‘Siteworks’ pieces make good use of the Skirball

The Skirball Cultural Center is home to “Siteworks,” the much welcome, ongoing dance series featuring site-specific performances by local choreographers. The second installment took place Sunday, making use of the institution’s indoor architecture and sylvan surroundings.

With “Spiritual Offering, 2001,” Rudy Perez, proving he is still a mighty choreographic and performing force, added himself to his piece for four dancers. Restaged for Cotsen Auditorium, a half-moon space, Perez had the audience looking down on the work where the circle, a symbol of life, predominated: There were circular pools of light, while the dancers -- Stefan Fabry, Ann Grimaldo, Jeffrey Grimaldo, Tamsin Carlson and Perez -- manipulated poles, often creating circular moves.

Mark Ramos-Nishita’s melancholy percussive score tolled throughout, as Perez, sometimes holding his pole aloft, seemed as if he were both invoking God and bearing the world’s weight on his shoulders. A minimalist response to 9/11, this offering comforted: dancers standing sentry, angels all.

In leprechaun mode Simone Forti performed “Touch” in the Arroyo Garden. Crouching and quivering like the fluttering leaves around her, Forti, a master of improvisation, also created flute-like sounds by blowing on a piece of tubing while deliciously frolicking in nature.

With “Wild Life/El Camino,” Wendy Rogers created a hilarious, potent take on Los Angeles by mounting a car-and-dancer work on Skirball’s driveway. As John Diaz and Jennifer Twilley did an energetic duet, Rogers very slowly drove by and stopped to watch her quirky dance.

Douglas Nielsen’s clever “Unrequited Views of Perception Irrationalisms,” unfolded in Milken Gallery. Nielsen and Laurence Blake, wearing tuxes, performed with Shana Menaker, fluidly working with chairs, the wall and each other. Live musicians accompanied antics ranging from manic to sublime.