Yuko Mohri (Kanagawa, Japan, 1980; lives and works in Tokyo) is known for her intricate and original compositions, recently presented in Italy at the 60th Venice Biennale (2024) in the Japan Pavilion. Inspired by Marcel Duchamp (1887–1968), Mohri creates in-situ kinetic sculptures that incorporate found objects, as well as reworked musical instruments connected to electronic circuits. Her works respond to imperceptible, transient, and ephemeral phenomena, such as gravity, magnetism, heat, and humidity. Random and unstable environmental elements, such as air, dust, debris, and temperature, shape her assemblages, transforming them into organic ecosystems where the sonic component is central.
Mohri pursued interdisciplinary studies in Fine Arts at the Tokyo University of the Arts; her work has been distinguished from the outset by its connection to sound and music. During her college years, she was part of the punk band "Sisforsound," which had a profound influence on her artistic approach. Perceiving the blurred boundaries between the visual and acoustic worlds, Mohri often disassembles and reassembles musical instruments and electronic objects to create her works. Influenced by the 1960s Fluxus movement and experimental music, she also draws inspiration from the work of John Cage (1912–1992), creating a fusion of visual art and exploratory music that offers new perspectives and ways of interacting with the world around us.
At Pirelli HangarBicocca, Yuko Mohri presented works spanning the mid-2000s to her most recent projects, which she continually updates and develops, modifying them over time and adapting them to the spaces in which they are presented. As the artist explains, "I conceive my installation as an organic space, intertwined with the keywords 'error,' 'improvisation,' and 'feedback.'" Mohri possesses a sophisticated ability to make often-considered niche worlds, such as experimental music and contemporary art, more accessible by incorporating everyday objects like kitchen utensils and bath gloves, while adopting a playful approach that connects with the audience. Through the materials she employs, Mohri introduces a subtle irony and an almost hidden playful dimension, drawing on cultural references ranging from philosophy to pop culture, as well as iconographic and sonic influences ranging from kinetic art to sonic experimentation.
Mohri’s works have been exhibited at numerous major institutions, including the National Museum of Modern and Contemporary Art Korea (MMCA), Seoul (2025); Artizon Museum, Tokyo (2024-2025); Aranya Art Center, Hebei (2024); Atelier Nord, Oslo (2021); Casa Japón, São Paulo (2021); Sony Park, Ginza, Tokyo (2020); Camden Arts Centre, London (2018); Towada Art Center, Aomori (2018-2019); National Museum of Modern Art, Kyoto (2018); and Museum of Contemporary Art, Tokyo (2012). The artist represented Japan at the 60th Venice Biennale in 2024. She has also participated in numerous group exhibitions, including the Gwangju Biennale (2023); the Sydney Biennale (2022); the Asian Art Biennale, Taichung (2021); São Paulo Biennial (2021); Glasgow International (2021); Tai Kwun Contemporary, Hong Kong (2021); Tokyo Palace, Paris (2018); Asia Pacific Triennial of Contemporary Art, Brisbane (2018); Center Pompidou-Metz (2017); Lyon Biennale (2017); Kochi-Muziris Biennale (2016); Yokohama Triennial, Kanagawa, 2014.
