Diaspason – Marina Rosenfeld

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Date/Time: 31/05/2003 12:00 am

Diapason, gallery for sound and intermedia, presents:
Saturdays, May 3, 10, 17, 24 & 31
6 PM – Midnight
Marina Rosenfeld
anti-Warhol movement (in 16 cues) (2003)
Marina Rosenfeld’s newest multichannel audio work is the latest in a
series of investigations of music as installation. Featuring a cello
part performed by Okkyung Lee, anti-Warhol movement explores the
ideas of suggestion, reference, nostalgia, abstraction and emotion in
music. Like a soundtrack to an imaginary film–part nature
documentary, part “L’année dernière à Marienbad” — short musical
“movements”, some as brief as several seconds, are separated by “cue
tones” reminiscent of the beeps on an old-fashioned filmstrip audio
Cephissus landscape (2002)
Rosenfeld’s previous sound installations undermined the central
notion of “surround-sound” technology by locating viewers, not at the
center of an imaginary cosmology of total entertainment, but in an
environment with no fixed center and numerous temporary sonic “sweet
spots.” These included delusional situation (for the 2002 Whitney
Biennial) and Cephissus landscape, which was commissioned by Creative
Time for “Sonic Garden” in the the World Financial Center’s Winter
Garden, as part of the reopening of that space in September 2002. The
title Cephissus landscape makes reference to the acoustical
properties of the glass-and-marble architecture of the Winter Garden
atrium; the reopened site had fewer commercial oulets and more empty,
reflective spaces, but retained its shiny high-corporate aesthetic,
not to mention its function as both a nexus of post-9/11 “tourism”
(due to its proximity to “ground zero”) and a workplace for
thousands of financial industry employees.
Cephissus was the name of the water, and the spirit of the water,
that Narcissus famously looked into and saw only himself…
1026 Sixth Avenue, #201
(between 38th & 39th Street)
subway: F, N, R, W, Q, 1, 2, 3 to 42nd Street
New York, NY 10018
(212) 719-4393
Marina Rosenfeld:
Composer and artist Marina Rosenfeld (b. New York, 1968) is based in
Brooklyn, NY. Her sound compositions, live performances and
music-photography-video installations have been presented at numerous
festivals, museums, galleries and other venues here and abroad,
including the Whitney Museum of American Art, the Kitchen, Los
Angeles Contemporary Exhibitions, Curt Marcus Galllery, Greene
Naftali Gallery, Ars Electronica, Donaueschingen, Steirische Herbst,
Pro Musica Nova and the Berliner Festspiele.
Marina Rosenfeld is also the creator and director of the critically
acclaimed sheer frost orchestra, the 17-woman electric-guitar and
nail-polish-bottle orchestra she founded in 1994. She is also a
frequent improvisor/collaborator, including with Toshio Kajiwara, DJ
Olive, Alan Licht, Kim Gordon, Ikue Mori, Martin Tétreault, Otomo
Yoshihide, Tim Barnes, Christof Kurzmann, Dieb 13, Sonic Youth,
Zeena Parkins, Raz Mesinai and Kaffe Mathews, among many others.
Marina’s CDs include the sheer frost orchestra drop, hop, drone,
scratch, slide & A for anything (Charhizma, 2001),
theforestthegardenthesea: music from fragment opera (Charhizma,
1999); and a water’s wake with Toshio Kajiwara and Tim Barnes
(Quakebasket, 2003). Later in May she will appear at MUTEK festival,
in Montreal, Canada, with Philip Jeck, Martin Ng and M. Tétreault.
Since April, 2001, Diapason gallery for sound and intermedia has
presented a varied program featuring performances and installations
by Tim Barnes, Junghee Choi, Daniel Conrad, Charles Curtis, Neil
Feather, Dave Gearey, Tom Hamilton, John Hudak, Drew Krause, Ben
Manley, Thomas C. Moore, Ian Nagoski, Phill Niblock, Matthew
Rogalsky, Janek Schaefer, Ursula Scherrer, Bruce Tovsky, Stephen
Vitiello, La Monte Young and Marian Zazeela, and others. Founded by
Michael J. Schumacher and Liz Gerring, it continues the tradition of
Studio Five Beekman, offering audiences New York’s first venue
devoted to sound art.