Apperances on December 4–5, 2021
19:00 | Onassis Stegi | Exhibition Hall -1
Marina Rosenfeld + Marino Formenti: “aABCb,” 2021
“Red light filtered by a house plant flickers behind an overlaid pair of animated lines. A trace of smoke from a cigarette seems to hum with static. . .”
Miguel Abreu Gallery is pleased to announce the opening, on Wednesday, October 13th, of Marina Rosenfeld’s Partials. The exhibition will be held at our 36 Orchard Street location.
In Partials, Marina Rosenfeld extends and expands a new body of cross-media sculptural works first developed in two recent institutional shows, Music Stands (2019) at The Artist’s Institute, NY and We’ll start a fire (2021) at Kunsthaus Baselland, Basel.
”Campoli Presti is pleased to announce the fifth iteration of ‘Hôtel le Lièvre.’ The installation brings together the work of artists Eileen Quinlan and Marina Rosenfeld. The works share a state of suspension between publicness and distance, attention and self-effacement that could be read as ‘ambient’—their grammar is that of the trace, of repetition and dissipation, like the overdetermined and liminal spaces that increasingly populate our engineered existences…
Marina Rosenfeld’s works explore the material traces of sensory experience, especially through sound and its mis en scène. Rosenfeld’s steel and aluminum sculpture emblematizes the temporal disorientation of listening in isolation, a speculative supplement to the intimate, corporeal address of music. Her mixed media work Ssalute and Receiver, produced during the pandemic in Dallas, Texas, stages an encounter with public space in a time of emergency: the spectator is a driver, enclosed in the protective isolation of their vehicle, as the cinematic desolation of the city at night accompanies a spiral ascent through a vacant parking structure. The labyrinthine environment is populated momentarily by a lone trumpet player whose musical salutation harmonizes briefly with the distorted echo of an ambulance passing below…”
Viewing Room: https://www.campolipresti.com/viewingroom/hll-5
The 2020–21 AURORA Biennial will open on November 6th, 2020, with the world-premiere of Ssalute, a new work by Marina Rosenfeld. Comprised of a drive-through sound installation and performance occupying the upper floors of Headington Companies’ LAZ parking garage in downtown Dallas and a large-scale public billboard (1408 S. Akard St., Dallas 75215), Rosenfeld’s new work is oriented around the spectator as a driver or passenger, enclosed in the protective skin of their vehicle. Each visitor’s entry into the work is met by an invitation of sorts—into publicness and mutual presence—in the form of a personal salute offered by a live trumpet player, a role shared by notable Dallas-based musicians Raquel Samayoa, Chris Doty and Freddie Jones.
Concert featuring two new works: Deathstar (reduction) and My body, featuring Marino Formenti + Yarn/Wire ensemble + Marina Rosenfeld
From festival catalogue: “Rosenfeld’s 2017 exhibition Deathstar at Portikus, Frankfurt, was premised on the reconstruction of a lost prototype from the 1990s: a multi-microphone nicknamed the “deathstar,” which was under development in the last days of the famed Bell Labs in NJ. Rosenfeld took up the deathstar's claim of experiential or subjective recording by constructing a facsimile of the original object and installing it in the gallery as a site of continuous recording and playback for the two-month duration of the exhibition. As fragments of noise, melody, speech and the ambient disruptions of passersby punctuated an overall silence, she amassed a large body of recorded traces within the work’s volatile and feedback-prone soundfield. These she subsequently transcribed back into notations, which were interpreted by pianist Marino Formenti near the close of the exhibition, and, later in 2017, at German music festival Donaueschingen Musiktager, in a fully orchestrated version (Deathstar Orchestration), by Ensemble Musikfabrik of Cologne with Formenti as piano soloist. Deathstar Orchestration, and its new version Deathstar (reduction), for Formenti with Yarn/Wire, both extend the installation’s temporal and indexical distortions into concert space. Where the original was continuous, looping, recursive and site-specific, the concertization is linear, ‘historicized’ (in the sense that it obeys the conventions of classical music), and answers to the excessive and contingent character of the deathstar’s original signal through an excess in staging: a wall-of-sound approach that requires instruments to be amplified through the distorting filter of guitar amps.”
“Rosenfeld’s second work, My body, a commission of Time:Spans festival, orients the actions of Yarn/Wire around a new suite of the composer’s dub plates, acetate-coated LPs that have been a longstanding material in her practice. Rosenfeld has a prolific history creating dub plates as a corollary to her compositional practice; as an archive, they track her larger works in fragmentary form since the late 1990s and have been the basis for both improvised music and additional composed works structured around the aesthetics of turntablism and musical collectivism. As objects, they represent a quasi-improvisational, quasi-compositional register of flux and action where their singularity and fragility— their tendency to decline rapidly in fidelity as they are played—and their responsiveness to acoustic conditions have manifested as signature affiliations to material instability and transformation.”
https://timespans.org/concert/yarn-wire-marino-formenti-marina-rosenfeld/
Sheer Frost Orchestra, *Australian premiere*, Borderlands @ Dark Mofo Festival
Which strategies are needed to deal with our technical present? Between the climatic shifts of the earth, political changes, and globally distributed economic exchanges, these planetary scale dynamics are both too vast and too complex to put into graspable terms. In artistic and discursive formats, Life Forms asks for means of collective agency and the values shaping them.
In an open-floor auditorium, historian of science Sophia Roosth engages in research conversations with anthropologist Elizabeth A. Povinelli, literary scholar Melody Jue, author Hu Fang and others to explore different approaches to the notion “lifeforms.” The setting for these conversations is structured by choreographers Xavier Le Roy and Scarlet Yu, whose work, based on elements of their performance Temporary Title, 2015 translates questions of individual and social transformation into the space. Sound contribution by Marina Rosenfeld. Three themed days ask: How Long Is an Echo? When Can You Call It Technology? Who Do We Care For?
Further contributions by Lisa Baraitser, Luis Campos, Grégoire Chamayou, Louis Chude-Sokei, continent., Maya Indira Ganesh, Maria Chehonadskih, Yuk Hui, Noël Yeh Martin, Luciana Parisi, Sascha Pohflepp, Kaushik Sunder Rajan, Jenna Sutela, Bronislaw Szerszynski, Gary Tomlinson, John Tresch
The second L.A.B. conversation of the winter season will feature presentations by artist and author Keren Cytter, professor of philosophy Lydia Goehr, and composer and visual artist Marina Rosenfeld.
Each season since 2012, artists and writers across disciplines have gathered as part of The Kitchen L.A.B. (language, art, bodies), a year-long series devoted to unpacking artistic and cultural terms as their meaning shifts--and may become more resonant or ambiguous--over time. This year, the series will revolve around "representation," particularly as the term at once conjures critical strategies in art from previous decades; the necessity of diverse publics; and, against the backdrop of precarious governing institutions, recent impulses toward non-representative social structures on both ends of the political spectrum.
Exhibition at Artists Institute, February 21 – March 30, 2019
Opening reception Thursday, February 21, 6:00-8:00pm, at Artists Institute at Hunter College, 132 East 65th Street, NY, NY
Gallery Conversation, with Fumi Okiji and Bill. Dietz Sunday March 16
This symposium will reassess the Judson group’s continuing influence on contemporary practice. The program features presentations, discussions, and sound improvisations by artists, scholars, and critics, including Fred Moten; K.J. Holmes and Ramsey Ameen; Malik Gaines; André Lepecki; Marina Rosenfeld with Eli Keszler and Greg Fox; Clare Croft; Barbara Clausen; Gus Solomons Jr.; and Philip Corner with Daniel Goode, David Demnitz, Leyna Marika Papach, Phœbe Neville, and Iris Brooks.
This event is co-organized with Malik Gaines, André Lepecki, and Fred Moten of New York University’s Tisch School of the Arts Department of Performance Studies, and is presented in conjunction with the exhibition Judson Dance Theater: The Work is Never Done at The Museum of Modern Art.
For her presentation in Milan, Marina Rosenfeld brought her own palette of sounds into confrontation with the subtle colorations of the soundscape of Standard.
9:30 pm live concert @Standards curated by Standards and ALMARE
6 pm talk @NABA (Nuova Accademia di Belle Arti)
November 7th, Standards’ space will host Production, a performance by NY-based composer and sound artist Marina Rosenfeld. The evening will be the result of a collaboration between Standards and ALMARE, an association hinged on contemporary practices that use sound as an art medium, founded in Turin in 2017.
Production stems from Deathstar, a recent project premised on an obsolete recording technique known as ‘perceptual soundfield reconstruction’, focused on the interplay of recording, composition, and improvisation. Originally exhibited as an installation at Portikus (Frankfurt, 2017) Rosenfeld harnessed the unruly acoustics of the German insitution tower-like space, and its tendency to amplify events, to produce a recursive and distorting recording architecture, a kind of machinic site for continuous musical production and dispersal. The work was presented also as a series of ensuing ‘orchestrations,’ for piano and other instruments.
In Milan for the first time, togheter with Standards and ALMARE, Rosenfeld has produced a new suite of dub plates, or temporary records, reimagining the tones and acoustic singularities of the performance site. In keeping with her history of creating temporary and spontaneous ‘orchestras’ – improvising ensembles foregrounding the social relations of participants with each other and their surroundings – in Milan she also plans to include some collaborators – visual arts students from NABA – Nuova Accademia di Belle Arti in her concert. Using the new dubplates as material, the group will investigate together the potential to reproduce by hand an improvised account of the architecture of their surroundings.
TRK. Sound Club presents DANIELE CARCASSI e GIOVANNI ONORATO TRKitalia | Conservatorio di Bologna and MARINA ROSENFELD (USA)
with Mara Mills, Marina Rosenfeld, Wolfgang Hagen and Alexandra Hui
An essential characteristic of the radiophonic event is the interference. The rustle between frequencies, the sudden silences, the superimposition of voices, the squeaking of the recording tape. Along these moments, specific techniques and aesthetics were developed. Unintentional noise becomes a carrier of meaning, an independent sound. The direction in which these interferences point—and from which they come—is subject to social negotiation processes. Therefore, interferences always carry a utopian moment: with them, everything can change at any given moment. Digitalization has suppressed the interference, if not abolished it. Does this mean that an aesthetic and social space of possibility is vanishing, or is it possible to preserve the potential of the interference?
https://www.hkw.de/en/programm/projekte/veranstaltung/p_144503.php
https://www.hkw.de/en/programm/projekte/2018/radiophonic_spaces/ohrenmensch/der_ohrenmensch.php
with with Georgina Born, Miya Masoaka, Marina Rosenfeld and Christabel Stirling
Defragmentation — Curating Contemporary Music is a research project aimed at enduringly establishing the debates currently ongoing in many disciplines on gender & diversity, decolonization and technological change in institutions of New Music, as well as discussing curatorial practices in this field. Supported by the German Federal Cultural Foundation, the research is being jointly initiated by the Darmstadt Summer Course, Donaueschingen Festival and MaerzMusik — Festival für Zeitfragen and in cooperation with the Ultima Festival Oslo. A key goal is to accelerate structural and habitual change with respect to these interlinked thematic areas and develop better practices. Each of the festivals seeks to achieve this goal in its own way in collaboration with artists, researchers and curators from various fields, and subsequently shares the results of the process adopted. On the basis of this (self-)critical yet generative approach the project seeks to act as a catalyst and, through its cooperation with four renowned international festivals, ensure continuity and a high profile.
In the four-day event with, among other things, thematic lectures, artistic interventions, workshops, think tanks, listening sessions, film screenings and open space events, an intensive atmosphere will emerge that allows new insights and the development of a broad discussion.
@ School of the Art Institute Chicago
Premiere of new work Piano and work (dominos), with pianist Heloisa Amaral
American composer and sound artist Marina Rosenfeld has been a pioneer of a relational kind of music composition that addresses the resonances— social, situational and acoustic— of sites in works of music and sound installation. She’s been especially associated with composing sound for vast spaces since occupying the Park Avenue Armory a decade ago with the seminal performances Teenage Lontano, for 40 voice choir, and her sound-system P.A., in 2008 and 2009, respectively. In recent years, in both concert and exhibition settings, she’s also turned her attention to solo and chamber instrumentation, producing a series of experimental, recursive scores that locate new works within the data sets associU S16ated with their formation. For Only Connect, Rosenfeld collaborated with pianist Heloisa Amaral on the realization of a new work written specifically for Skippergata 22, Oslo’s "House of Innovation,” which she learned was a “co-working” site dedicated to entrepreneurs, investors and startups.
The work follows a series of recent works where an acoustic instrument appears as an element within a dense acoustical environment—in this case, comprised of archival recordings from the composers’ prolific history producing acetate test-pressing records, or dub plates, since the late 1990s, originally as an element for live turntablism and more recently, for broader use as compositional material. Like the work GREATEST HITS: A Reproduction (2016), Piano and work (dominos) (2018) reanimates selections from Rosenfeld’s 20-year archive of delicately degraded and destroyed LP recordings, requiring the pianist to excavate and reproduce instances of scalar motion, fragments of melody, recurring textures of noise, and some of the dense network of blurred resonances and sonic trails caused by the loss of signal to noise in the archival recordings. The pianist is also tasked with inserting a fragmentary account of several keyboard pieces by Francois Couperin (this is the ‘dominos’ reference in the title) into the mix; these fragments represent a kind of coded commentary on workplace politics, although the workplace in question in Couperin’s case was the court of Louis the XIV at Versaille. Like its baroque model, the resulting music mediates between explicit and implicit registers, highlighting unexpected correlations between the “work” of the instrument, the “work” of the recording, and the “work" of the performer.
Qubit is proud to announce an evening of music by artist-composer Marina Rosenfeld at its brand-new, pop-up experimental art and music venue on Amsterdam Avenue and 151st Street. Set inside an awe-inspiring 10,000-square foot former parking garage, the project is hosting a series of events throughout the spring. For our final event of the 2017-18 season, Qubit has been planning something extra-ordinary. Set amidst the incredible backdrop of Project-Q, Marina Rosenfeld will take over the 6000-square foot raw space for her first show in New York City since 2016, featuring an all-star lineup including cellist Okkyung Lee and percussionists Greg Fox and Eli Keszler.
For Qubit, Rosenfeld presents Guide de la vie associative (2013), a solo work written by Rosenfeld especially for superstar improviser and longtime collaborator Okkyung Lee. Influenced by the social-services bureau in Brussels where they premiered it in 2013, Guide expresses each entry in a pamphlet the composer found on-site as a set of numeric and spatial relations, offering Lee an intricate framework within which to explore her wild palette of de-tuned sounds and extended techniques.
The evening will also feature GREATEST HITS: A Retrospective (2016), in a staging for two drummers. Originally conceived as a duo between Rosenfeld and Fox for the rotunda of the Guggenheim Museum in New York, the work draws on Rosenfeld's prolific history producing acetate test-pressing records, or dub plates, since the late 1990s. With drummers Greg Fox and Eli Keszler as co-interpreters in this performance, the work reanimates Rosenfeld’s 20-year archive of delicately degraded and destroyed LP recordings. The resulting music mediates between reproduction and live event, generating waves of color and noise from a re-reading of an exhibition playlist.
The Second Sexing Sound Symposium (SSSS!) is a series of public events in Chicago dedicated to ideas, research, performance, and conversation surrounding female and trans-identifying practitioners in and around the sonic arts.
More info on the Sheer Frost Orchestra
Marina Rosenfeld | Deathstar Orchestration (2017) - for piano and ensemble – world premiere - Commissioned by SWR
Eivind Buene | Lessons in Darkness (2017) - for ensemble – world premiere - Commissioned by SWR and the Norske Komponistenfond. The production was supported by Kunststiftung NRW during Campus Musikfabrik.
Misato Mochizuki | Têtes (2017) - for voice and ensemblef – world premiere - Commissioned by SWR - text by Dominique Quélen, based on Kwaidan of Lafcadio Hearn
Marino Formenti, piano
Paul-Alexandre Dubois, voice
Ensemble Musikfabrik
Enno Poppe, conductor
Bard Center for Curatorial Studies at Bard College
After Notation, an exhibition of recent and new work by New York-based artist Marina Rosenfeld, foregrounds the artist’s critical exploration of musical notation since the late 1990s. Rosenfeld practices across numerous disciplines, including music composition, performance, installation and video. Employing and developing notation, her works simultaneously conflate and upend distinctions of musical technique, gesture, language and history. Thus, notation becomes a mutable site of critical inquiry in which the ideological, historical and social conditions of music transpire.
After Notation juxtaposes two complex, time-based works, presented for the first time in the United States. My red, red blood (2011) is a single-channel video-score, stemming from a series of experimental scenarios described in a text by poet Kim Rosenfield, ostensibly narrating the experiences of a comedian entertaining US troops abroad. In the two-channel work Six Inversions (After Arnold Schönberg) (2013), Rosenfeld applies composer Arnold Schoenberg’s signal concept of ‘inversion’ to a number of conversational readings of musical ephemera. These materials include charts, score fragments and musicological texts from the composer’s Viennese archive.
These two works emphasize the symbolic functions and conceptual possibilities of musical notation as the foundation for the production of music in real-time, and propose shifts in meaning through improvisation, interpretation and translation. By doing so, these works turn the exhibition into a musical situation, inviting visitors to address the work through competing aural and visual modalities. As layers of meaning unfold in multiple registers (text, image, object, sound, event), Rosenfeld’s work inhabits a space between memory and communication, between the idea of music and its realization.
The exhibition will feature a live performance of the video-score My red, red blood.
In the live installation STAGING, duration and stillness are utilized to create a choreography in which the performing bodies oscillate between dance and sculpture, subject and object, live body and still image.
More info: Music for Maria Hassabi
More info: Documenta 14
Documenta 14 Radio Program
Kassel DE & Athens GR, and broadcast via radio stations in Colombia, Cameroon, Indonesia, Brazil, Germany, USA, and Greece
More Info: Documenta 14
More Info: production a+f
In STAGED?, the audience surrounds four performers entangled in a tense, colorful pile on a vividly pink carpeted expanse. Beneath a sculpture of burning spotlights, the performers pass over and through each other, forming an amorphous sculptural mass that changes through the accumulation of their sustained movements, creating a surreal theatrical intensity.
Portikus is pleased to open Deathstar, the first solo exhibition by Marina Rosenfeld in Germany. Since the 1990s, the New York-based artist and composer has produced a dense oeuvre of sound works, installations, and performative works, often involving the resonance and architecture of monumental spaces. Working at the limits of music composition and performance, but also corralling drawing and notation, Rosenfeld's pieces have foregrounded the complex of material and other conditions that define the situation where music is enacted. Since her early project, the Sheer Frost Orchestra, her all-female electric guitar ensemble, her works for live performers, including teenagers, classical, military and experimental musicians, address structures of transmission and cooperation.
The exhibition title of Marina Rosenfeld's new work for Portikus, Deathstar, refers to an unrealized line of research conducted in the late nineties in the last days of the sound laboratory at AT&T (formerly Bell Labs). Before it was abandoned, researchers explored the possibility of formalizing the subjective and transitory nature of sonic experience through a proprietary microphone configuration and set of calculations. So-called “perceptual soundfield reconstruction” aimed to allow users to reproduce a sensory account of the experience of one space within another. The “death star,” the device's informal nickname, referred more to the appearance of the structure, but the device also pointed to an alternative future, a future where listening was closely tied to cognition and the body.
Marina Rosenfeld takes up the “death star's” idea of environmental recording but inserts it back into a more immediate and complex temporality. The gallery is co-opted as a site of continuous simultaneous recording and playback, a fluid and recursive acoustic environment where a constant production and dispersal of data is subject to a series of delays and to the native distortion of Portikus' architecture. Indeterminacy in this system is a function not of philosophy, but the inability of the apparatus to fully grapple with the quantity and complexity of the signal that is continuously collected, translated, and redistributed through a set of shotgun microphones, an interface and four speakers.
Part echo chamber, part unruly machine, the Deathstar ultimately achieves a kind of legibility through another recursive gesture, the conversion of its collected sound back into notation. In that sense sound is neither an abstraction nor a means to an end, but rather a material condition connected to the formation of music.
On March 31, 2017, pianist Marino Formenti will perform the accumulated notations of the exhibition until that date.
The exhibition was made possible with the financial support of Hessische Kulturstiftung.
