Same As It Ever Was – 毛利悠子個展
展期 Date｜ 9/ 29/ 2018－11/ 03/ 2018
開幕 Opening｜9/ 29（六） 4-7pm
地點 Venue｜就在藝術空間 (10658 台北市大安區信義路三段 147 巷 45 弄 2 號一樓)
就在藝術空間將於九月份第二度邀請日本藝術家毛利悠子來台灣舉辦個展「Same As It Ever Was」。藝術家將首次在台北展出她於2015年獲得Nissan Art Award首獎的裝置「Moré Moré」系列，以及持續發展的錄像「Everything Flows」系列。
這次展覽主要的新作「Moré Moré Variations」是毛利悠子運用在台北購買、蒐集到的物件，例如水桶、水管、水壺、蛙鞋、燒瓶、幫浦組裝而成的懸吊裝置作品。她巧妙的運用簡單的物理作用，讓水在這些物件中自如的循環流動，自成系統。
毛利悠子從2009年開始發表「Moré Moré」系列，第一件作品「Moré Moré Tokyo (Water Leak Tokyo)」的靈感來自於東京車站中經常可見站員為對抗與解決漏水現象所採用的臨時性解決方式：在市政基礎設施漸漸被地下水流侵蝕的狀況下，他們利用各種生活器材，例如水桶、篷布，膠帶，汽水瓶和塑膠傘，與大自然進行一場勝負難測的戰鬥。毛利悠子在這些高度定制化的拼裝(DIY)，以及它們被「使用的美」(The Beauty of Use，20世紀日本哲學家柳宗悅Sōetsu Yanagi提出的藝術概念)中，發掘到人類在創作時衝動的根源。
2018年是毛利悠子在國際藝壇大有斬獲的一年，即將舉辦的展覽包括十月「Assume That There is Friction」個展，十和田藝術中心，日本青森，及受邀參展第九屆亞太三年展（APT9），澳洲布里斯本。
‘Same As It Ever Was’ Yuko Mohri Solo Exhibition
Date: 29 September 2018 – 3 November 2018
Opening: 29 September (Sat) 4-7pm
Venue: Project Fulfill Art Space (1F., No. 2, Alley 45, Lane 147, Sec. 3, Sinyi Rd, Taipei 10658)
Project Fulfill Art Space invites artist Yuko Mohri returning to Taipei for her second solo exhibition ‘Same As It Ever Was’, opening in September. Exhibited for the first time in Taipei will be new work from her award-winning series ‘Moré Moré’, for which she was awarded the Nissan Art Award 2015 Grand Prix Winner, alongside new work from her ongoing video series ‘Everything Flows’.
The exhibition’s central work ‘Moré Moré Variations’ incorporates found objects bought in Taipei and collected by the artist, such as water buckets, plastic hoses, kettle, swimming fins, glass flask and water pump, composed into a suspended installation. Mohri’s ingenious use of simple physical forces allows water to freely flow in a continuous cycle, forming its own self-sustaining system.
Mohri developed her installation series ‘Moré Moré’ since 2009, starting with the first version ‘Moré Moré Tokyo (Water Leak Tokyo)’ inspired by station agents in Tokyo using improvised methods to react to leaky situations, which can often be observed at station yards. The station agents employ everyday objects such as buckets, tarp, duct tape, soda bottles and plastic umbrellas as they do dubious battle with Nature itself, as the underground water eats away at the municipal infrastructure. It is in these highly-customized bricolages that Mohri detects the roots of human artistic impulse, or the “Beauty of Use”, borrowing early 20th Century Japanese philosopher Sōetsu Yanagi’s concept of finding beauty within everyday utilitarian objects.
While leaks in ordinary architecture can be remedied by patching a wall or a roof, underground spaces of subway stations have no ‘exterior’, thus the groundwater seeping in from all directions can never be stopped. The guerrilla tactics used to hold this leaking, corrosive entropy at bay are thus construed as their own form of instant architecture.
In 2016 Mohri began to develop her video series ‘Everything Flows’, inspired by the ancient Greek philosopher Heraclitus whose symbolic use of fire as the principle of all things, intertwined with his statement that ‘everything flows’. The work depicts Mohri’s observations of various objects in different cities, such as balloons, safety coverings outside construction sites, and barrier tape billowing back and forth in the wind. Just as her installations require a trigger point to drive the entire work, which in turn creates an ‘eco system’, each movement may at first glance look similar, however the resulting pathways that are produced are never repeated.
2018 has been a year of successful recognition for Yuko Mohri on the international art scene. Her upcoming exhibitions include: ‘Assume That There Is Friction’ solo exhibition opening in October at Towada Art Center, Aomori, Japan and the 9th Asia Pacific Triennial of Contemporary Art (APT9), Brisbane, Australia (2018-2019).