We talk of the tides of waxing and waning of things washed away and disappearing into
the expanse of water we speak of small tokens that arriveThe impossibility of the solo body, an island and the ocean. Enrico and Jen will score their
individual practices next to one another, possibly, but maybe not together. We will look
toward the architecture of and cite the ocean as an exit and entrance. What of the beach
or an island? How is it that we function and thrive alone? What do we need as extensions
of ourselves in order to maneuver within solitude? A changing, an eroding, what does it
mean to be immersed in transition so close to some sort of threshold?
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.
Enrico D. Wey’s performative works have been on view since 2006 with humble beginnings at the St. Ann’s Warehouse Puppet Lab in Brooklyn. Future choreographic works took shape at Dance Theater Workshop (Fresh Tracks Artist Residency 2010), Abrons Art Center, Judson Church, Chocolate Factory Theater, the River to River Festival, and three seasons at Danspace Project (2009, 2013, 2016).
He has been a member of Handspring Puppet Company (South Africa) since 2004, puppeteering in Tall Horse, William Kentridge’s Il Ritorno d’Ulisse, and as the lead role of “Joey” in Broadway/Lincoln Center’s War Horse, which garnered 5 Tony Awards in 2011. Claimed by The New Yorker to be “a supple dancer who can express subtle strangeness and violence…a choreographer with a highly associative mind…”, Wey has had the pleasure of working with Aitana Cordero, Milka Djordjevich, Trajal Harrell, Yvonne Meier, Big Dance Theater, Jen Rosenblit, Jassem Hindi, Jon Kinzel, and touring internationally with Ishmael Houston-Jones/Dennis Cooper/Chris Cochrane’s Bessie Award-winning reconstruction of THEM.
Enrico is from Taiwan. I am currently engaged in the plasticity of memory, how it forms/reforms in a series of recalled actions. There is a particular restlessness to it. I am using memory recall as a creative practice to discover potential futures, to excavate the interplay between memory, language, sensation, to see where/what things stick, and acknowledge the space and power of forgetting. Then I make/shape something out of what is unearthed, often times performative and/or linguistic. Memory needs a body, a container. I wonder how it can be harnessed or passed on.
