Fortis-Simone_See-Saw_ModernaMuseetMalmo-2560x1654.jpg

Simone Forti's See-Saw

2015
Commissioned by
Moderna Museet Malmö / Stockholm

Simone Forti, See Saw, 1961. 
Performance with plywood seesaw. Dimensions and duration variable. The Museum of Modern Art, New York. Committee on Media and Performance Art Funds. © 2018 The Museum of Modern Art, New York

Performed by Christine Brorsson, Khamlane Halsackda, Jonna Tideman. Moderna Museet Stockholm, 2016

  “The whole structure of plank and performers rests on one point. Any change in the arrangement of body parts, the slightest change of position by either performer, affects the balance of the entire setup.”  — Simone Forti  The use of plywood props as in  See-Saw  (1961) and  Slant Board  (1961), can be seen as an attempt to renegotiate the traditional horizontal stage and its relationship to the body, challenging the very “preconceptions about what constitutes dance, movement, and composition.”(1)  In 2015 I was commissioned to restage Simone Forti’s  See Saw  for the exhibition  Objects and Bodies at Rest and in Motion  at Moderna Museet, and one of my first questions was how to consider the plywood prop and its relationship to the exhibition space and the other artworks in the exhibition, or how to make it speak when not in use?  1. Virginia B. Spivey, “The Minimal Presence of Simone Forti” in  Women’s Art Journal , Vol. 30, No. 1 (Spring/Summer 2009) p. 7   Link to preview  Password: Simone Forti Malmö

“The whole structure of plank and performers rests on one point. Any change in the arrangement of body parts, the slightest change of position by either performer, affects the balance of the entire setup.” — Simone Forti

The use of plywood props as in See-Saw (1961) and Slant Board (1961), can be seen as an attempt to renegotiate the traditional horizontal stage and its relationship to the body, challenging the very “preconceptions about what constitutes dance, movement, and composition.”(1)

In 2015 I was commissioned to restage Simone Forti’s See Saw for the exhibition Objects and Bodies at Rest and in Motion at Moderna Museet, and one of my first questions was how to consider the plywood prop and its relationship to the exhibition space and the other artworks in the exhibition, or how to make it speak when not in use?

1. Virginia B. Spivey, “The Minimal Presence of Simone Forti” in Women’s Art Journal, Vol. 30, No. 1 (Spring/Summer 2009) p. 7

Link to preview
Password: Simone Forti Malmö

Untitled-3.jpg
Untitled-2.jpg