Selected Articles, Interviews, Broadcasts
Marina Rosenfeld: Chromatic Fields, Dublab audio broadcast hosted by Byron Westbrook, 120 min., January 8, 2025
Conversation: Meredith Monk and Marina Rosenfeld, by Marina Rosenfeld, frieze, Issue No. 240, January/February 2024
Review: 15th Gwangju Biennale, by Andrew Uroskie, Artforum, December 2024
Neoliberal Reason, Contemporary Music, and Proximal Critique, by Samuel J. Wilson, Twentieth Century Music, Vol. 21, Issue 3, August 2024
Marina Rosenfeld: You Conceive of a Work as a Series of Negotiations, by Bastien Gallet, AOC Magazine, Sep 16, 2023
Notes on the Index in Accelerated Digital Times, by Noam Segal, with Agnieszka Kurant, Marina Rosenfeld, and Libby Heaney, Project for Pompeii Commitment Digital Fellowship , 2023
La pluralité du son: The Sheer Frost Orchestra de Marina Rosenfeld, by Bastien Gallet, Hémisphères son, May 25, 2023
Gespräch mit der Klangkünstlerin Marina Rosenfeld, by Konrad Bott, SWR2 radio broadcast (39 min.), 2023
“Disons-le d'emblée: la première, voire la seconde écoute, furent difficiles. Et pourtant j'ai persisté, sans trop savoir pourquoi. Jusqu'à être séduit…
Index, by Inactuelles, musiques singulières, May 31, 2022
Leave the Needle on the Jammed Wavelength, by Dominic Coles, Bellona, 2022
Interview with Astrid Schwarz, Zeitton radio program, Ö1 Austrian cultural radio (60 min). April 22, 2022
“In a brilliant grammatical ellipsis, Jonas stages an unresolvable encounter between containers. . .”
On Joan Jonas's Vertical Roll, by Marina Rosenfeld, The Wire Magazine, Dec 1, 2021
Object-Oriented Sociality: Marina Rosenfeld’s Sound Installation Art, by Jennifer Smart, American Music Perspectives, Vol. 2 No, 2, 2021
Partials: Gallery conversation at Miguel Abreu Gallery: David Joselit and Marina Rosenfeld in conversation, Oct 16, 2021
“I discovered the idea of the problem itself… “
Marina Rosenfeld: The Value of Risk, by Tobias Fischer, 15 Questions, Jun 29, 2021
“I had this strange, high modernist training. . .”
London Calling podcast, by Barbara London, London Calling, Season 1, Episode 12, Jan 11, 2021
“The title of the work Cee (c) seems to hint at its near-transcendence into the visual realm—almost, “see”; not quite. . .”
Partials, by Lisa Yin Zhang, The Guide, Oct 13, 2021
“They try to send themselves — those voices of the ’90s, voices that swing between euphonious and fucked — to sleep. . .”
'Lullaby for Those Who Should Have Come of Age in the 1990s', by Fumi Okiji, Flash Art, Sep 24, 2020
Feedback Ep. 32, Yarn/Wire Ensemble’s podcast, with guest interviewer Hong-Kai Wang, Nov 11, 2020
Listen to This! Sound Art Reflections, by Barbara London, Flash Art 332, Fall, 2020
“The work sits somewhere in between a hyperalienation and a momentary sociality. . .”
Sonic Speculation: An Interview with Marina Rosenfeld, by Noëlle BuAbbud, Berlin Art Link, Nov 10, 2020
“L’ambivalence est structurelle. . .”
La Musique Horizontale, by Céline Hentz, Musica, le magazine, Sep 1, 2020
“The call to unison, those millions of metrical and supervisory events that instrumentalize our sensoria in the name of content and participation. . .”
A Martial Exercise in Togetherness: 2 Minutes From Home #9, Cat Hope, Decibel New Music, Sep 20, 2020
“. . . this singular and unique progression through superimposed territories. . .”
François Bonnet on VERTICE, Fridman Gallery, New York, January, 2020
“In improvisation, feelings are often facts”
Dub Daze: Marina Rosenfeld and Ben Vida at Fridman Gallery, by Canada Choate, Artforum, Jun 19, 2019
“I decided that an interesting way of addressing a space was to treat it like a body and ask it to listen.”
INFO Unltd. podcast, by Reece Cox, INFO Untld, Nov 4, 2019
“…kind of like if I would take myself and throw myself into space, and imagine how that would…”
“If You Could Visualise Confetti of Yourself”, by Luisa Santacesaria and Giulia Sarno, Musica Elettronic.it, Mar 26, 2019
A Conversation on Radical Receptivity, Fumi Okiji, Bill Dietz and Marina Rosenfeld in conversation on the occasion of Rosenfeld’s exhibition ‘Music Stands’ at The Artist’s Institute, Mar 17, 2018
“It was another chance to pose a slightly hostile question…”
“No More Bands”: An Interview with Marina Rosenfeld, by Cat Kron and David Roesing, Induction Burners, Sep 8, 2017
“I find the line from Cathy Berberian to the Swingle Singers a perplexing continuity—and not in a good way”
BOMB Interview, by Tristan Shepherd, BOMB Magazine, 2016
“You are listening to a an ontological problem, a problem of memory and presence. . .”
The Politics of the Musical Situation: A Response to Marina Rosenfeld , by Julie Beth Napolin, continent, Sep 1, 2016
”. . . like the scramble suit in Philip K Dick’s ‘A Scanner Darkly’, perpetually shifting and realigning your ear’s focus. . .”
Boomkat’s Top 20, by Peter Mignola, MetroSonic, Dec 23, 2013
“Here, in the face of a further codification, another ‘genrefication’: an authentically negative gesture. . .”
Liner Notes (or, Marina Rosenfeld Loves You), by Bill Dietz, for Room40 release P.A./HARD LOVE, Sep 1, 2013
“. . .watching [“Teenage Lontano”], I felt the opening of a portal between a failed utopian past and the possibility that the more real present is already something to love. . .”
When Cool Turns Cold: Whitney Biennial 2008, by Jerry Saltz, artnet, 2008
Chapter 9, “A Dot on a Line” in In the Blink of an Ear: Toward a Non-Cochlear Sonic Art, by Seth Kim-Cohen, Bloomsbury, 2009
“. . .a vernacular of contemporary listening, a generation for which technology is like a second-skin. . .”
Teenage Lontano at the Whitney Biennial, by Tyler Coburn, Rhizome, Mar 7, 2008
The Sheer Frost Orchestra: A Nail Polish Bottle, A Guitar String and the Birth of an Orchestra, by Marina Rosenfeld, Leonardo Music Journal, Vol. 12, published by: The MIT Press, 2002
“The Sheer Frost Orchestra promotes ideosyncratic behavior over standardization. . .”
Making Music: Marina Rosenfeld and Her Sheer Frost Orchestra, , by Jason, Schmidt, V Magazine, 2001