HEAVY LIKE LEAD, NO DEAD WEIGHT
Artist: Marina Rosenfeld | Curator: Summer Guthery
October 12th, 2013
Known equally as a composer of large-scale, often participatory performances and an experimental turntablist working with hand-crafted dub plates, Marina Rosenfeld (NY) has been a leading voice in the increasing hybridization between the domains of visual art and music. At Disjecta, Rosenfeld will respond to the concept of “fugue” as one of the themes of the exhibition “subject, answer, countersubject.” She will also have on display in the exhibition her new LP P.A./Hard Love that relates to the musical fugue concept with deep, dancehall vocals by collaborator Warrior Queen (Jamaica) layered over an abstract soundscape captured on site within her sound-system installation, P.A.
About the Artist
Rosenfeld received her BA in Music from Harvard and an MFA from the California Institute of the Arts, where she studied with composer Morton Subotnik and conceptual artist Michael Asher, among others. She joined the faculty of Bard College’s MFA program in 2003 and has co-chaired its department of Music/Sound since 2007. Rosenfeld is a 2011 recipient of both a Foundation for Contemporary Arts Grants to Artists award and an Artist Residency from the Headlands Center for the Arts. Previous awards include grants and honors from the New York State Council on the Arts, the New York Foundation for the Arts, the Park Avenue Armory, Harvestworks Digital Media Arts, Experimental Television Center, and Austria’s Ars Electronica competition in digital musics.
While still a student at CalArts (Los Angeles) in 1993, Rosenfeld first created the Sheer Frost Orchestra, a graphically scored musical performance realized by 17 women on floor-bound electric guitars, deploying nail-polish bottles as sensitive sound-producing implements. This performance, always created in situ with the collaboration of local performers, has been widely produced since then, most recently at the Cleveland Museum of Art in 2009. Other works include Emotional Orchestra (Deitch Projects, Tate Modern), and the frequently performed WHITE LINES (Wien Modern, British School at Rome, Taktlos Bern, Perth Institute of Contemporary Art, and many others), and 2008’s Teenage Lontano, Rosenfeld’s “cover version” of Gyorgy Ligeti’s 1967 orchestral work Lontano, for 34-voice teenaged choir and suspended speaker installation. Teenage Lontano was premiered in the vast Drill Hall space of the Park Avenue Armory in New York as part of the Whitney Biennial 2008. The work had its European premiere in Amsterdam in June 2009 as a co-production of the Holland Festival and Stedelijk Museum and its third and fourth productions in 2010-11 in Oslo for Ultima Festival and Perth, Australia for Tura New Music. Other recent works include Cannons, 2010, for live musicians and a suite of four graduated steel “bass cannons”; the site-specific series P.A./Public Address, created in residence at the Park Avenue Armory during 2009; and roygbiv&b, a choral installation/performance with loudspeaker installation commissioned by the Museum of Modern Art in New York and premiered in its five-story atrium in 2011.
About Disjecta’s Curator-in-Residence Program
The Curator-in-Residence program provides an opportunity for emerging local and national curatorial talent to develop and expand the scope of their practice. During their one-year residency, curators engage a broad range of artists to create a series of exhibitions in Disjecta’s dynamic 3,500-square-foot space. By showcasing new work and fueling collaborations between artists, curators, and viewers, Disjecta seeks to impact new audiences and intervene in the larger contemporary arts dialogue.
Summer Guthery, MA from the Center for Curatorial Studies at Bard College, was selected as the 2013–2014 Curator-in-Residence.