Over the past decade, Marina Rosenfeld’s work has come to represent one of the most progressive approaches to experimental sound emanating from New York.
Rosenfeld is equally known as a composer for large-scale performances and groundbreaking turntablist. Her sonic palette – entirely drawn from hand-crafted dub plates she imprints with blips of vinyl static, bursts of instrumental noise, conversation, and other audio detritus – evokes both the ecstatic electronic artifice of early electronic composers like Morton Subotnik and the post-punk ferocity of Kim Gordon
Born in 1968 in New York, Rosenfeld studied at Harvard College (AB) and the California Institute of the Arts (MFA). She has lived and worked in New York and Los Angeles. Rosenfeld works in sound, music composition, performance and installation, with a significant related practice as an experimental turntablist. Solo presentations include Tate Modern, London; Stedelijk Museum/Holland Festival, Amsterdam; Whitney Biennials 2002 and 2008, NY; Performa Biennial, 2009, NY; British School at Rome; Los Angeles’ Center for Experiments in Art, Information and Technology (CEAIT); and festivals including Ultima, Oslo; Liverpool Biennial; Ars Electronica, Linz; MUTEK, Montreal; Faster Than Sound, Suffolk UK; Maerz Musik, Berlin; TRANSIT, Leuven; Musikprotokoll/Steirischer Herbst, Graz; MAPA/Actions on Landscape, Catalonia; Pro Musica Nova, Bremen: Wien Modern, Vienna; Donaueschingen Musiktage; Taktlos Bern; and Vancouver New Music. She has collaborated with Merce Cunningham and Douglas Dunn dance companies.
Recordings of her music are available on Softl, Charhizma, Room 40 and Innova, among others. Grants and fellowships include New York State Council on the Arts, New York Foundation for the Arts, and Harvestworks Digital Media/Van Lier Fellowship. She has been co-chair of the department of music/sound in Bard College’s MFA program, the Milton Avery School of the Arts, since 2007.
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.
“I felt the opening of a portal between a failed utopian past and the possibility that the more real present is already something to love. I was transported.” New York Magazine (review of Teenage Lontano)
“Brilliant – haunting a heady mix of the strange and the familiar. The way in which Rosenfeld succeeded in transforming what is in essence an antisocial behaviour (listening to an iPod) into the social activity of singing together, into self-expression, transparency and vulnerability, was almost heartbreaking….” Theater of Found Sounds (review of Teenage Lontano)
As THNMF Composer in Residence Marina will workshop and present Teenage Lontano with local teenage artists, be Keynote Speaker at Festival Conference, perform turntable sets at Festival Club and Parts Thereof and give workshops and lectures at WAAPA.
Speak Percussion is Melbourne’s most diverse percussion arts enterprise, it’s activities span a wide variety of contexts and genres ranging from regular music festival concerts to experimental hybrid-arts events. Speak Percussion presents a cross-section of percussive arts activity engaging percussion soloists through to large ensembles. Speak Percussion has collaborated with installation artists, choreographers, dancers, instrument builders, visual artists, lighting designers, sound designers and architects.
For Totally Huge Speak present Griseys Le Noir de l’Etoile, a program of Australian composers, Flesh and Ghost, a lunchtime concert at WAAPA, an artists talk at the Festival Conference and a workshop at WAAPA.
Austin Buckett is a musician and composer specialising in the performance of improvised music and written works for solo instruments, chamber groups, and large ensembles. Current projects include improvising outfit Pollen Trio and experimental rock band Kasha. He has previously worked for the National Film and Sound Archive and Silo String Quartet. He has studied with and edited scores for Peter Ablinger in Berlin, and was invited to attend the Wittener Tage für neue Kammermusik, to assist with installation works.
Austin’s works have been performed and broadcast nationally on several ABC classic FM, Radio national and Triple J programs and at venues and events such as Llewellyn Hall, Adelaide Conservatorium, Tropfest, Jazzgroove, and 505.
Austin will be featured at the Totally Huge New Music Festival in the improvising outfit Pollen Trio atSound Spectrum #17, a premiere of his work Mothlight for Decibel’s Camera Obscura program, a solo performance launching his debut solo release Stuttershine on hellosQuare recordings at the Parts Thereof event and workshops and lectures at WAAPA