I’m Gonna Need Another One 2019
Parts of things are in the painful process of becoming whole things themselves. I’m Gonna Need Another One troubles the authentic and singular self by elevating the inevitability of things falling apart. Situated within the proximity of twelve green foam blocks which leave dusty traces, crumble and disappear in form, Rosenblit stands in as multiple figures who speak to the problems of organizing how we come to know where and who we are. Inside a monologue which profiles a Sous Chef, Chiron: the Greek God of pain known for the acknowledgment of the wound on his animal leg, a Wheat Farmer, a Soldier, Dorothy from The Wizard of Oz, and a Compulsive Re-arranger of Furniture, the figures orient and reorient the work. A picnic occurs, a small wheat field gets cultivated and we conclude with a short pause to speak about things that we like. We are left amidst an illegible city plan, where being lost is a valid location.
Swivel Spot 2017
“The kindly way to feel separating is to have a space between. This shows a likeness.”
–Gertrude Stein, Tender Buttons, 1914.
Swivel Spot is concerned with the indiscernible moment of change. It is clear that something is gone. Actions of preservation and maintenance suggest something routine is about to happen. There is preparation here. Haunting the performance are the remains–a skeleton of logic from something that no longer applies. Still, these things don’t just go away. Hovering in this spot, an area isolated for this specific function, likened to a dump, a graveyard for parts, or a recycling shed, but we remain, there is waiting here. In a “land-space” where things go to die, rest, pile up, and accumulate, we see what we return to, pivot on, flirt with, linger near, or even consistently resist. Can we measure or archive transformation inside of this pile, and how do we continue on without rendering it obsolete?
Note: The text above was written by the Artist. No modification was made by COCA.
Jen Rosenblit holds space in New York City and Berlin in hopes of a more expansive sense of home and place. Making performances surrounding architectures, bodies and ideas concerned with problems that arise inside of agendas for togetherness, Rosenblit’s works lean toward the uncanny and maintenance of care, locating ways of being together amidst impossible spaces. The research process tracks the tangential rather than the linear, looking for meaning as it emerges between things.
Rosenblit has collaborated with artists including Simone Aughterlony, Miguel Gutierrez, A.K. Burns and Philipp Gehmacher. Rosenblit is a 2018 Guggenheim Fellow, a 2018 Atelier Mondial Artist-in-Residence in Basel, Switzerland, a 2015-16 Movement Research Artist-in-Residence, a 2014-2015 Workspace Artist through Lower Manhattan Cultural Council, a recipient of a 2014 New York Dance and Performance “Bessie” Award, a 2013 Fellow at Insel Hombroich (Nuese, Germany) and a recipient of the 2012 Grant to Artists fro