On the inaugural preview day of the 2024 Venice Biennale, a heavy rainstorm prompted a flurry of activity among artists, curators, and journalists seeking cover. Amidst the chaos, Japanese sculptor Yuko Mohri, representing Japan at the event, remained remarkably calm. She welcomed the rain, unfazed by the potential damage to her new installations debuting in the Giardini.
The Japanese Pavilion, designed with an open structure featuring skylights and an aperture in the floor, was intentionally porous. One of Mohri's installations engaged directly with water, using a complex arrangement of tables, fruits, speakers, and various objects sourced from local shops. Water flowed through the pavilion, guided by plastic tubing that intertwined with her secondhand creations. This piece, part of her ongoing series titled "Moré Moré (Leaky)," utilizes electrodes to capture the electrical currents generated by decaying fruits, creating spontaneous sounds.
Originally inspired by accidental water leaks observed in Tokyo subway stations, Mohri embraced the unpredictability of her work. She allowed the pavilion to be vulnerable to the elements, demonstrating her desire for the art to reflect fragility. Fortunately, aside from minor damage to some plastic sheeting, the installations withstood the storm.
Mohri expressed her excitement about collaborating with nature, allowing environmental factors to influence her exhibition. While previous institutions have expressed concerns about conservation and the organic materials in her work, she feels liberated in Venice, stating, "I really accepted the changing situation. I want to continue this way."
Her artistic journey has garnered international recognition, including a major survey at the Pirelli HangarBicocca in Milan, which will soon travel to the Centro Botín in Santander, Spain. These exhibitions showcase her signature style of assembling everyday objects into dynamic ecosystems, where the pieces interact in unpredictable ways. For instance, one installation featured a piano that played itself based on ocean sounds, while another lit up bulbs using the electrical charges from produce.
Mohri's approach challenges traditional notions of art as static objects. Her installations are not fixed entities; they are dynamic conditions shaped by sound, movement, and environmental factors. This innovative perspective has attracted support from galleries and institutions, including her recent win of the $50,000 Calder Prize.
As she prepares for her upcoming solo shows in Miami and Yokohama, Mohri reflects on her artistic evolution. Growing up in Kanagawa, she initially pursued music but found her true calling in visual art. Influenced by experimental composers and Fluxus artists, she has developed a unique style that blurs the lines between art and sound.
In her current works, Mohri explores themes of decay and the cyclical nature of existence, drawing inspiration from her grandmother's teachings about life and death. Her installations not only engage with the present but also connect to the past, as seen in her composting practices that transform used materials into nourishing soil for future growth.
Through her art, Mohri invites audiences to engage with the transient beauty of life, illustrating the intricate balance between human and nonhuman elements.
