Artists' Biographies
Marina Rosenfeld is a New York-based composer and artist working across disciplines. Since the 1990s, when she mounted her first all-female electric-guitar ensembles under the name Sheer Frost Orchestra, her works have probed the intersections of experimental practices in sound with performance, installation, and sculpture, with solo presentations at institutions including the Park Avenue Armory, the Museum of Modern Art, the Bard Center for Curatorial Studies, Portikus Frankfurt, the Kitchen, and The Artist’s Institute, among others. Her work has been included in the Whitney Museum of American Art, New York (2002 and 2008), Montreal (2015), and PERFORMA (2009 and 2011) biennials, and international surveys including Every Time A Ear Di Soun (Documenta14), and Tasmania’s Dark Mofo in 2019. In the contemporary music field, she has created works for the Holland, Borealis, Wien Modern, Time:Spans, Maerz Musik, Vancouver, Pro Musica Nova, Donaueschingen, and Ultima festivals, among many others. Rosenfeld has also performed as an experimental turntablist since the late 1990s, creating improvised music with a distinctive palette of hand-crafted dub plates. Her collaborators have included Christian Marclay, George Lewis, Okkyung Lee, Ikue Mori, Annette Henry aka Warrior Queen, Ben Vida, DJ Olive, and Christoph Kurzmann, among many others too numerous to list. As a composer for dance, Rosenfeld created live improved music for the Merce Cunningham Dance Company between 2004 and 2008, and composed original scores for choreographers Ralph Lemon (Scaffold Room, 2014-2015) and Maria Hassabi (PLASTIC, 2016, STAGED?, 2017, and STAGING, 2017-2018). During 2019 Rosenfeld was Inga Otto Maren Fellow of Robert Wilson’s Watermill Foundation, and in 2020 begins a collaboration with Experiments in Art and Technology at Bell Labs Nokia. Rosenfeld has been the co-chair of the MFA in Music/Sound at Bard College since 2007, and has been a visiting professor in sound, sculpture and performance at Cooper Union, Harvard, Yale School of Art, and Brooklyn College.
Aura Satz is a London-based visual artist whose work encompasses film, performance and sculpture. A key figure among a talented generation of younger artists who engage with sound, Satz has received widespread critical acclaim across her nearly two decade-long practice. In her work, Satz emphasizes the complex relationship between humans and machines. Satz’s entry into sound began through a series of projects that revolved around magic, born of an interest in how a ventriloquist’s falsetto voice always seems to emanate right from a puppet’s mouth. Satz’s trajectory orbits around two major topics. One involves the art and science of music, sound technology, vibration and acoustics. The other involves social and political factors, especially issues of gender and the rediscovery of important contributions women have made to the development of technology, namely as inventors of new systems of notation, encryption and sound-making. She has performed, exhibited and screened her work internationally including FACT, Liverpool; Site Gallery, Sheffield; Galleria Civica di Arte Contemporanea di Trento, Italy; De La Warr Pavilion, Bexhill-on-Sea; the Zentrum Paul Klee, Switzerland; AV festival, Newcastle; Whitechapel Gallery, the Victoria & Albert Museum, Barbican Art Gallery, ICA, Jerwood Space, Tate Britain, Beaconsfield Gallery and Artprojx Space, London. Her recent films are Little Doorways to Paths Not Yet Taken (2016) and the short film Entangled Nightvisions (2018). Satz currently teaches at the Royal College of Art in London.
Born in Hong Kong in 1979, Samson Young received his BA in music, philosophy, and gender studies at the University of Sydney before obtaining an MPhil from the University of Hong Kong in 2007 and a Ph.D. in music composition from Princeton University, New Jersey, in 2013. His compositions, drawings, installations, radio broadcasts, and performances touch upon topics such as military conflict, identity, migration, and political frontiers past and present. Sound and its cultural politics are at the heart of a practice that interlays multiple narratives and references. Young has had solo exhibitions at Goethe-Institute, Hong Kong (2013); Hiroshima City Museum of Contemporary Art (2015); and Kunsthalle Düsseldorf (2016). His Songs for Disaster Relief was presented at the Venice Biennale (2017). Select group exhibitions include Innovationist: The Spectacular Journey of New Media Art, Taipei Contemporary Art Museum (2013); The Wizard’s Chamber, Kunsthalle Winterthur, Switzerland (2013); A Journal of the Plague Year, Para Site Art Space, Hong Kong (2013); 48HR Incident, 4A Centre for Contemporary Asian Art, Sydney (2015); Retrograde, Logan Center Gallery, University of Chicago (2016); Documenta, Athens, Greece, and Kassel, Germany (2017); and One Hand Clapping, Solomon R. Guggenheim Museum, New York (2018). Young was a recipient of the Bloomberg Emerging Artist Award in 2007, and the BMW Art Journey award in 2015. He lives and works in Hong Kong and maintains an active practice in classical music composition.