Yuko Mohri


Born in 1980 in Kanagawa (Japan), lives and works in Tokyo (Japan)

Yuko Mohri's installations are like autonomous ecosystems, made of disparate mechanical elements. Household utensils or other everyday objects reconfigured by the artist are combined with machine parts that she has picked up all over the world. The improvised design of these assemblages involves intangible energies such as magnetism, gravity, light, and temperature. She designs frameworks inspired by Marcel Duchamp works such as the Ready-mades, The Large Glass or Étant donné, then creates two-dimensional works based on water leaks that have sprung in various places. The artist then tries to connect the flows between them, judging the work to be finished when she has managed to control the leaks, thus allowing the water to circulate again.


Moré Moré [Leaky]: The Falling Water Given #4-6, 2017

Nippori JR station 08.06.2014, 2014

Shinjuko JR Station 02.11.15, 2015

Shinjuko JR Station II 02.11.15, 2015

Shinjuko Station 02.11.15, 2015

Sensitive to the creative role of chance or accident in Duchamps’ ready-mades and The Bride Laid Bare by her Bachelors, Even, Yuko Mohri creates works that resemble autonomous ecosystems whose improvised, random conception draws on diverse, intangible phenomena: gravity, magnetism, and thermal variations. In this context, Moré Moré [Leaky]: The Falling Water Given #4-6 is perceived as a theatre of objects inspired by networks of improvised repairs to leaks from cracks in the Tokyo metro system, as documented in the accompanying series of photographs. The juxtaposition of the fixed images and wooden structures supporting kinetic water-courses, with objects found in situ, invites us to consider the symbiotic relationship between nature and technology, aesthetic beauty and function.  

With backing from the White Rainbow Gallery, London


Pleated image, 2017

Japanese artist Yuko Mohri produces works that function as ecosystems, assembled from collected artefacts. Pleated Image presents a variety of objects, arranged in kinetic environments. The latter’s movement is continually scanned, and the resulting images are transmitted in an uninterrupted stream. Yuko Mohri plays on different timescales, introducing time that folds in upon itself, and is repetitive. The quality of the images – unfocussed and grainy – is reminiscent of the artist’s “spirit photographs”, insofar as they “capture things that should not have been”.  These photographs recall the experimental practices of modernists like Man Ray or Lee Miller, and should be viewed in conjunction with Yuko Mohri’s other work on the first floor of macLYON.



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