and now.
TINA MARIANE KROGH MADSEN (b. 1977) is a Danish artist and researcher working with conceptual strategies, performance art, sound and open source technology. In her extensive research project Body Interfaces, Madsen examines the body as an interface and affective technology that activates other agents and materialities. Her sound art ranges from minimal and conceptual sound installations to electro-acoustic compositions and intense noise concerts. Madsen also has an interest in archival strategies and documentation practices in relation to ephemeral art and performance, in which she also teaches. Madsen graduated from the College of Arts Crafts and Design, where she began studying performance art in 1999, and she holds a MA in art history from the Aarhus University. She has been living in Berlin, Germany from 2013-2018, and she has for the past 20 years presented and performed her works internationally in various forms and contexts. Madsen additionally works as a freelance curator and her latest project is the creation of the platform for instruction-based art, Performance-protocols.
Website:
TINA MADSEN
