A unique presence in contemporary performance, Marco Donnarumma distinguishes himself by his use of emerging technology to deliver body performances that are at once intimate and powerful, oneiric and uncompromising, sensual and confrontational.
Working with biotechnology, biophysical sensing, and most recently, artificial intelligence and neurorobotics, Marco expresses the chimerical nature of the body with a new and unsettling intensity. He is renowned for his skill in using sound, exploiting its physicality and depth to create experiences of instability, awe, shock and entertainment.
His latest performance, Corpus Nil, creates a tense choreographic interchange between a performer and an autonomous machine using human bioelectrical and bioacoustic signals. 0-Infinity is a monumental architecture of infrasound vibrations, audible sounds and high-powered lights morphing in response to biosignals and movement data from the visitors’ bodies. In Ominous and Music for Flesh II he plays interactive music by amplifying sounds from his body. His installation Nigredo induces visitors in altered states of self-perception by feeding sounds from their bodies back to their skulls and bones.
Actively contributing to the collaboration between art and science for a decade, Marco’s arresting visions of the body have toured more than 60 countries worldwide, including, among the others, leading institutions and art events such as Venice Biennale, Steirischer Herbst, ZKM Center for Art and Media, Sónar+D, ISEA International Symposium on Electronic Art, FILE Electronic Language International Festival, RPM: Ten Years of Sound Art in China, transmediale, CTM Festival, Adventurous Music & Art.
Marco holds a PhD in Computing from Goldsmiths, University of London and is the editor of the first audiovisual anthology of biophysical music, published by the Computer Music Journal (MIT Press), and Biotechnological Performance Practice (eContact! 14.2), a comprehensive journal publication on biotech and the performing arts. Forthcoming essays will appear in the Oxford Handbook of Music and the Body (Oxford Univ. Press), with Atau Tanaka, and in Unconventional Computing for Music (Springer).