Marina Rosenfeld
We'll start a fire
11 Jun - 26 Sep 2021
Marina Rosenfeld, Curtain, 2021; Receiver #2, 2021. Installation view Kunsthaus Baselland 2021. Photo : Gina Folly
Marina Rosenfeld, Fountain; Receiver #3; Receiver #2; Curtain, 2021. Installation view Kunsthaus Baselland 2021. Photo : Gina Folly
Marina Rosenfeld, Tube, 2019. Installation view Kunsthaus Baselland 2021. Photo : Gina Folly
Marina Rosenfeld, Music Stand #3, 2019; Purl, 2019. Installation view Kunsthaus Baselland 2021. Photo : Gina Folly
Marina Rosenfeld, Annotation (Bow); Receiver #3; Curtain, 2021. Installation view Kunsthaus Baselland 2021. Photo : Gina Folly
Marina Rosenfeld, front: Receiver #5; Bow, 2021; back: Purl, 2019; Music Stand #3, 2019; Vertice, 2019. Installation view Kunsthaus Baselland 2021. Photo: Gina Folly
Marina Rosenfeld (b. 1968) is an artist and composer living and working in Brooklyn, NY. Rosenfeld’s works concern themselves with acoustic and perceptual architectures, intervening into sites through the media of sculpture and sound, musical performance and notation. Often taking the form of sound systems on the verge of feedback, Rosenfeld’s recursive networks propose a temporal logic derived from computer music and other machinic reproductions of the body. The exhibition includes new works revisiting the traces of one of the artist’s iconic early all-female orchestras; performances within the exhibition in September will seek to reactivate one of these transient gestures.
She has created works equally within contemporary art and music platforms, including solo projects for the Park Avenue Armory, the Museum of Modern Art, the Kitchen, South London Gallery, and the Foundacion Serralves. Her work has been included in numerous international surveys and biennials including the Whitney Biennial (2002 and 2008), Liverpool Biennial (2012), PERFORMA Biennial (2009, 2011), Bienniale de Montréal (2015), Aurora Biennial (Dallas, 2020) and the radio program Every Time A Ear Di Soun of documenta14 (2017). Solo exhibitions in recent years include Deathstar at Portikus Frankfurt (2017), Music Stands at the Artist’s Institute (2019) and After Notation at Bard Center for Curatorial Studies (2015). During 2021 she will participate in the group exhibitions Hotel de Lièvre at Campoli Presti, Paris, and Seeing Sound at the Kadist Foundation, San Francisco.
Social practice and collaboration have also been an important part of Rosenfeld’s practice since the 1990s; her all-female 1993 performance work Sheer Frost Orchestra had its first Australian performance in 2019 at Dark Mofo (Tasmania), and will be performed in Geneva, Switzerland, in May as part of Memoire d’space by Ensemble Vide. Other recent performances and productions include Musica Strasbourg, Donaueschinger Musiktage, and Ultima, Borealis, Holland and Vancouver festivals, among many others. In the category of improvised electronic music, her activities have included performing with the Merce Cunningham Dance Company between 2004 and 2008. She has also composed and staged solo works for musicians Okkyung Lee, Marino Formenti, Annette Henry aka Warrior Queen, and created scores for choreographers Maria Hassabi and Ralph Lemon. Rosenfeld’s recordings are published by the Room40, Shelter Press and iDEAL labels, with forthcoming releases on INFO and 901 Editions. Rosenfeld was on the faculty of Bard College’s Milton Avery School of the Arts from 2004 to 2020 and is currently a research artist with Experiments in Art and Technology at Bell Labs in the US.
A comprehensive interview with the artist and Ines Goldbach was published on the occasion of the exhibition.
Curator: Ines Goldbach
She has created works equally within contemporary art and music platforms, including solo projects for the Park Avenue Armory, the Museum of Modern Art, the Kitchen, South London Gallery, and the Foundacion Serralves. Her work has been included in numerous international surveys and biennials including the Whitney Biennial (2002 and 2008), Liverpool Biennial (2012), PERFORMA Biennial (2009, 2011), Bienniale de Montréal (2015), Aurora Biennial (Dallas, 2020) and the radio program Every Time A Ear Di Soun of documenta14 (2017). Solo exhibitions in recent years include Deathstar at Portikus Frankfurt (2017), Music Stands at the Artist’s Institute (2019) and After Notation at Bard Center for Curatorial Studies (2015). During 2021 she will participate in the group exhibitions Hotel de Lièvre at Campoli Presti, Paris, and Seeing Sound at the Kadist Foundation, San Francisco.
Social practice and collaboration have also been an important part of Rosenfeld’s practice since the 1990s; her all-female 1993 performance work Sheer Frost Orchestra had its first Australian performance in 2019 at Dark Mofo (Tasmania), and will be performed in Geneva, Switzerland, in May as part of Memoire d’space by Ensemble Vide. Other recent performances and productions include Musica Strasbourg, Donaueschinger Musiktage, and Ultima, Borealis, Holland and Vancouver festivals, among many others. In the category of improvised electronic music, her activities have included performing with the Merce Cunningham Dance Company between 2004 and 2008. She has also composed and staged solo works for musicians Okkyung Lee, Marino Formenti, Annette Henry aka Warrior Queen, and created scores for choreographers Maria Hassabi and Ralph Lemon. Rosenfeld’s recordings are published by the Room40, Shelter Press and iDEAL labels, with forthcoming releases on INFO and 901 Editions. Rosenfeld was on the faculty of Bard College’s Milton Avery School of the Arts from 2004 to 2020 and is currently a research artist with Experiments in Art and Technology at Bell Labs in the US.
A comprehensive interview with the artist and Ines Goldbach was published on the occasion of the exhibition.
Curator: Ines Goldbach