Composed of just four shots in which Clara McHale-Ribot, Rachel Kushner, Richard Hebdige, and Simone Forti read quietly to themselves, the film offers portraits of its subjects while simultaneously serving as a mirror for the viewers, who perform a parallel stillness.
Multimedia documentary project profiling pioneering, emerging, innovative and otherwise compelling Los Angeles-based female artists, philosophers and social entrepreneurs.
Director
In the spring of 1961 Simone Forti presented a program titled Five Dance Constructions and Some Other Things in a concert series organized by her friend, composer La Monte Young, at the New York loft studio of Yoko Ono. These radically new dances created circumstances for the performers’ direct, non-stylistic actions. Each of the pieces was performed in a different place in the loft, with the audience moving from location to location to view them. Some of the pieces required elementary structures – a hanging rope, rectangular wooden boxes – which were placed throughout the loft like a sculptural installation. In 2004 the Museum of Contemporary Art in Los Angeles invited Forti to re-create these dance constructions at the Geffen Contemporary space, in conjunction with the exhibition A Minimalist Future? Art as Object 1958 – 1986.
Director
Video made by Simone Forti and Anne Tardos in 1977 and re-edited in 99.
Self
Adopting the movements of various animals, Forti begins the performance by walking hypnotically in circles. She falls to the floor and begins a cycle of walking and crawling that becomes an open metaphor for evolution and aging. Through the course of the performance, the camera follows Forti's circling motion at increasingly close range, creating an interactive dance between camera and performer. While "rustic" in respect to the quality of the video image and sound, Solo No. 1 serves as an engaging document of Forti's dedicated study of natural movement.
Director
Adopting the movements of various animals, Forti begins the performance by walking hypnotically in circles. She falls to the floor and begins a cycle of walking and crawling that becomes an open metaphor for evolution and aging. Through the course of the performance, the camera follows Forti's circling motion at increasingly close range, creating an interactive dance between camera and performer. While "rustic" in respect to the quality of the video image and sound, Solo No. 1 serves as an engaging document of Forti's dedicated study of natural movement.
