Seeing Through The Body

color, sound
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Seeing Through The Body with Yayoi Kusama, with Mario Montez Flower 1968-69, 11 min, color, music: Tomomi Adachi (2007) With: Yayoi Kusama (Body Painting) with the performers Akiko Iimura While ...
Rental format: DVD NTSC

About

Seeing Through The Body

with Yayoi Kusama, with Mario Montez



Flower

1968-69, 11 min, color, music: Tomomi Adachi (2007)

With: Yayoi Kusama (Body Painting) with the performers Akiko Iimura



While I was staying in New York in the 1960s during the rise of the hippie movement, I filmed performances of body painting artist, Kusama Yayoi, together with the performers. As I wasn't satisfied with merely documenting her performance, made super-impositions of flowers over the performance, more as a film poem than a documentary, since flowers was the symbol of the hippie movement as given the name "flower children." The performance, however, is not always in the foreground, but is woven like fabric among the superimposed flowers. Furthermore another female figure (Akiko Iimura) is inserted with her kimono contrasting to the scenes of Kusama's. The film ends symbolically in long shots a flower patterned dress with no body is suspended over the Empire State Building behind. Nearly 40 years later Tomomi Adachi composed music for the film. (T.I)




Face

1968-69, 19 min, color, music: Mario Montez, Donna Kerness, Linda / Voice Over: Akiko Iimura


In the same year that 'Flowers' was produced I happened to make the acquaintance of Mario Montex, a superstar of Andy Warhol's films whose name was taken after one time Hollywood Star, Mario Montez. I was attracted by his transvestite beauty. In addition to Mario's performance I also shot the performances by Donna Kerness, who had appeared in the black comedy of the Kuchar brothers' underground films, and Linda who was a personal acquaintance. Fiction and reality collide in microscopic montage with the sexual performances limited to only facial expressions in extreme close-up of those three females (including Mario). These close-ups were inherited from my earlier Love (1962), but this time the film was shot in color and focused on individual action. Perhaps the viewer's visual experience will be mixed, blurring the line between fiction and reality. A big, laughing voice throughout the film may sound , yet at the same time the nature of life will fuse (or alienates for some) all. (T.I)

Films

  • Other films by this artist in our catalogue

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    Early Film Poems
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    Rental format: DVD NTSC
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    Ai (Love)
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    Ai (Love)
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    16mm, black and white, sound, 10 min
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    Iro (Colors)
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    Rental format: 16mm
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    Kuzu (Junk)
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    16mm, black and white, sound, 10 min
    Rental format: 16mm
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    On Eye Rape

    On Eye Rape
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    16mm, black and white, silent, 10 min
    Rental format: 16mm
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    Screen Play
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    color, sound, 10 min
    Rental format: DVD NTSC
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    Desade
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    black and white, sound, 10 min
    Rental format: 16mm
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    Sakasama (Upside Down)
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    16mm, color, silent, 13 min
    Rental format: 16mm
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    Rose Color Dance
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    Rose Color Dance
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    16mm, black and white, silent, 13 min
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    Onan

    Onan
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    16mm, black and white, sound, 7 min
    Rental format: 16mm
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    Anma (The Massure)
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    A Dance Party in the Kingdom of Lilliput No. 1
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    Eye For Eye, Ear for Ear
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    Writing With Light: White Calligraphy
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    White Calligraphy
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    16mm, black and white, silent, 18.5 min
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    New York Scene
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    Summer, Happenings, U. S. A.
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    Face
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    For Filmic Meditation
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    Filmmakers
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    Film Strips II
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    Buddha Again (a. k. a. Cosmic Buddha)
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    A Chair & Blinking
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    Kiri (Fog)
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    Kiri (Fog)
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