fbpx Biennale Teatro 2018 | Simone Aughterlony and Jen Rosenblit - Everything fits in the room
La Biennale di Venezia

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Simone Aughterlony and Jen Rosenblit - Everything fits in the room

(2017, 75') Italian premiere

concept and performance Simone Aughterlony, Jen Rosenblit
composition and soundbody Miguel Gutierrez, Colin Self
guest performer Philipp Gehmacher
light installation Florian Bach
music kitchen sculpture Nik Emch
dramaturgical advice Jorge León, Joshua Lubin-Levy, Anna Mülter, Saša Bozic
technical manager on tour Marie Prédour
production assistant Dagmar Bock
production management Sina Kießling
administration Karin Erdmann
diffusion Alexandra Wellensiek
early sound research Tami T
thanks to Rosie Management, Uferstudios Berlin, Sandrine Ligabue (Deputy Head, Cultural Department of Consulate General of Switzerland in New York), Ruth Childs, Zuzanna Ratajczyk
commission and co-production HAU Hebbel am Ufer
production Simone Aughterlony / Verein für allgemeines Wohl
co-production Gessnerallee Zürich, Arsenic - Lausanne
supported by City of Zurich, Canton of Zurich Fachstelle Kultur and Swiss Arts Council Pro Helvetia, ImpulsTanz Wien, Ernst Göhner Stiftung, Fête de la Danse - Geneva, Tanzhaus Zurich, George and Jenny Bloch Foundation
created in the frame of Utopian Realities, a co-production of HAU Hebbel am Ufer and Haus der Kulturen der Welt as part of  the project 100 Years of Now, curated by HAU Hebbel am Ufer
funded by the Federal Government Commissioner for Culture and the Media


Under 14 not admitted
Nudity on stage
No seats available


Author's statement

Everything Fits In The Room does away with unpacking dichotomies and embraces a new wild that is sustained by the effort to make everything fit. It is commitment without hope. The fundamentals are there. There is a window only it won’t be accessible in quite the same way or we simply won’t see the view through it in this configuration. There are doors still, of course, and they sit in the walls for the most part. The walls no longer just support the structure but enact their own participation. We will do the thing we always do of adjusting across the room, bringing all parts with us. The fit is good somehow, no matter the quantity or persuasion.
Don’t worry, we will still fuck over there in the corner. Although it might be called something else entirely, we will potentially foster other resemblances of love-making that might be now known as feeding, bathing or recycling. The roof is still the roof. It functions as it did only we imagine seeing small apertures, spots of deterioration where the light seeps through and takes volume. It is no longer important if this light is artificial or natural.
Inside the room, dungeon-esque encounters and ordinary domestic lingering exercise a politic that comes with care taking, danger and amnesia. Everything Fits In The Room maintains a complicated relationship to order that encourages cracks and leaks inside architectures for gathering. A free-standing wall, a roaming kitchen island and decaying bodies are part of a disruptive ecology that asks for constant adjustment. Rhythmic sorcery drives the effort despite the un-governability of all elements in the room. Is this a construction site or a cooking show? Interrogating the phenomenology of the manifesto solicits the inherent polemic: the fear that all things won’t fit to succeed in the imagined dominant path. The room offers an expanded sight for the horizon, no longer obliged to rid oneself of the things that supposedly delay and suspend progress.

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