ANNA ROSEN and DAVID ROESING
May 19 – July 1, 2018
Cellular candles melted in a radiation whirlpool, what to make of Godzilla? In Japan, he was a karmic horror, a pulpy refraction of the terrible history of man. Early producer Shogo Tomiyama points upwards: “he…totally destroys everything and then there is a rebirth. Something new and fresh can begin."
But would that fly in America? Tri-Star Pictures wasn’t sure; for their 1998 American iteration, they jettisoned all history, and adapted. The creature was naturalized; a fast moving lizard, more animal than monster, hiding their asexual eggs all over New York City.
For the part of “Nick”, the radiation specialist who eludes Godzilla in a series of taxis, Tri-Star tapped Matthew Broderick, of course. Broderick exudes a grounding awareness—drawing on his Reagan era flaneur, Ferris, who famously toured Chicago, guided only by his unholy sense of truancy and boner for automobiles.
Denying the fourth wall, he sees us, and his place in the social ecology. As the lead character of his next movie, Inspector Gadget says, “Any system of rules will grow, and develop a capacity for self-reference, a level-crossing feedback loop, a consciousness.”
Rote Braid features three pairs of works by Anna Rosen and David Roesing. Two by Anna, two by David, and two made jointly, the set explores the pair’s interest in patterned excess, tasteless decoration and low culture reanimated as high metaphysics, and repressed mystery.