Wednesday November 7, at Standards Studio, Milan
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 . . . In Milan for the first time, together 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.
Tuesday November 6 at 9:00 PM, at Galleria Frittelli Arte Contemporanea, via Val di Marina 15, Firenze, Italy
TRK. Sound Club presents DANIELE CARCASSI e GIOVANNI ONORATO TRKitalia | Conservatorio di Bologna and MARINA ROSENFELD (USA)
Thursday-Saturday, November 1-3, at Haus der Kulturen der Welt, Berlin
“Conference: Der Ohrenmensch: Platform for Listening Knowledge” as part of the exhibition, Radiophonic Explorations
Friday, November 2: Radiophonic Funkkolleg II: The Interference of the Future, 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? More: https://www.hkw.de/en/programm/projekte/veranstaltung/p_144503.php
Friday, July 20th, 3:30-5:00PM, at the Schader-Stiftung, Goethestr. 2
DEFRAGMENTATION Convention, Internationales Musikinstitut Darmstadt, Darmstadt, Germany
“Conversation: Architectures of Sound” with with Georgina Born, Miya Masoaka, Marina Rosenfeld and Christabel Stirling
Tuesday, July 3, 6:00 p.m.
Visiting Artist lecture, School of the Art Institute of Chicago at MacLean Center Ballroom, 112 S. Michigan Ave, Chicago
Saturday, May 26, 9:30pm, at Skippergata 22
ONLY CONNECT FESTIVAL OF SOUND 2018 — Premiere of new work Piano and work (dominos), with pianist Heloisa Amaral
More info: http://nymusikk.no/en/hva-skjer/only-connect-2018
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.
Thursday, May 17, 8pm, $20
Marina Rosenfeld — GREATEST HITS — featuring Okkyung Lee, Eli Keszler and Greg Fox
Project-Q, 1850 Amsterdam Ave
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.
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 associated with their formation.
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.
More info: www.qubitmusic.com