{"id":82,"date":"2024-03-15T11:03:35","date_gmt":"2024-03-15T11:03:35","guid":{"rendered":"http:\/\/keithwhittle.org\/?p=82"},"modified":"2026-10-17T04:37:38","modified_gmt":"2026-10-17T04:37:38","slug":"yuko-mohri","status":"publish","type":"post","link":"https:\/\/keithwhittle.org\/?p=82","title":{"rendered":"Yuko Mohri"},"content":{"rendered":"
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Mor\u00e9 Mor\u00e9 [Leaky]: The Falling Water Given #4-6, Installation view at White Rainbow, London, 2017 Wood Frames, found objects, water pump system<\/div>
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Mor\u00e9 Mor\u00e9 [Leaky], Installation view at White Rainbow, London 2017<\/div>
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Mor\u00e9 Mor\u00e9 [Leaky]: The Falling Water Given #4-6, Installation view at White Rainbow, London, 2017 Wood Frames, found objects, water pump system<\/div>
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Mor\u00e9 Mor\u00e9 [Leaky]: The Falling Water Given #5 (detail), 2017 Wood Frame, found objects, water pump system<\/div>
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Mor\u00e9 Mor\u00e9 [Leaky], Installation view at White Rainbow, London 2017<\/div>
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Mor\u00e9 Mor\u00e9 [Leaky], Installation view at White Rainbow, London 2017<\/div>
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Mor\u00e9 Mor\u00e9 [Leaky]: The Falling Water Given #4-6, Installation view at White Rainbow, London, 2017 Wood Frames, found objects, water pump system<\/div>
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Mor\u00e9 Mor\u00e9 [Leaky]<\/h3>\n

Project description<\/h5>\n

Mor\u00e9 Mor\u00e9 [Leaky]<\/em> was a solo exhibition by Yuko Mohri (b. 1980, Tokyo) at White Rainbow, Fitzrovia, London, marking the artist\u2019s first presentation at a UK gallery. Mohri, who represented Japan at the 60th Venice Biennale, presented a new iteration of her ongoing research project focusing on the Tokyo Metro and the improvised repairs she encountered within its infrastructure.<\/p>\n

The exhibition centred on Mor\u00e9 Mor\u00e9 [Leaky]<\/em>, a kinetic installation developed from Mohri\u2019s long-term research into the Tokyo Metro. The project was first presented at the Nissan Art Award in 2015, where Mohri was awarded the prize. At White Rainbow, the work extended this research through an installation that responded to the built environment and the material systems of the city.<\/p>\n

Mohri\u2019s installation takes the form of a circuit in which found materials are connected to contain and redirect flowing water, echoing the makeshift repairs she observed in the Tokyo Metro. The work draws attention to the ways in which infrastructure is maintained, adapted and repaired, transforming functional interventions into an evolving sculptural and kinetic system.<\/p>\n

The Mor\u00e9 Mor\u00e9 [Leaky]<\/em> series is characterised by extensive fieldwork and photographic documentation of these repairs. A selection of photographs was produced and displayed for the first time at White Rainbow, bringing Mohri\u2019s research into photography into direct dialogue with her installation practice and extending the visual documentation that underpins the project.<\/p>\n

Mohri\u2019s installations frequently combine reconfigured machine parts and everyday objects, including bicycle wheels, plastic sheeting, watering cans and lightbulbs. Collected in cities around the world, these materials are assembled into self-contained moving systems or \u201cecosystems\u201d through which intangible forces such as magnetism, gravity, temperature and light become perceptible.<\/p>\n

Mor\u00e9 Mor\u00e9 [Leaky]<\/em> follows this approach, bringing together everyday objects, discarded materials and machine parts collected in London. Suspended within a frame from the gallery ceiling, the assemblage transforms these materials into a kinetic environment that reflects Mohri\u2019s interest in movement, energy, infrastructure and the hidden systems of the city.<\/p>\n

The exhibition was accompanied by a catalogue featuring a newly commissioned essay by artist Richard Wentworth, a conversation with Mark Rappolt, Editor of ArtReview<\/em>, and installation photographs documenting the exhibition.<\/p>\n

Bio<\/h5>\n

Yuko Mohri (b. 1980, Tokyo) is a Japanese artist whose multidisciplinary practice encompasses installation, sculpture, sound, photography and kinetic systems. Her work often begins with extensive research and fieldwork, through which everyday objects, found materials and mechanical components are reconfigured into dynamic installations.<\/p>\n

Mohri\u2019s practice explores invisible forces and systems, including magnetism, gravity, electricity, temperature and sound. Her installations transform ordinary materials and functional objects into responsive environments in which movement, chance and interaction become central to the work.<\/p>\n

Mohri represented Japan at the 60th Venice Biennale in 2024. She has exhibited internationally at museums, galleries and major contemporary art exhibitions, and was the recipient of the Nissan Art Award in 2015.<\/p>\n

Project details<\/h5>\n

Year:<\/strong> 2017
Artist:<\/strong> Yuko Mohri
Exhibition:<\/strong> Mor\u00e9 Mor\u00e9 [Leaky]<\/em>
Venue:<\/strong> White Rainbow, London
Format:<\/strong> Solo exhibition; installation, photography and kinetic sculpture
Advisor and Associate Curator<\/strong>: Keith Whittle
Catalogue:<\/strong> Essay by Richard Wentworth; conversation with Mark Rappolt
Country:<\/strong> United Kingdom<\/p>","protected":false},"excerpt":{"rendered":"

Yuko Mohri<\/p>\n","protected":false},"author":1,"featured_media":360,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,34,35,9],"tags":[],"class_list":["post-82","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-curating","category-education","category-international-exchange","category-projects"],"acf":[],"_links":{"self":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/posts\/82","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=82"}],"version-history":[{"count":19,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/posts\/82\/revisions"}],"predecessor-version":[{"id":8071,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/posts\/82\/revisions\/8071"}],"wp:attachment":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=82"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=82"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=82"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}