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Marina Rosenfeld short biography:

Marina Rosenfeld is a New York-based artist and composer. Her work has been presented at numerous institutions, festivals, and museums, including the Museum of Modern Art, Guggenheim Museum and the Park Avenue Armory in New York; the Whitney (2002 and 2008), Montreal (2016), Liverpool (2011) and PERFORMA (2009 and 2011) biennials; the Holland Festival, Tate Modern, the Secession, Wien Modern, and many others. Upcoming projects in 2017 include solo exhibitions at Portikus (Frankfurt) and the Bard Center for Curatorial Studies and commissioned works for Documenta 14 (Documenta Radio: “Every Time A Ear Di Soun”) and Donaueschingen Muiktage 2017. Rosenfeld has also performed as a pianist and as an experimental turntablist since the late '90s, working with an ever-expanding palette of hand-crafted dub plates, alongside collaborators from Christian Marclay to Warrior Queen to Ralph Lemon to the Merce Cunningham Dance Company. She is a faculty member of the MFA program at Bard College, where she co-chairs the department of Music/Sound.



Marina Rosenfeld longer biography:

Marina Rosenfeld is a New York-based artist and composer. She works at the intersection of modern composition, performance and installation, often occupying monumental sites with recorded and live sound and deploying groups of performers as choirs, orchestras and other large ensembles. Solo presentations of her work have been commissioned and presented by institutions including the Museum of Modern Art, the Whitney Museum, the Kitchen, the Park Avenue Armory, Creative Time, Issue Project Room, the Cleveland Museum of Contemporary Art, Tate Modern, South London Gallery; festivals including Wien Modern (Vienna), Ultima (Oslo), SPOR (Aarhus), Borealis (Bergen), the Holland Festival/Stejdlijk Museum (Amsterdam), Maerz Musik (Berlin), Faster Than Sound (Suffolk), Mutek (Montreal), Vancouver New Music, VIA (Pittsburgh), Sonica and City of Women (Ljubljana), Transit (Leuven), Taktlos Tonart Bern, Pro Musica Nova (Bremen), and TURA (Perth); and biennial exhibitions including the Whitney Biennial (2002 and 2008), PERFORMA (2009 and 2011), Liverpool Biennial (2011) and most recently, the 2016 Biennale de Montréal, for which she mounted a work for orchestra. Her work has also been included in several notable survey exhibitions including “Her Noise”, “Bitstreams”, “Music/Video”, “Surround-Sound”, and “Between Thought and Sound: Graphic Notation in Contemporary Music”.

As a performer, Rosenfeld has performed as a pianist and, especially, as an experimental turntablist since the late '90s, working with an ever-expanding palette of hand-crafted dub plates both as a soloist and improviser with collaborators too numerous to name, but including Christian Marclay, Okkyung Lee, Warrior Queen, George Lewis, DJ Olive and Christof Kurzmann. She has also created music for Merce Cunningham Dance Company in residence at DIA/Beacon, and choreographers Maria Hassabi at the Museum of Modern Art, and Ralph Lemon at Bard College and the Kitchen (New York) and the Walker Art Center (Minneapolis). She has toured the United Kingdom as a member of London Musicians Collective’s “Turntable Hell” tour, and performed with Sonic Youth on their “Good-bye Twentieth Century” tour and in Christian Marclay’s DJTrio. Other recent performances have been in collaboration with artist Josef Strau at the Secession, Vienna, and House of Gaga, Mexico City, and musician Ben Vida in Europe and the US.

Rosenfeld received her BA in Music from Harvard and an MFA from the California Institute of the Arts, where she studied with composer Morton Subotnik and conceptual artists Michael Asher and Charles Gaines, among others. She joined the faculty of Bard College’s MFA program in 2003 and has co-chaired its department of Music/Sound since 2007. She has also guest taught at Harvard University in the Department of Visual and Environmental Studies, at Yale School of Art in the Department of Sculpture, and at Bregman Electronic Music Studio at Dartmouth College, as well as in Bard’s undergraduate program.

Rosenfeld is a 2011 recipient of a Foundation for Contemporary Arts Grants to Artists award. Previous awards include grants and honors from the New York State Council on the Arts, the New York Foundation for the Arts, the Park Avenue Armory, Harvestworks Digital Media Arts, Experimental Television Center, and Austria’s Ars Electronica competition in digital musics. Her writing has appeared in Artforum, Leonardo, Paper Monuments’ “Draw it with your eyes closed”, and in “Arcana II: Musicians on Music”, edited by John Zorn. An essay about her own work will appear in a 2017 reissue of “Audio Culture: Readings in Modern Music” (Continuum).