Marina Rosenfeld


Live - Talk

Marina Rosenfeld :: Production

9:30 pm live concert @Standards
curated by Standards and ALMARE

6 pm talk @NABA


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.

Marina Rosenfeld’s work has been at the forefront of experimental practices in sound and performance since the 1990s, when she mounted her first all-female electric-guitar ensembles under the name Sheer Frost Orchestra. Her works, both in the format of concerts, and more frequently as hybrid constellations of sculpture, notation, video and music, have explored the implications of arranging bodies, loudspeakers and audience in resonant spaces – starting from the premise that every space is a resonant space. She has also performed as an experimental turntablist since the late 1990s, creating improvised music with a distinctive palette of hand-crafted dub plates, and collaborating with musicians, dancers and theater artists.

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.

Marina Rosenfeld’s work has been presented at numerous institutions, festivals, and museums, including the Museum of Modern Art, Guggenheim Museum and the Park Avenue Armory in New York; the Whitney (2002 and 2008), Montreal (2016), Liverpool (2011) and PERFORMA (2009 and 2011) biennials; the Holland Festival, Tate Modern, Stejdlijk Museum, Vienna Secession, Wien Modern, and many others. Projects in 2017 include solo exhibitions at Portikus (Frankfurt) and the Bard Center for Curatorial Studies (New York), as well as commissioned works for “Every Time A Ear Di Soun: documenta 14 Radio”  (Athens and Kassel), and Donaueschingen Musiktage (Germany).