MARINA ROSENFELD – CV Born in New York, New York. Lives and works in Queens, New York. EDUCATION 1994 MFA California Institute of the Arts 1990-91 AB Magna Cum Laude Harvard University TEACHING HISTORY 2004-present Bard College, Milton Avery School of the Arts, Faculty in Music/Sound MFA 2007-present Bard College, Milton Avery School of the Arts, Co-Chair Music/Sound MFA 2017-2018 Brooklyn College, Sonic Arts MFA, Adjunct Professor of Composition 2016 Yale University, School of Art, Visiting Critic 2014-2015 Yale University, School of Art, Senior Visiting Critic 2006-2015 Bard College, Visiting Assistant Professor of Arts 2011 Harvard University, Visiting Lecturer in Visual and Environmental Studies 2007-08 Long Island University, Brooklyn, MFA in New Media and Performance, Visiting Lecturer 2006 (Spring) Dartmouth College, Bregman Electronic Music Studios, Visiting Lecturer 2002 (Fall) Bard College, Visiting Assistant Professor of Arts 1999 Art Center College of Design, Pasadena, Visiting Instructor SELECTED ARTIST LECTURES AND PANELS 2017 Columbia University, Graduate PhD Program in Art History, Artist Lecture University of Toronto, Jackman Humanities Institute, “Time, Rhythm and Pace,” Symposium presenter, Artist lecture NYU Waverly Labs for Computing and Music, School of Arts and Sciences, Artist Lecture: “Marina Rosenfeld: Diagram of a Practice” Goethe Institute Chicago, Second Annual Sexxxing Sound Conference, Panelist and featured composer 2016 New Museum, Panel: “Between Dog and Wolf: On Sight and Sound in Space” Park Avenue Armory, “Curatorial Conversations,” with curator Humberto Moro New School for Social Research, Graduate Program in Design, Ethnography and Social Thought: “Surface Species: Playback and the Object—Seminar with Marina Rosenfeld” 2015 Center for Brooklyn College, Composers' Forum, Artist Lecture Carnegie Mellon University, School of Art and Lab for Creative Inquiry, Artist Lecture Vanderbilt University, School of Art, Artist Lecture 2014 University of California Los Angeles, California, School of Art, Artist Lecture University of California Santa Barbara, Department of Music, Artist Lecture Rutgers University, School of Art, Artist Lecture Wesleyan University, Department of Music, Artist Lecture, 2014 Brown University, Department of Modern Culture and Media, Conference: “Sonic Focus 3” CUNY Center for the Humanities, Panel: “The Status of Sound: Writing Histories of the Sonic” 2012 Yale University, School of Art, Sculpture Program, Visiting Artist Lecture PEW Center for Arts and Heritage, Philadelphia: Conference “Electronic Music Today” Columbia University, Graduate Program in Music Composition, Artist Lecture 2011 TURA Festival of New Music, Artist-in-Residence and Keynote Speaker, Perth, Australia Queensland University, Department of Music, Brisbane, Australia, Artist Lecture MIT, Visiting Artist & Panelist, "Intelligent Life: Maryanne Amacher” 2010 Austrian Cultural Forum, New York, Moving Sounds Festival, Symposium Panelist University of Colorado at Boulder, Artist Lecture 2009 Parsons School of Art, Artist Lecture RPI, Department of Electronic Arts, Artist Lecture Columbia University Center for Jazz Studies, Symposium, “Improvisation and Everyday Life” LIST OF WORKS Deathstar Orchestration, 2017, for ensemble and piano, commissioned by Donaueschingen Musiktage and Ensemble Musikfabrik, Cologne, 2017. Premiered at Donaueschingen Musiktage with soloist Marino Formenti, piano and Ensemble Musikfabrik Deathstar, 2017, solo exhibition, Portikus, Frankfurt, Germany. With performance by Marino Formenti, piano Production a+f, 2017, radioplay, for documenta 14 radio exhibition “Every Time A Ear Di Soun: Documenta 14 radio,” curated by Adam Szymczyk and Bonaventure Soh Bejeng Ndikung Free Exercise, 2014, Bergen Kunsthall, Bergen, Norway. Commission of Borrealis Festival, with collaboration of Sjøforsvarets musikkorps (Norwegian Naval Orchestra) and the Bergen School of Architecture. Additional performance: Biennale de Montreal at the Museum of Contemporary Art and Regiment de Maisonneuve, Montreal, and with the collaboration of Les Fusiliers de Mont Royal (Canadian Regiment) Manners/Duck Soup, in several parts, with restored memory of interruptions and rehearsal, 2016, for piano and electronics, House of Gaga, Mexico City GREATEST HITS; A Reproduction, 2016 , for percussion and electronics, as part of “Moholy-Nagy: Optical Sound” at the Guggenheim Museum, NY. Performed by Greg Fox, drums, Marina Rosenfeld, turntables Dress rehearsal, virginity, manners (sous les Dominos verts), 2015, for piano and electronics, with Stephen Tcherepnin and Josef Strau as part of The metaphysical Store’s continuation: Josef Strau, A Turtle Dreaming, Secession, Vienna Turn of My Century: Dub Plates & Test Pressings, 1997-2014, 2015, sound installation with recording environment, software, dub plates, works on paper, as part of the exhibition “Aftersound,” Miller Gallery at Carnegie Mellon University, Pittsburgh. Guide de la vie sociale, 2013, for solo cello. Performed by Okkyung Lee, cello, Curo Hall, Brussels, for “Tuned City Brussels.” Additional performance: Boderlines Festival, 2014, Onassis Cultural Center, Athens The Stone, 2015, New York P.A. and P.A./HARD LOVE, 2009-12. Sound installation with custom P.A. and performances, commission of Park Avenue Armory and PERFORMA 09 Biennial of Performance, New York, with Okkyung Lee, cello. Additional performances: Serralves Museum, 2015, Porto, Portugal, with Okkyung Lee, cello, and Warrior Queen, vocals Electronica in Abril Festival, 2014, Madrid, with Okkyung Lee, cello, and Warrior Queen, vocals The Kitchen, 2013, New York, with Okkyung Lee, cello, and Warrior Queen, vocals SPOR Festival, 2012, Aarhus, Denmark Renshaw Hall, Liverpool, 2010, for “No Longer Empty at the Liverpool Biennial” Marion Spore, 2010, New York, with Sergei Tcherepnin and Christof Kurzmann, electronics Festival MAPA, 2009, Spain [as Fervent Announcement] Six Inversions, 2013. Commission of Arnold Schoenberg Center, for the exhibition “Art Is: New Art!” Vienna, Austria My red, red, blood, 2011, for ensemble with video installation. Commission of Ny Musikk and Ensemble neoN, for Grønland Kammermusikkfestival, Dramatikkenshus, Oslo Additional performances: Bard Center for Curatorial Studies, 2017, New York, with Eli Keszler and Greg Fox, drums Cycle Music and Art Festival, 2017, Kópavogur, Iceland, with Heloisa Amaral and Karin Helqvist SPOR Festival, 2018, Aarhus, Denmark, with Heloisa Amaral and Karin Helqvist roygbiv&b, 2011, for choir, strings, custom sound installation, Museum of Modern Art, New York, 2011, as part of the exhibition “Instructions Lab” Additional performances: South London Gallery, 2014 [as roygbiv&b (Version for South London)] Serralves Museum & Foundation, 2011, Porto, Portugal (as Rainbow Gathering) Untitled (three stacks), 2011, sound installation, as part of “Spatialized,” q-o2 gallery, Brussels Self-Portrait/Self-Portrait with Material, 2010, for choir in public space. Commission of Ensemble Zwischentöne, Berlin, as part of “Ensemble Zwischentöne + die 35 Megaphones des Orchester für direkte Demokratie” Cannons, 2010, sound installation/performance with strings, percussion, electronics, and 4 graduated bass cannons. Commission of Faster Than Sound festival at Aldeburgh, Snape Maltings, UK Additional performance: Midlands Railway Workshop, 2011, Perth, Australia, for Totally Huge New Music Festival Sour Mash, 2009, by George Lewis and Marina Rosenfeld. Collaborative, improvised music based on prepared, co-authored vinyl records Selected additional performances: New Music Circle, St Louis Museum of Contemporary Art, 2012, St. Louis New York University, Leowe Theater, 2010, New York Akademie der Kuenste, Berlin, 2009, with “The International Turntable Orchestra” The Stone, 2009, New York Teenage Lontano, 2008, installation/performance for choir and electronics. Commission of Whitney Biennial 2008 with producing partner Art Production Fund, New York for 2008 Whitney Biennial of American Art Additional performances: Museum of Contemporary Art Cleveland (installation version), 2016, Cleveland Sonica/Museum of Transitory Art/City of Women co-production, 2012, Ljubljana, Slovenia Totally Huge New Music Festival, 2012 at Midlands Railway Workshops, Perth, Australia Too Scene (installation version), 2012, as part of “Sonic Tank Enter,” Stavanger, Norway Ultima Festival, 2010, Oslo Holland Festival and Stedelijk Museum co-production, 2009, at Westergasfabrik, Amsterdam Rings/Black Circles, 2008, for ensemble and custom electronics. Commission of New York New Music Ensemble and Transit Festival, Leuven, Belgium Additional performance: Merkin Hall, 2008, New York WHITE LINES, 2005-2012, installation/performance with video Selected performances: Midamerican Center for Contemporary Music at Bowling Green State University, 2012, Ohio Perth Institute of Contemporary Art, 2010, Perth, Australia, with Decibel Ensemble “Tbilisi 6”, 2009, Tbilisi, Georgia “Agape: partitures experimentals, l’acte social de la lectura i la possibilitat d’accio,” Contemporani di Barcelona, 2008, with Plus/Minus Ensemble and Alex Waterman, cello The Kitchen, 2007, installation and performance as part of “Between Thought and Sound: Graphic Notation in Contemporary Music,” with Alex Waterman, cello Weld Center for Contemporary Performance, 2007, Stockholm The British School at Rome, 2006 “Taktlos Tonart Bern,” 2006, Bern, Switzerland “In Resonance,” Henry Gallery, 2005, University of Washington, Seattle Emotional