In the days leading up to the Performance Conference, Berlin-based choreographer Jen Rosenblit will be hosted by the School of Visual Theatre, where she will stage a version of the work conducting oceans/exotic aisle.

It has all become impossible to hold.

These tumultuous accumulations behave like scornful parents and render our bodies and their faulty yet durational architectures, childish.

Relating flesh to the unquantifiable measurement of the ocean that over time has anyhow been measured, mapped and disregarded in between major events where an iceberg breaks or massive waves flood coastal towns.

How do geographic borders, natural and or human made bodies of water and even landmarks get defined and for whatever reason over time, re-located, consolidated, absorbed, expanded or possibly forgotten?

How can we begin to render our bodies accountable by thinking through landmass? 

This performance work conducts the orchestra of chaos associated with attempts to move lands to make up for the sadism assigned to conducting bodies.

Rosenblit sketches an unfinished encounter, owning up to the largeness of this body and the erotics located in the erosion of a definitive voice.

In “conducting oceans” she produces unreasonable situations, asking (sometimes tricking) the viewer to take over, to consider the flesh, and the organization that comes with defining the uncontained edge of water.

By: Jen Rosenblit

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.