PDF, 2017

Marina Rosenfeld – CV
Born in 1968, New York, NY Lives and works in New York, NY


1994 MFA California Institute of the Arts
1991 AB Magna Cum Laude Harvard University


2007-present Bard College, Milton Avery School of the Arts, Co-Chair MFA in Music/Sound (faculty since 2004)

2016 Yale University, School of Art, Visiting Critic in Sculpture
2014-2015 Yale University, School of Art, Senior Visiting Critic in Sculpture
2003-present Bard College, Milton Avery School of the Arts, MFA Faculty
2006-2015 Bard College, Visiting Assistant Professor of Arts
2011 Harvard University, Visiting Lecturer in Visual and Environmental Studies
2007-08 Long Island University, Brooklyn, Visiting Lecturer, MFA in New Media and Performance 2006 Dartmouth College, Visiting Lecturer in Bregman Electronic Music Studios
2002 Bard College, Visiting Assistant Professor of Arts
1999 Art Center College of Design, Pasadena, Visiting Instructor



Columbia University, Graduate PhD Program in Art History, Artist Lecture

University of Toronto, Jackman Humanities Institute, “Time, Rhythm and Pace,” Symposium presenter, lecturer


New Museum, Panel: “Between Dog and Wolf: On Sight and Sound in Space”

Park Avenue Armory, “Curatorial Conversations,” with curator Humberto Moro

New School for Social Research, Graduate Program in Design, Ethnography and Social Thought: “Surface Species: Playback and the Object—Seminar with Marina Rosenfeld”

Center for Brooklyn College, Composers' Forum, Artist Lecture
Carnegie Mellon University, School of Art and Lab for Creative Inquiry, Artist Lecture Vanderbilt University, School of Art, Artist Lecture
University of California Los Angeles, California, School of Art, Artist Lecture University of California Santa Barbara, Department of Music, Artist Lecture
Rutgers University, School of Art, Artist Lecture

Wesleyan University, Department of Music, Artist Lecture, 2014
Brown University, Department of Modern Culture and Media, Conference: “Sonic Focus 3” CUNY Center for the Humanities, Panel: “The Status of Sound: Writing Histories of the Sonic”
Yale University, School of Art, Sculpture Program, Visiting Artist Lecture
PEW Center for Arts and Heritage, Philadelphia: Conference “Electronic Music Today” Columbia University, Graduate Program in Music Composition, Artist Lecture
TURA Festival Artist-in-Residence and Keynote Speaker, Perth, Australia
Queensland University, Brisbane, Australia, Artist Lecture
MIT, Visiting Artist & Panelist, "Intelligent Life: Maryanne Amacher”
Austrian Cultural Forum, New York, Moving Sounds Festival, Symposium Panelist University of Colorado at Boulder, Artist Lecture
Parsons School of Art, Artist LectureArtist Lecture
RPI, Department of Electronic Arts, Artist Lecture
Columbia University Center for Jazz Studies, Symposium, “Improvisation and Everyday Life”


2017 DEATHSTAR, Portikus, Frankfurt
including premiere performance with Marino Formenti of Deathstar Notations

After Notation, Bard CCS Hessel Museum, Annandale-on-Hudson, New York
Turn of My Century: Dub Plates and Test Pressings 1997-2015, coproduction of Galerie der Stadt Schwaz and Klangspuren Schwaz Festival Zeitgenössischer Musik (September 2017)

2016 Marina Rosenfeld: Teenage Lontano, Museum of Contemporary Art Cleveland
2014 roygbiv&b (Version for South London), South London Gallery, London
2013 P.A./HARD LOVE, The Kitchen, New York
2012 WHITE LINES, Midamerican Center for Contemporary Music, BGSU, Bowling Green, Ohio 2011 Cannons, Midlands Railway Workshop, Perth, Australia

Rainbow Gathering, Serralves Museum & Foundation, Porto, Portugal 2009 Sheer Frost Orchestra, Cleveland Museum of Art
2007 WHITE LINES, Weld Center for Contemporary Performance, Stockholm

2006 WHITE LINES, The British School at Rome, Rome
2003 Emotional Orchestra, Deitch Projects, New York
2002 anti-Warhol Movement, Diapason Gallery, New York
2001 Sheer Frost Orchestra, Whitney Museum of American Art at Philip Morris, New York 1999 the heavens & madscene, Curt Marcus Gallery, New York

waltz: remix, Plattform für Zeitgenössische Kunst, Luzern 1998 theforestthegardenthesea, Curt Marcus Gallery, New York

theforestthegardenthesea, Echoraum, Vienna
1997 Sheer Frost Orchestra, Greene Naftali Gallery, New York
1995 Sheer Frost Orchestra, Los Angeles Contemporary Exhibitions, Los Angeles


2017 Documenta 14, “Every Time A Ear Di Soun: Documenta 14 radio,” curated by Adam Szymczyk and Bonaventure Soh Bejeng Ndikung

2016 Le Grand Balcon: Bienniale de Montréal, Musée d'art contemporain and Le Régiment de Maisonneuve, Montréal

Moholy-Nagy: Optical Sound, Guggenheim Museum, New York, *premiere performance of GREATEST HITS: A Reproduction
Sound Conditions, Context Art Miami
Whatever Moves Between Us Also Moves the World in General, Murray Guy Gallery, NY

2015 Aftersound, Carnegie Mellon University, Pittsburgh

2014 Reverb, Torrance Art Museum, Torrance, California
Sexing Sound: Aural Archives and Feminist Scores, James Gallery, CUNY Graduate Center, New York SONICWORKS, DiverseWorks, Houston

2013 Art is: New Art, Arnold Schönberg Center, Vienna
Subject, Answer, Countersubject, Disjecta Contemporary Art Center, Portland

2012 Propro Prop: Criss-crossing the archives of the Centre for Swedish Electroacoustic Music, 1963-2012, Moderna Museet Malmö, Malmö, Sweden

2011 Instructions Lab, Museum of Modern Art, New York, *premiere performance of roygbiv&b BXL-NYC Spatialized, q-o2 Gallery, Brussels

2010 'No Longer Empty' at the Liverpool Biennial, Renshaw Hall, Liverpool
Ensemble Zwischentöne + die 35 Megaphones des Orchester für direkte Demokratie, curated public project of Ensemble Zwischentöne, Schlossplatz, Berlin *premiere performance of Self-Portrait/Self- Portrait with Material

2009 PERFORMA Biennial of Visual Art Performance, Park Avenue Armory, NY, *premiere performance of

P .A.
Tbilisi 6: Sonic Khinkali, Tbilisi, Georgia

2008 2008 Whitney Biennial Exhibition, Whitney Museum of American Art, New York, *premiere performance of Teenage Lontano
Perspectives 163: Every Sound You Can Imagine, Contemporary Art Museum Houston
Agape: partitures experimentals, l’acte social de la lectura i la possibilitat d’accio, Museu d'Art Contemporani de Barcelona, Barcelona

2007 New York Electronic Arts, Dock 4, Kassel
Between Thought and Sound: Graphic Notation in Contemporary Music, The Kitchen, New York

2006 musicircus, Tate Modern, London
Surround Sound, Galerie Rachel Haferkamp, Cologne Her Noise Archive, Bergen Kunsthall, Bergen, Norway

2005 Her Noise, South London Gallery, London
Workspace Projects/Out of Context, The Red House, Sofia, Bulgaria
In Resonance, Henry Gallery, University of Washington, Seattle
Sounds In Space: Works from the Diapason Archive, Dorsch Gallery, Miami

2004 for a long time...six hours around a garden, Wesleyan University, Middletown, Connecticut Sound Migrations, Pacific Design Center, Los Angeles
Music/Video, Bronx Museum, New York

2003 Electronic Music Archive, Kunsthalle St. Gallen, St. Gallen, Switzerland

2002 2002 Whitney Biennial Exhibition, Whitney Museum of American Art, New York
Sonic Garden: Laurie Anderson, David Byrne, Marina Rosenfeld, Ben Rubin, Winter Garden, World Financial Center, New York
Music/Video, Musée d'Art Moderne et Contemporain, Strasbourg, France
Rock My World: Recent Art and the Memory of Rock 'n' Roll, CCAC Institute, San Francisco

2001 Bitstreams, Whitney Museum of American Art, New York Orchestral Maneuvers, Wood Street Galleries, Pittsburgh

1999 Fastastic Matter of Fact, Kunstraum Innsbruck, Innsbruck
Sounds Like Art: Matt Heckert, Marina Rosenfeld, Trimpin, Yerba Buena Center for the Arts, San Francisco
East of Eden: Profane Gardens, Chapman University, Orange, California

1998 Superfreaks—Post Pop and the New Generation, part II: Odyssey, Greene Naftali Gallery, New York

1997 Hot Coffee, Artists Space, New York

1997 Ear as Eye, Los Angeles Contemporary Exhibitions, Los Angeles
Do you want new wave, or do you want the truth? Art Initiatives, New York


2017 Donaueschingen Musiktage, Donaueschingen 2017 – *commissioned new work, premiere

2016 New Ear Festival, Fridman Gallery, New York MADAEIRADiG Festival, Madeira, Portugal

2015 VIA Festival, Pittsburgh, in co-production with Miller Gallery/Carnegie Mellon University Vancouver New Music Festival, Vancouver

  1. 2013  Tuned City Brussels, Brussels, *premiere performance of Guide de la vie sociale

  2. 2014  Borealis Festival, Bergen Kunsthall, Bergen, Norway, *premiere performance of Free Exercise Electronica in Abril, Casa de la Encendida, Madrid
    Borderlines Festival, Onassis Cultural Center, Athens,

2012 SPOR Festival, Aarhus, Denmark
International Festival of Arts/City of Women with Museum of Transitory Arts, Ljubljana, Slovenia

2011 Grønland Festival, Dramatikkenshus, Oslo, *premiere performance of My red, red, blood Totally Huge New Music Festival, Perth Institute of Contemporary Art, Perth, Australia

2010 Ultima Festival, Oslo
Faster Than Sound, Aldeburgh Music, Snape Maltings, England, *premiere performance of Cannons

2009 2009 Holland Festival in co-production with Stedelijk Museum, Amsterdam Festival MAPA, Pontos, Spain and Figueres, Spain

2008 Transit Festival, Leuven, Belgium, *premiere performance of Rings/Black Circles 2007 Ad Libitum Festival, Warsaw
2006 Taktlos Tonart Bern, Bern, Switzerland
2005 Wien Modern, Vienna

2003 Mutek Festival, Montréal Maerz Musik, Berlin

2002 Microfestival: Women in Experimental Music, Hampshire College, Amherst Donaueschinger Musiktage, Donaueschingen, Germany

2000 Ars Electronica, Linz
Pro Musica Nova, Bremen

1999 Musikprotokoll, Steirische Herbst, Graz
1998 Wires Festival, Los Angeles Contemporary Exhibitions, Los Angeles 1996 SoundCultures 96, Mills College, Oakland


2017 STAGING, Maria Hassabi, in “Merce Cunningham: Common Time,” Walker Art Center, Minneapolis STAGED, by Maria Hassabi, Onassis Cultural Center, Athens
STAGED, Maria Hassabi, Institute of Contemporary Art, Boston

STAGING, Maria Hassabi, Documenta 14, Kassel, Germany 2016 PLASTIC, by Maria Hassabi, Museum of Modern Art, New York

STAGED by Maria Hassabi, The Kitchen, New York 2015 Scaffold Room, by Ralph Lemon, The Kitchen, New York

Scaffold Room, by Ralph Lemon, Bard College, Annandale, New York

2014 Scaffold Room, by Ralph Lemon, Walker Art Center, Minneapolis

2004-08 Events, Merce Cunningham Dance Company, numerous venues including The Joyce Theater, The Park Avenue Armory, Dia/Beacon


2016 Felix Finds a Way, Light Industry, New York After 9 Evenings, Issue Project Room, New York

2016 Manners/Duck Soup, in several parts, with restored memory of interruptions and rehearsal, as part of Josef Strau: Loyalties, House of Gaga, Mexico City

2015 The metaphysical Store’s continuation with dressrehearsal, virginity, manners (sous les
Dominos verts) with Josef Strau and Stefan Tcherepnin, as part of Josef Strau: A Turtle Dreaming, Secession, Vienna

  1. 2014  Wesleyan University, Middletown

  2. 2015  Auditorium, Knockdown Center, New York

    Platforms I/ALLGOLD, at PS1/MoMA, New York

2014 HARD LOVE, Serralves Museum, Porto, Portugal

Step and Repeat, The Geffen Contemporary at MOCA, Los Angeles

2103 Swedish Energies, Issue Project Room, New York

2012 Listening Room, Discrepant Origins/Acousmatics and Ill Perceptions, The Studio Museum, New York Voices and Echoes: Marina Rosenfeld and Otomo Yoshihide, Abrons Art Center, New York
Sour Mash with George Lewis, St Louis Museum of Contemporary Art, St. Louis; NYU Loewe Theater

2010 Festival: Christian Marclay, Whitney Museum, New York (including guest curation of ensembles) P.A. Marion Spore Gallery, New York

2009 The International Turntable Orchestra, Akademie der Künste, Berlin
Warmup, PS1 Contemporary Art Center, New York
Ensemble, curated by Christian Marclay, Institute of Contemporary Art, Philadelphia

2006 Who’s in Control, Eyebeam, New York
Moving Patterns: Electronic Music and Beyond, Austrian Cultural Forum, New York

2005 Text of Light, The Kitchen, New York; Walker Art Center, Minneapolis; Empty Bottle, Chicago

2002 PHONOtaktik, Austrian Cultural Forum, New York
Turntable Hell, London Musicians Collective tour, performances at Queen Elizabeth Hall, London, Newcastle Arts Centre and many others

2001 Goodbye Twentieth Century, with Sonic Youth, Shedhalle/Rote Fabrik, Zurich 2000 Wien/Berlin: Unter Strom, Podewil, Berlin


Foundation for Contemporary Arts Emergency Grant
New York State Council on the Arts, Production Grant
Foundation for Contemporary Arts, Grants to Artists
New York State Council on the Arts, Production Grant
Swedish Electronic Music Studios, Artist Residency 2004 New York Foundation for the Arts 2009
Park Avenue Armory, Artist Residency
Whitney Museum Youth Insights, Artist In Residence
Dia: Beacon/Merce Cunningham Dance Company, Artist Residency
STEIM, Amsterdam, Artist Residency
Yerba Buena Center for the Arts, San Francisco, Wattis Artist Residency


“Samples,” forthcoming in 2017 reissue of Audiocultures: Readings in Modern Music, ed. Christoph Cox, Continuum “The Recording Angels,” roundtable discussion with Marina Rosenfeld, Christoph Cox, Pauline Oliveros, Jace Clayton, and David Grubbs, The New Yorker, April 2014

“Mixtape,” in Paper Monument: Draw It With Your Eyes Closed, 2012
“Score” in Paralellogram no. 27, 2012
“Teenage Lontano” in Interval(le)s Journal of Poetics, University of Liège, ed. Jon Cotner, 2009

“Glitch” in Arcana 2: Musicians on Music, edited by John Zorn, pub. Granary Books, New York

“Sound-Art Roundtable,” Artforum, April 19, 2005-May 4, 2005

“Top Ten list: Music: Best of 2004,” Artforum, December, 2004

“The Sheer Frost Orchestra: A Nail Polish Bottle, A Guitar String and the Birth of an Orchestra,” Leonardo Music Journal, vol. 12, MIT Press, 2002


Dougherty, William, WKCR 88.9 Afternoon New Music, Interview, September 26, 2016 Shepherd, Tristan, BOMB Magazine, “Marina Rosenfeld by Tristan Shepherd,” Issue 137 Fall 2016 Cloutier, Mario, “Marina Rosenfeld: le jeu de la liberté,,” La Presse Montreal, October 19, 2016 Power, Nina, “roygbiv&b at South London Gallery,” The Wire, September 2014
Adler, Noah, “Interview with Marina Rosenfeld,” Opening Ceremony, September 2014

Pollack, Barbara, “Sound Art Has Arrived,” ArtNews, September 2013 Untold, “Untold On...Marina Rosenfeld,” Self-Titled Magazine, December 2013 Fox, Dan, “The dub rhythms of artist and composer Marina Rosenfeld,” Frieze , May 2013

Cowley, Julian, “Marina Rosenfeld and Valerie Teveri/Angel Nevarrez, Signal to Noise Winter 2011 Neset, Anne Hilde, “Material Girl: Marina Rosenfeld”, The Wire #313, March 2010
Coline, Nina, “Marina Rosenfeld,” GLAMCULT Magazine #05, June 2009
Shaw, Steve, “Talkin’ ’bout Regeneration,” Timeout Amsterdam, June 2009

Kim-Cohen, Seth, In the Blink of An Ear: Toward a Non-Cochlear Sonic Art, Continuum, London, 2009
Saltz, Jerry, “When Cool Turns Cold: Whitney Biennial 2008,” New York Magazine, March 24, 2008 Schweitzer, Vivien, “Contrasts, Eruptions and Clouds of Sound,” New York Times, November 26, 2008

Jothianandan, Shakthi, “Showstoppers: Marina Rosenfeld,” TimeOut New York, February 21-27, 2008

Cotter, Holland, “Art’s Economic Indicator: Whitney Biennial Review,” New York Times, March 8,


Searle, Adrian, “Visual art: Nice building — shame about the art: This year's Whitney Biennial is upstaged by a thrilling new venue,” The Guardian (London), March 25, 2008

Manokhov, Yola, “Goings On About Town,” The New Yorker, March 31, 2008
Coburn, Tyler, Rhizome, “Marina Rosenfeld’s Teenage Lontano at the Whitney Biennial 2008,” Rhizone, March

7, 2008
Knafo, Robert, NewArtTV, video feature/interview, March 2008
Notations21: An Anthology, ed. Theresa Sauer Tisano, Mark Batty Publishers, New York, 2008
Jansson, Josefina, “Focus: Marina Rosenfeld”, Monitor/Radio P2 Sweden, 1-hour feature broadcast May 9, 2007 Cascella, Daniella, “Watch This Sound,” Contemporary Magazine #91, London, April 2007
Paulsson, Johanna, “Konsertrecensioner: Marina Rosenfeld,” Dagens Nyheter, April 2, 2007 Cox, Christoph,

“Best of 2006”, The Wire #275, January, 2007
Gamba, Mario, “Suoni liquidi, sinuosi, misterici: Alla British Gallery Marina Rosenfeld alla console suona il suo

‘WHITE LINES’”, Il Manifesto, Nov. 5, 2006
Driver, Paul, The Independent (London), “Music: From one extreme to the other,” The Independent (London),

June 4, 2006

Potter, Keith, Reviews: MUSICIRCUS Tate Modern, The Indenendent June 1, 2006

Emma Hedditch and Lina Dzerovic and Irene Revell, “Her Noise” (catalogue), 2006

Bianchi, Stefano I., ‘La via personalla alla manipolazione di vinili e ‘orchestre’: l’universo sonoro di Marina Rosenfeld,’ Blow Up Magazine, #97, June, 2006

Sporndli, Markus, “Ein Zuhause fur den Zeitgeist”, Der Bund, November 16, 2006
Bianchi, Stefano I., Review: Marina Rosenfeld’s ‘joy of fear’, Blow Up, #95, April, 2006
Grey, Louise, “Emotional Orchestra: London Tate Modern,” The Wire, Issue 261, November, 2005 Grady, Spencer, “Review: Marina Rosenfeld’s joy of fear,” Dusted Magazine, December 13, 2005 Cassidy, Laura, “Surround Sound,” Seattle Weekly, Aug. 30-Sept. 6, 2005
Sulcas, Roslyn, “A Work Covering Two Stages, With Clouds as a Backdrop,” The New York Times, September 21, 2005
Lippens, Nate “Correspondance Course,” The Stranger, Seattle, Sep. 2-5, 2005
Pareles, Jon, “Five Concerts All at Once, And It's Quiet,” The New York Times, April 24, 2004 Anderson, Jack, “Familiar Steps With Hints of the Strange,” The New York Times, December 18, 2004 Genocchio, Benjamin, New York Times, “ART PREVIEWS; As Fall Beckons, Women Rule,” September 5, 2004

Christian Marclay, “Music: Best of 2003”, Art Forum, December, 2003
The Wire, “Best Albums of 2003”, December, 2003
Allan Kozinn, The New York Times, “Players and Non-players in Droopy Sleeves,” Dec. 15, 2003 Melissa Maerz, Village Voice “Marina Rosenfeld: Branca Busting,” January 1-7, 2003
Ron Schepper, Grooves #11, New Jersey, “Interview with Marina Rosenfeld,” August, 2003 Bjorn Gottstein, [interview], WDR Radio 3, Cologne, Germany, August 27, 2003
Noah Chasin, TimeOut New York “Sonic Garden,” November 21-28, 2002

Walters, John L., The Guardian (London), “Review: Music on the edge: King of spin: A DJ who plays without records? These days the turntable is an instrument all of its own,” May 10, 2002

Harley, Kevin, The Independent (London), “Going Out: Music—Turntable Hell,” May 11, 2002
Valerie Gladstone, New York Times: Arts & Leisure, “Sculpture of Sound In a Downtown Space,” October 13, , 2002

Gottstein, Björn, Die Tageszeitung (Germany), “Schleifende Nadeln auf Azetat: Die zweite Aura: Die Donaueschinger Tage für Neue Musik standen diesmal auch im Zeichen des Turntablism,” October 22, 2002

Ben Ratliff, New York Times, “Spontaneous Abstraction Inspires Younger Players,” August 22, 2002 David Novak, WCKR Radio, “Afternoon New Music” [interview], May 28, 2002

Daniela Cascella, Blow Up, “MR: Turntablismi, Scratches & Chitarre,” Rome, Italy, May, 2002 Mark Coles, BBC Radio 4, “Today Programme” [interview], May, 2002
Christoph Cox, “MR: Gender war at 33 and a third.” The Wire Magazine, November, 2001 Ann Powers, “MR: Note by Note, A Manicure”, New York Times, April 28, 2001

Jennifer Tung, “Sounds of Midtown”, New York Times, April 29, 2001
Jason Schmidt, “Works in Progress: MR”, V Magazine, Spring, 2001
Gil Gershman, “MR: “One Good Turn Deserves Another”, Signal to Noise, #21, Spring, 2001 Appolinaire Scherr, “MR: Bottle of the Bands”, Elle Magazine, April, 2001
Christoph Cox, “Bitstreams at NYC's Whitney Museum”, The Wire, June, 2001
Christian Scheib, “MR”, SKUG Journal für Musik #42, April, 2000
Christian Scheib, “disconcertingly beautiful: MR”, Positionnen #43, May, 2000
Felix Klopotek, “MR,” Spex Magazine, September, 1999
Kenneth Baker, “Sound Dances at Yerba Buena,” San Francisco Chronicle, 1999
Christian Scheib [interview], Ö1 radio, Austria, November, 1999
Carl Stone [interview], KPFA radio, San Francisco, March, 1999
Ken Johnson, “Art in Review: MR,” New York Times, 1998
Mark Swed, “Resistance Opens Ears to New Music,” Los Angeles Times, 1998
Martha Schwendener, TimeOut New York, 1998
Phoebe Hoban, “Music Only an Artist Can Love?” New York Times, 1997
David Greene, “Hot Coffee,” Frieze, 1997
Jerry Saltz, “Regular, No Sugar,” TimeOut New York, 1997
Peter Schjeldahl, “La-la Band,” Village Voice, 1997