Monday, August 12, Deathstar (Reduction) (2019) and My Body (2019), with Marino Formenti and Yarn/Wire, Time:Spans festival at DiMenna Center, 450 W 37th Street, New York
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.”
Saturday, June 22, Australian premiere of Sheer Frost Orchestra / “Borderlands” at Dark Mofo at Mac2, Macquarie Point Wharf 2, Hobart, Tasmania
Wednesday, March 13, 2019, 6:30pm, free: The Kitchen L.A.B. with 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.
Thursday-Saturday, April 25-27, 2019, 3:00-11:00pm, Lebensformen / Life Forms, at Haus Der Kultur der Welt, Berlin
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
Marina Rosenfeld: Music Stands, 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, details TBA.
Exhibition info: http://theartistsinstitute.org
New RELEASE! Feel Anything by MARINA ROSENFELD & BEN VIDA on iDEAL Recordings
Cover images by Eileen Quinlan
Sunday, January 27, Judson Dance Theater: A Collective Speculation, at MoMA/PS1, 22-25 Jackson Ave, Long Island City
Performance of GREATEST HITS, with Eli Keszler and Greg Fox, as part of MoMA’s full-day symposium reassessing the Judson group’s continuing influence through performances, discussions and improvisation by artists, scholars and critics. with 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.. Co-organized with Malik Gaines, André Lepecki, and Fred Moten of New York University, in conjunction with the exhibition Judson Dance Theater: The Work is Never Done at The Museum of Modern Art.