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Fruitoftheforest2.Pdf 4 WELCOME 6 STAFF AND CONTRIBUTORS 9 NEW YORK by meghan dellacrosse SIMONE FORTI: VOICE IN MOVEMENT / VOICING MOVEMENTS 15 MILAN by marco tagliafIerro EMOTIONAL INTELLIGENCE 21 TOKYO by ayaki aron hortz MONJAYAKI 28 DASHBOARD by alessandro gori INTO THE WIRES. WIREFRAME AND HIDDEN-LINE 34 RADICAL POINT OF VIEW by guido molinari AN INTERVIEW WITH LAPO BINAZZI, CO-FOUNDER OF UFO 43 EVERYTHING IS ILLUMINATED by daniela lotta INSPIRED BY NATURE AND ITS “ MYSTERIOUS BEAUTY” 48 WILLIAMSBURG’S LATENT DYNAMISM by giordano pozzi 54 THE HOUSE OF EQUISETUM by lorenzo rebediani ARTIFICIAL PARADISE 62 FLASHBACK: 1981 67 STATE OF MIND: FAWN KRIEGER 72 STATE OF MIND: RESIGN 76 MATERIAL CULTURE by anne shlisler-hughes ON THE FASHION DESIGNER KAL RIEMAN 85 REPUBLISHING: NEW OBSERVATIONS N. 8 88 DESIGN FOR SOCIAL CHANGE ACROSS NYC by hala a.malak 94 PLEASE DO NOT TOUCH by matteo pini ABOUT BONES 99 SNAPSHOT n.2 by jacopo grassi 2 international modern and contemporary art fair We thought we’d hit upon a definitive layout with issue 1 of Fruit of the Forest, but we were wrong! We’ve been mixing things up again, and most WE importantly, we’ve been letting ourselves be bowled over by cities, events and encounters—designers, artists, and new writers—a whole host of ideas and L unexpected perspectives. This is a very special issue. It has taken us a long CO time to put it together; we’ve seen the winter solstice come and go, and we’ve come and gone across the Atlantic a couple of times, but we’ve ME ended up with a wonderful mix of the two places that contribute to our principal genetic make-up: Italy and the United States. To give you a bit of the new content: Guido Molinari interviews Lapo Binazzi from the legendary Radical design group UFO; Meghan DellaCrosse takes us on a journey through Simone Forti’s art of words and movement (with an exclusive poem read by the artist); and Anne Shisler-Hughes launches our fashion design column in a meeting with Kal Reiman. Michela Arfiero 4 FRUIT OF THE FOREST IS AN EXPERIMENTAL ART AND DESIGN MAGAZINE FOUNDER AND EDITOR-IN-CHIEF MICHELA ARFIERO info[at]fruitoftheforestmagazine.com FOUNDER AND MANAGING DIRECTOR GIORDANO POZZI MAGAZINE DESIGN ALESSANDRO GORI. Laboratorium mmxi GRAPHIC DESIGN AND ILLUSTRATIONS STEFANO MANDRACCHIA COPY EDITING JEFFREY YOUNG CONTRIBUTORS AND WRITERS HALA A.MALAK, AYAKI ARON HORTZ, MEGHAN DELLACROSSE, LYRA KILSTON, PAOLA GALLIO, DANIELA LOTTA, GUIDO MOLINARI, MATTEO PINI, LORENZO REBEDIANI, ANNE SHISLER-HUGHES, MARCO TAGLIAFIERRO, SIMONE TOSCA CONTRIBUTING PHOTOGRAPHER n.2 JACOPO GRASSI TRANSLATIONS VICTORIA EDMENSON, ALEXANDER TAYLOR ADVERTISING/SPONSORSHIP ad[at]fruitoftheforestmagazine.com COVER IMAGE FAWN KRIEGER, "FAULT" (prop 5), 2011. (Foam, paint, & caulking) ME COMPANY, desktops, 2003 CA BACK COVER IMAGE mydee mydee [at] mydee.fr COPYRIGHT © 2012 FORTINO EDITIONS LLC. ALL RIGHTS RESERVED ALL REASONABLE EFFORTS HAVE BEEN MADE TO CONTACT THE COPYRIGHT HOLDERS OF THE IMAGES USED. WE APOLOGIZE TO ANYONE THAT WE HAVE BEEN UNABLE TO REACH. publisher 8345 NW 66TH ST suite 4367 Miami FL 33166 USA t +1 347 534 3015 www.fortinoeditions.com 5 HALA A.MALAK is a design critic PAOLA GALLIO is an art curator. AYAKI ARON HOTRZ was born and thinker on the Middle East She is also an advisor, sculptor, in Tokyo. In 1999 he founded and North Africa. She owns her sommelier and an ice-cream Studio Hortz, a consultancy own studio, The Design Critic, maker. office in Japan for food and and currently resides in New fashion. He has been a curator York City. ALESSANDRO GORI takes in Italy for Japan Brand events a cross-disciplinary approach since 2009. MICHELA ARFIERO is the to graphic design. He works editor- in-chief of Fruit of the in Florence and is the founder DANIELA LOTTA is an art critic Forest design magazine.She of Laboratorium studio. He and curator. She is interested in founded Fortino Editions, teaches at the University of the relation between contem- an independent publishing Bologna. porary art, fashion and design. company specializing in digital She teaches at ISIA/Faenza and publications, applications, and JACOPO GRASSI is a the University of Bologna. limited-edition paper books. photographer. He lives and works in Milan among other MEGHAN DELLACROSSE is places, photographing objects a writer living between New and spaces as well as people, York City and Andes, a hamlet making everyday life interesting in the Catskills. Her work with innocent photographs. focuses on performance art rooted in the late 1950s–early 1960s in relation to the Fluxus group, the artist-run Something Else Press, and other related contemporaries. She has performed with Alison Knowles and considers that, and similar experiences, an extension of her research. 6 STEFANO MANDRACCHIA is LORENZO REBEDIANI is a MARCO TAGLIAFIERRO is an a painter and a graphic “plants-man” and researcher independent art critic and illustrator. He is into Brutalist of strange plants. He studies curator whose work investigates architecture. environmental architecture at the relationship between art the Politecnico in Milan and and design. He attended the GUIDO MOLINARI is an art and works in landscape design. Domus Academy and Fabrica design critic who lives and looking for signs among works between Bologna and ANNE SHISLER-HUGHES has different artistic disciplines. He Venice. He has worked on worked extensively in fine art has curated many shows with the magazine Flash Art since museums in Los Angeles and a focus on the newest 1995, is an exhibition curator, New York and currently lives generation of Italian artists. and teaches the Theory of in New York City. She writes Perception at the Accademia about material culture as we SIMONE TOSCA is a visual artist di Belle Arti in Venice. encounter and employ it for based in Oslo. He is also self-definition and expression— a graphic and set designer, MATTEO PINI is a designer and what we wear, eat, use, and a not-yet-retired skater and member of the Dorothy Gray inhabit—as well as the art that noise maker. group. He teaches at ISIA/ moves us. Faenza and lives in Forli, Italy. JEFFREY YOUNG is an editor, writer, and photographer. He GIORDANO POZZI is a designer lives in Prague. and artist living between New York City and Verona. 7 SNAPSHOT 8 FEELING UNCOMFORTABLE IN NEW YORK’s CITYSCAPE, FORTI BEGAN RECORDING NEW FORMS OF MOTION NEW YORK SIMONE FORTI: VOICE IN MOVEMENT/ VOICING MOVEMENTS by meghan dellacrosse SIMONE FORTI READING TRANSCRIPT FROM A NEWS Animation PERFORMANCE (AGITPROP GALLEry, SAN DIEGO: May 7, 2011) RECORDED OVER THE TELEPHONE BY MEGHAN DELLACROSSE, NOVEMBER 28, 2011 FALLERS SCANNED FROM THE BOOK SIMONE FORTI : HAND- BOOK IN MOTION, PUBLISHED FOR OVER 50 YEARS, DEdicating HER FOCUS TO BY THE PRESS OF THE NOVA SCOTIA COLLEGE OF ART AND MOVEMENT, SIMONE Forti HAS maintainED A constant DESIGN, 1974 TRAJEctory, spanning the boundaries of multiple disciplines and continually developing some of the most innovative work of her generation. She is an artist who, unlike most, provokes a sentiment that feels equally familiar as captivating. Beginning in the early 1980s, Forti’s interest in movement led to the development of her logo-motion technique and News Animation improvisation work, mobilizing the relationship between 9 SIMONE FORTI, DANZE COSTRUZIONI at L’ATTICO, ROME, 1968 CourtESY ARCHIVIO L’ATTICO-FABIO SARGENTINI, ROME movement and spoken language, activating the space between the two over time. Forti’s singularity is marked by her empathetic ease of motion developed through years listening to the movement around her while “keeping track of her own melody.” During her recent visit to New York this past October, the Roulette theater hosted Forti in downtown Brooklyn for two evening events: a lecture, and “An Evening of Movement, Sound and Spoken Word.” During her lecture, Forti acknowledged the beliefs and influence of her lifelong mentor, Anna Halprin, whose program centers on developing kinesthetic intelligence through improvisational methods. Standing and moving casually NEW YORK 10 throughout her talk, Forti (accompanied by patient gestures of hands and body) explained how Halprin taught her to, “See any movement as movement—through a chair, or even taking in how a plant makes you feel.” Then, shrugging with laughter: “If you’re like me, and you move and move and move—you really get to know your instrument!” Throughout her career, Forti’s artistic and conceptual flexibility reveals a continual process, maintaining the handful of things she unravels over time, to practice maintaining the momentum. Born in Florence, Italy in 1935, Forti’s family emigrated to the US in 1939, settling in Los Angeles, where she was raised. She met her first husband, artist Robert Morris, while briefly attending Reed College in Portland, Oregon. In 1956, the couple dropped out and moved to San Francisco. Sharing a studio with Morris, ALL IMAGES ARE PHOTOGRAPHED FROM THE BOOK SIMONE FORTI : HANDBOOK IN MOTION, PUBLISHED BY THE PRESS OF THE NOVA SCOTIA COLLEGE OF ART AND DESIGN, 1974 who was painting at the time, Forti learned how to build her own canvases and began to paint. However, her foray into painting was brief. Owing to the dimensions of her early paintings–– generally six feet high by five feet wide––long-term storage was a sizable inconvenience; the only remains of this early period are Forti’s recollections. NEW YORK 11 Enrolling in Anna Halprin’s improvisational dance workshop in 1956 changed everything. Halprin immediately captured Forti’s imagination, teaching her how to understand and learn from her own body by listening to the world around her. Abandoning modern dance in 1955, Halprin began offering workshops on her now legendary open-air deck studio in the hilly woods of Marin County, California.
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  • Simone Forti Goes to the Zoo*
    Simone Forti with a lion cub at the Giardino Zoologico di Roma, 1968. Courtesy Simone Forti and The Box, LA. Simone Forti Goes to the Zoo* JULIA BRYAN-WILSON In the photograph, a young woman in a short skirt and sandals sits on a bench. With her crooked elbow, she braces her handbag to her body, tucking her large sketchpad into her armpit. She is petting a lion cub, and as she gazes down to witness the small but extraordinary fact of her hand on its fur, the ani- mal’s face turns towards the camera lens with closed eyes. This is dancer and choreographer Simone Forti on one of her many visits to the zoo during the brief time she lived in Rome in the late 1960s. Far from today’s “wildlife sanctu- aries” where animals can ostensibly wander freely, as the photo of this uncaged cub might suggest, the Giardino Zoologico di Roma offered a highly controlled environment in which animals lived within tight enclosures; Forti was here indulging in a staged, paid encounter, one that she characterized as “irre- sistible.”1 Irresistible because she was consistently moved by the creatures she drew and studied—moved as in stirred, or touched, as well as in shifted, or altered. As I argue, her dance practice changed dramatically as a result of the time she spent in Rome observing animal motions and interacting with other, animate forms of art. Petting a lion cub: irresistible, but still melancholy. Designed in part by German collector and merchant Carl Hagenbeck and built in 1911, the Roman zoo is an example of the turn-of-the-century “Hagenbeck revolution” in zoo architecture, which attempted to provide more naturalistic-appearing, open-air surroundings that were landscaped with artificial rocks and featured moats instead of bars, often creating tableaux of animals from different taxonomic * This article was made possible by the indefatigable Simone Forti, who talked with me, danced for me, and pulled all manner of documents and photographs out of her dresser drawers for me; thank you, Simone.
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