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Nissan Art Award 2015 | Interview with Yuko Mori

日産アートアワード2015|毛利悠子 インタビュー

2015.12.19 Published Interview & Text: Taisuke Shimanuki Photo (Portrait): Masamasa Nishino

The "Nissan Art Award" is an award for contemporary art. The other day, the winners of the second Grand Prix were announced. The winner is Yuko Mori. Known for her style of setting up mechanical everyday items in the space and laying out a network of inorganic substances such as light, sound, and magnetic force, she is a remarkable artist who has expanded her field of activity in the last few years. This time, I had the opportunity to interview the day after winning the Grand Prix. For artists, what is the meaning of creating a work and the significance of the award that honors it? We will deliver the testimony of the artist "now" called Yuko Mori.

Development from fieldwork

Yuko Mori << Moremore: Given Waterfall # 1–3 >> 2015 / "Nissan Art Award 2015" Exhibition Scene / Photo: Keizo Kioku

Yuko Mori << Moremore: Given Waterfall # 1–3 >> 2015 / "Nissan Art Award 2015" Exhibition Scene / Photo: Keizo Kioku

——Congratulations on winning the Nissan Art Award. Please give us your first award-winning comments.

Mouri : Thank you. Since the first time in 2013, I have longed for this award itselfI am very happy. The work I exhibited was a new challenge for me, so I think I would be satisfied even if I couldn't win the Grand Prix, but it was an honor for the judges to evaluate it.

——Can you tell us about the award-winning work “Moremore: Given Waterfall # 1-3”? This is a work developed from the project "Moremore Tokyo" that researched the site of water leak repair in the subway station yard in Tokyo.

Mouri : The idea of exhibiting stronger and larger works that are similar to those exhibited at the 2014 Sapporo International Arts Festival and Yokohama Triennale, in which the works that have a loose relationship in the exhibition space are further developed. Of course there was. However, this award is a stage where new works are competing with each other, and it is not an exhibition with a core curation like a special exhibition at a museum, so let's take the opportunity to challenge a work that we have never done before. When. That is why I decided to develop the direction of "Moremore Tokyo," which has been fieldwork since 2009.

——Yesterday, on the press tour before the award ceremony, you explained with reference to the bricolage mentioned by social anthropologist Levi-Strauss. This is a concept / method that refers to collecting scraps and surpluses to make and repair tools in an emergency, as opposed to, for example, a professional craftsman making a product based on a predetermined design plan. is.

Mouri : While continuing research on "Moremore Tokyo," I found a bricolage-like creation method for dealing with water leaks by the hands of an unspecified number of station staff. Some stations are sloppy, while others make the materials and shapes aesthetically pleasing. They may not think of it as a "work", but I've always thought it was a "work". It was another big opportunityThis is a workshop held at Asahi Art Square in January this year ("Moremore Tokyo-Practice of Moremore made with kitchen and toilet"). We dared to create an artificial water leak site in the toilet and kitchen of the venue, and asked the participants to deal with it. Instead of correcting the cause of the water leak, the goal is to control the water path using vinyl or a bucket and take first aid to prevent the surroundings from getting wet. Then, in about two hours, a really wonderful "work" was completed. I was impressed by the unintended creations that were created when faced with an urgent situation.

Photo left | From 《Moremore Tokyo》 Photo right | 《Moremore Tokyo-Practice of Moremore made with kitchen and toilet-》 / Venue: Asahi Art Square / Photo: Hideto Maezawa


Photo left | From "Moremore Tokyo"

Photo right | 《Moremore Tokyo-Practice of Moremore made with kitchen and toilet-》 / Venue: Asahi Art Square / Photo: Hideto Maezawa

——Did you sublimate your research and workshop experience into a work by Mamoru Mohri this time?

Mouri : That's right. With those two references, I was already convinced of the direction of the work, even though I was taking on a new challenge.

——But according to what I heard, the production site was in a difficult situation. span>

Mouri : This time, for my own creation, I took the method of first creating a water leak condition and then proceeding with the production in a way that copes with it, but the floor of the venue became messy because the water leaked. I did! Other finalists bring in some of the work they've created in the studio to install and adjust the video projection, but next to that, I'm just trying to deal with water leaks every day, and it's been a long time. But there was no sign that it would be a work (laughs). I had set the goal of keeping the wooden frame and floor from getting wet, but I was wondering if I could really make it by the time the exhibition opened. It was almost like a drifter's tale, like putting water on my head.

——Oh, it's like a basin falling from above (laughs). It seems that the balance is so delicate that even if a child touches it, water will leak.

Mouri : Actually, it's made up of a super delicate balance. For example, the part where the wheel of a bicycle turns like a "shishi-odoshi" is made up of a 2 gram weight bought at a fishing tackle shop. It's spinning stably now, but it's one of the places that kept leaking until the end. Besides, I usually hang things with Tegus, but since Tegus has the property of gradually stretching when it comes in contact with water, I used fishing line this time. It's a work that wouldn't be possible without fishing equipment (laughs).

Yuko Mori << Moremore: Given waterfall # 1–3 >> part

color: # 808080 "> Yuko Mori << Moremore: Given waterfall # 1–3 >> part

Meaning of creating a work as an artist

——At the award ceremony, Mr. Fumio Nanjo, the chairman of the judging committee, gave a brief comment. Please tell us the reason for the award in a little more detail.

Mouri : From my point of view, I wonder if the leap from past works was a major reason. Some of the judges have actually seen my works so far, including "Urban Mining" using street lights and "I / O" using relics handed over from musicians. He said he submitted a work in the direction of the day after tomorrow, where he expected to announce an advanced version such as "A Composer's Room". Also, I wonder if the reference of creation that I found by chance around me was linked to art history in an easy-to-understand manner.

——As you can see from the title and the modeling of the work, the quote from Marcel Duchan, who is said to be the ancestor of contemporary art, is also characteristic.

Mori : "Moremore Tokyo" researches the creation of people who are not artists, but in contrast, the question "What is the meaning of creating a work by myself as an artist?" The water leak repair interviewed at "Moremore Tokyo", which will be removed once the water leak has subsided, is a model that disappears when it is used, and is the most instant building. However, the works of the finalists of the Nissan Art Award are to be stored, maintained and preserved by Nissan.

——In other words, is it the artist's job to create what is left behind?


Mouri : Recently, I was thinking about how I could leave my work, which presents not only things but also the relationships between phenomena such as light and sound as an "ecosystem." "Moremore Tokyo" will disappear, but as an artist, I may be able to leave something behind. Tino Sehgal, an artist who lets others perform guerrilla-like performances in museums and the like, does not allow the recording of images and photographs. However, it is stored as a "work" in museums in Europe and the United States. It means that what is "not" is "is". It is Sagal's strategy to leave the fact that there is no such thing, and even a writer who deals with things like him is thinking about leaving it.

《I / O── A composer's room》 2014 《Circus underground》 2014

Photo left | 《I / O── A composer's room》 2014 / Paper, wood, acrylic, dust, light bulbs, motors, blinds, forks, organs, drums, bells, work boxes, etc./294 × 609 × 802 cm (variable) )

Venue: Yokohama Museum of Art / Photo: Yuichiro Tanaka / Provided by: Yokohama Triennale Organizing Committee

Photo right | 《Circus Underground》 2014 Compass, Ammonite, Bell, Bell, Garden Equipment, Flapping, Measure, Light, Umbrella, Tegus, Motor, Light Bulb / Size Variable

Venue: Seikatei (Tangible Cultural Property of Sapporo City) Chi Ka Ho / Photo: Keizo Kioku / Provided by: Creative City Sapporo International Art Festival Executive Committee

—— CertainlyIn the work "Izumi", which Duchan used the men's toilet as it is, he showed that "the statement that this is a work" is the basis of art, not "making a substance". It is said that this expanded the meaning and concept of art.

Mouri : So, this time I gave myself a leak, so I quoted the title from Duchan's last work, "(1) Falling water, (2) Lighting gas." Needless to say, ready-made products such as PET bottles, hoses, and buckets are used to deal with water leaks. Then, when I got here, I would like to borrow the frame from "Even the bride stripped naked by her singles" (commonly known as "Large glass") and make it a homage. "Large Glass" has a complex and chaotic cycle in which the energies of the bride and the single are circulated on a flat surface. I think "Moremore Tokyo" is like that.

——Duchamp said in an interview that he was trapped in the “idea of movement”. Another feature of his work is the circulation of word games like an associative game.

Mouri : It seems that parts are inevitably selected for the function of controlling the flow of water, and in fact it is just wasteful. I think that is an interesting place.

——I think the breadth of Nissan's collection of this work is amazing. Even though it is a two-dimensional work, it is a work that uses water, and you have to pay close attention to establish a circulation.

Mouri : I think this is still the easiest work to store (laughs). Because all you have to do is stop the water. I wanted to say that even if the water does not circulate, it will still work as a work. The work management instructions state that you can flush the water while I'm alive, but basically stop it when I die.

——While Mamoru is alive, do you make adjustments?

Mouri : Yes. If a new water leak occurs, I wonder if it will be possible to modify it for maintenance.

——But you can't do anything after you die. Does the function of circulating water need not be permanently presented?

Mouri : I hope the result of bricolage remains in the form. It would be good if the fact that water used to flow and that such modeling created a water flow path was shown. It symbolizes that the energy was circulating.

——Interesting. In the works of the Sapporo International Arts Festival, the spring water called "Mem" that remains in Sapporo city was referred to. Many of the Memu are now dead or have changed their appearance on the campus of Hokkaido University. Although it has lost its function, it is said to be a historical relic that conveys the modernization of Meiji Japan. Mr. Mohri's story now is reminiscent of that.

Being "passive"

——Mr. Mohri started from the area of media art and moved to contemporary art. What do you think about the transition of the genre?

Mouri : It's not that I'm not conscious of it, but I think the work I'm making hasn't changed much. On the other hand, there was a sense of discomfort with the genre named media art from the beginning. I am Seiko Mikami at Tama Art UniversityHe passed away in January 2015) I belonged to the seminar of the teacher, but I often heard the question from Mr. Mikami, "Why is there a word for media art?"

——Mr. Mikami's works since the 1990s will be more interactive, using cutting-edge technology. In that sense, he is one of the artists who established the image of media art in Japan.

Mouri : But around 2000, she seemed to question the name media art. Rather, I remember saying that I wanted to say "media art" or something that emphasized art.

——In other words, it's not technology-driven.

Mouri : Well, it is certain that many of the things that were called "media art" at that time were ambiguous whether they were "art (expression)" even though they were experiments on "media (technology)". What is it? Recently, I often hear the word "media art" again, but the meaning may be a little different between those days and now. In any case, there was a question and anxiety, "Can I create without electronic equipment such as a computer?" Participating in this exhibition, which is an award for contemporary art, may have been the biggest concern. For that reason, I have been searching for ways other than computer control.

Yuko Mori

<span style = "color: # 00ccff"> ——But now it's normal to use a computer in a piece of contemporary art.

Mouri : That's true. On the contrary, I have been using electronic devices for a long time, and this time I finally use only a pump that sucks up water (laughs). It may be that computers and vinyl hoses have come to be regarded as similar in terms of materials. However, in the near future, I would like to make a work that uses a computer entirely for the first time in a while. The internet environment has changed a lot in the last 10 years.

——Although the use of computers has become commonplace, invisible programming is the best black box that makes your work mysterious, isn't it? As a feature of Mr. Mohri's work, it was important that all the mechanisms were disclosed and that there was no black box.

Mouri : I don't think that will change in the future. Even if you say "there is no black box", it is common that the mechanism cannot be determined by the characteristics of the medium. For example, this time I used water for the first time, but it is very difficult to control the water pressure. Even though I make the water supply and drainage all visible, there are many places where I wonder how the balance is achieved. During this time, a child about 5 years old came to the venue and was observing the hose that was moving all the time. When asked "What? What's this?", It's insanely cute (laughs), but if you look closely, there is a drain hose to prevent water from collecting in the PET bottle, and it circulates from there. I know you're doing it. However, there is still something that evokes mystery in the work. Even without a black box, I think there are just as many strange things. The more you show it, the more mysterious it really becomes.

cff "> —— That's how you improvised your new work, and is that motivating you to make it?

Mouri : I have a discovery. Another theme of this work is "passive", which is a presentation that people can create when faced with an unpredictable situation such as a water leak. What is it? I applied the scenery I saw at the workshop at Asahi Art Square to myself this time … In other words, I was able to make this work by forcibly "imposing" it, which I discovered, and I will continue to work on it in the future. It's a strong motivation to make it.

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