Camden Arts Centre, London, UK
6 July–16 September, 2018
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. In this new commission, error, improvisation and feedback figure in an acoustic environment that maps shifting relationships between material things and conceptual propositions. Music and sound are central to Mohri’s practice. Her involvement with the experimental music scene in Japan has included collaborations with Otomo Yoshihide and the internationally acclaimed composer, pianist and electronic musician Ryuichi Sakamoto. As part of Voluta, sound art pioneer Akio Suzuki will perform live in the gallery. Supported by Arts Council Tokyo, the Great Britain Sasakawa Foundation, Terumo Foundation for Life Sciences and Arts and the Yuko Mohri Exhibition Circle
– I Ching (Book of Changes)
– Henri Bergson, The Creative Mind (Original Title: La Pensée et le mouvant [Thought and Movement])
– Fujio Fujiko F, Doraemon, vol.1–10
– Arata Isozaki, Japan-ness in Architecture
– Timothy Morton, Ecology without Nature
– Erik Satie, Mammal’s Notebook, A
– Toru Takemitsu, Confronting Silence
– David Toop, Into the Maelstrom
– Kazuo Umezu, Je suis Shingo, vol.1–3 (French)
– What are you planning for your installation at Camden Arts Centre？
The exhibition entitled “Voluta”. The word means a lot of things :a snail, a spiral pattern of greek columns, or, a graphical design found on the head of violin or guitar, and also twisted wires. Also diffused in Asia as a foliage scroll pattern, it can be found in contemporary design as a symbol of life force.
My works, most of which are installations working by electricity, treat phenomenons such as a magnetic feedback or a light sensors effect. The word “Voluta” then evokes a image of coils, banded cables, further, endlessly rotating “Rotorelief” of Marcel Duchamps.
For the show, I will make three apparatus using an organ, a metallophone and acoustic equipments, materials related with sounds. Now I have a picture of my installation like an organic space, twisted and braided through keywords of “error,” “improvisation” and “feedback.”
– How have you brought in the musical elements? Is it a composition or an improvisation, or another mode of music?
I often refer to John Cage. He composed, improvised and created another mode of music, all together. He determined a boundary of what makes music as it is and in the same time transgressed it himself. Being inspired by him, I then make art works using insrtuments, with “the way of living through inadvertence,” parodying a term “chance by inadvertence” by Pierre Boulez, when he criticized John Cage.
Yuko Mohri 14 Mar. 2018
Translated by Nayo Higashide