AURORA’s Biennial will open with the world premiere of a new work by Marina Rosenfeld titled "Ssalute." Comprised of a drive-through sound installation occupying the upper floors of a parking structure in downtown Dallas and a banner, Rosenfeld’s new work is oriented around the spectator as a driver or passenger, enclosed in the protective skin of their vehicle.
Each visitor’s entry into the work is met by an invitation of sorts-into publicness and mutual presence, in the form of a personal salute offered by a live trumpet player, a role shared by noted Dallas-based musicians, Raquel Samayoa and Freddie Jones.
As drivers ascend the labyrinthine architecture of the carpark, this thickly amplified and augmented salutation follows them, echoing through the structure until they emerge onto the roof and the ambient sound of the city.
In a separate location, passersby may have already encountered an image of 'Ssalute' in the form of a banner, suggesting a visual form to the experience that leaves space equally for presence, intimacy and alienation. A speculative work in relation to both experience and infrastructure-substituting the vacant carpark and its radical acoustic treatment for actual civic gathering space - Rosenfeld’s work is an enigmatic public proposal in time of widespread isolation.
AURORA’s Biennial will open with the world premiere of a new work by Marina Rosenfeld titled "Ssalute." Comprised of a drive-through sound installation occupying the upper floors of a parking structure in downtown Dallas and a banner, Rosenfeld’s new work is oriented around the spectator as a driver or passenger, enclosed in the protective skin of their vehicle.
Each visitor’s entry into the work is met by an invitation of sorts-into publicness and mutual presence, in the form of a personal salute offered by a live trumpet player, a role shared by noted Dallas-based musicians, Raquel Samayoa and Freddie Jones.
As drivers ascend the labyrinthine architecture of the carpark, this thickly amplified and augmented salutation follows them, echoing through the structure until they emerge onto the roof and the ambient sound of the city.
In a separate location, passersby may have already encountered an image of 'Ssalute' in the form of a banner, suggesting a visual form to the experience that leaves space equally for presence, intimacy and alienation. A speculative work in relation to both experience and infrastructure-substituting the vacant carpark and its radical acoustic treatment for actual civic gathering space - Rosenfeld’s work is an enigmatic public proposal in time of widespread isolation.
AURORA’s Biennial will open with the world premiere of a new work by Marina Rosenfeld titled "Ssalute." Comprised of a drive-through sound installation occupying the upper floors of a parking structure in downtown Dallas and a banner, Rosenfeld’s new work is oriented around the spectator as a driver or passenger, enclosed in the protective skin of their vehicle.
Each visitor’s entry into the work is met by an invitation of sorts-into publicness and mutual presence, in the form of a personal salute offered by a live trumpet player, a role shared by noted Dallas-based musicians, Raquel Samayoa and Freddie Jones.
As drivers ascend the labyrinthine architecture of the carpark, this thickly amplified and augmented salutation follows them, echoing through the structure until they emerge onto the roof and the ambient sound of the city.
In a separate location, passersby may have already encountered an image of 'Ssalute' in the form of a banner, suggesting a visual form to the experience that leaves space equally for presence, intimacy and alienation. A speculative work in relation to both experience and infrastructure-substituting the vacant carpark and its radical acoustic treatment for actual civic gathering space - Rosenfeld’s work is an enigmatic public proposal in time of widespread isolation.
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