{"id":82,"date":"2024-03-15T11:03:35","date_gmt":"2024-03-15T11:03:35","guid":{"rendered":"http:\/\/keithwhittle.org\/?p=82"},"modified":"2026-02-03T03:20:55","modified_gmt":"2026-02-03T03:20:55","slug":"yuko-mohri","status":"publish","type":"post","link":"https:\/\/keithwhittle.org\/?p=82","title":{"rendered":"Yuko Mohri"},"content":{"rendered":"<p><em>Mor\u00e9 Mor\u00e9 [Leaky] <\/em>an exhibition at White Rainbow, Fitzrovia, London by Yuko Mohri (b.1980, Tokyo).\u00a0The artist\u2019s first presentation at a UK gallery.<\/p>\n<p class=\"Typography__PrimaryTitle-takw91-0 article__Title-sc-7i165q-1 eSXiPC\">The solo exhibition by Mohri, who recently represented Japan at the 60th Venice Biennale, showcased her installation titled <em>Mor\u00e9 Mor\u00e9 [Leaky]<\/em>. This work is part of her long-term research project focusing on the Tokyo metro. Mohri first presented this project at the prestigious Nissan Art Award in 2015, where she won the award.<\/p>\n<p><strong><span data-preserver-spaces=\"true\"><\/span><\/strong><\/p>\n<p>Mohri\u2019s work is responsive to the built environment. Her kinetic installation at White Rainbow will be in the form of a circuit, with found materials \u2018wired\u2019 together to contain flowing water, mimicking makeshift water repairs she noticed in the Tokyo metro. Mohri\u2019s\u00a0<em>Mor\u00e9 Mor\u00e9 [Leaky]\u00a0<\/em>series is characterised by extensive fieldwork, including a range of photographic documentation of the repairs. A selection of these photographs were produced and displayed for the first time at White Rainbow, and connected Mohri\u2019s research and work with photography to her installation work, for which she is best known.<\/p>\n<p>Watch \u00a0&gt;&gt; <a href=\"https:\/\/vimeo.com\/743620664?share=copy\">Installation<\/a><br \/>\nWatch &gt;&gt; <a href=\"https:\/\/vimeo.com\/204521824\" target=\"_blank\" rel=\"noopener\">Interview<\/a><\/p>\n<p>Mohri\u2019s installations consist of reconfigured machine parts and everyday items such as bicycle wheels, plastic sheeting, watering cans, lightbulbs and more, collected in cities around the world, from which she creates self-contained moving \u2018ecosystems\u2019, channeling intangible energies such as magnetism, gravity, temperature and light.\u00a0<em>Mor\u00e9 Mor\u00e9\u00a0<\/em>follows the same lines \u2013 an assemblage of everyday items, junk, and machine parts collected in London, which will be set within a frame and suspended from the gallery ceiling.<\/p>\n<p>The accompanying catalogue on Yuko Mohri includes a newly commissioned essay by artist Richard Wentworth, an in conversation with Mark Rappolt, Editor, Art Review, and installation photographs.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Yuko Mohri<\/p>\n<a class=\"read-more-link\" href=\" https:\/\/keithwhittle.org\/?p=82 \">Read More<\/a>","protected":false},"author":1,"featured_media":360,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[9],"tags":[],"class_list":["post-82","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-projects","col-md-4 col-sm-6"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/keithwhittle.org\/wp-content\/uploads\/2024\/03\/YukoMohri.01.jpeg?fit=672%2C448&ssl=1","jetpack_sharing_enabled":true,"_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":12,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/posts\/82\/revisions"}],"predecessor-version":[{"id":3337,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/posts\/82\/revisions\/3337"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/media\/360"}],"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}]}}