Grants Awarded2014 | Visual Art | United States
for a six-month grant to conduct research on contemporary art and music, meet artists and curators, and participate in an artist residency program in the United States.
The focus of Yuko Mohri’s debut UK solo will be an installation of her project Moré Moré [Leaky], a long-term research project into the Tokyo metro. Mohri exhibited her first iteration of the project at the prestigious Nissan Art Award 2015, which she consequently won. Mohri’s work is responsive to the built environment. Her kinetic installation at White Rainbow will be in the form of a circuit, with found materials ‘wired’ together to contain flowing water, mimicking makeshift water repairs she noticed in the Tokyo metro. Mohri’s Moré Moré [Leaky] series is characterised by extensive fieldwork, including a range of photographic documentation of the repairs. A selection of these photographs will be produced and displayed for the first time at White Rainbow, and will connect Mohri’s research and work with photography to her installation work, for which she is best known.
The works of Japanese artists have occasionally been shown in Cuba through events such as the Havana Biennial, but this is the first exhibition to present a substantial collection of Japanese contemporary art. Rather than simply feature works by artists living in modern-day Japan, the exhibition is created through dialogue and collaboration between Japanese and Cuban curators, and with Japanese artists working together with Cuban artists and local communities. It presents mainly new works—including paintings, photographs, videos, and installations—by seven Japanese (and ACC alumna Yuko Mohri is one of the artists) and four Cuban artists at Cuba’s leading contemporary art museum, Centro de Arte Contemporáneo Wifredo Lam. The exhibition will travel to Tokyo, Japan in June, after it wraps up in Cuba.
Following her residency at Camden Arts Centre in 2016, Yuko Mohri returns with a new installation that orchestrates relations between electromagnetic force-fields, patterns of light moving through water and a reconfigured Yamaha reed organ from 1934. Developed responsively to the architecture and surrounding environment of the galleries, Mohri’s audio-spatial composition reveals the interconnectedness of man-made and natural processes, inviting non-human agents and chance factors to determine the score.