(this page was last updated in May 2020)
São Paulo, Brazil, 1979.
Lives and works between Tokyo and Chiba, Japan.
PIPA Prize 2020 nominee.
Hori holds a BFA and MFA from the University of Sao Paulo and currently is a PhD candidate in Visual Arts at Tokyo University of the Arts. She believes to be an essayist-zuihitsuka-artist, who in an erratic way, investigates varied themes of interest, testing different plastic solutions that tension the relationship between space, time, narrative, audience. Hori has been taking part on national and international exhibitions, artistic residencies, and has received the awards: “V Prêmio Diário Contemporâneo de Fotografia” (2014), “VI Prêmio de Artes Plásticas Marcantonio Vilaça e Rede Nacional Funarte” (2011), UNESCO – Aschberg Bursary Program for Artists (2011).
Video produced by Do Rio Filmes, exclusively for PIPA Prize 2020:
About the Artworks
– “Arashi no kizashi / Antes da tempestade” [Before the storm], 2020
Photographs of Brazil’s capital in the days leading up to the 2018 presidential election were compiled in a book in the form of emakimono (illustrated handscrolls). The famous Brasilia sky, hidden by heavy clouds, drew a strange landscape. Certainly, it announced the arrival of dark times. The book attempts to describe that gloomy premonition (kezashi) as a historical narrative.
– “De noite penso no dia, de dia penso na noite / Yoru ha hiru wo omoi, hiru ha yoru wo omou” [In the evening I think of the day, during the day I think of the evening], 2019
An ongoing book that comprises photographs taken daily since March 2018 by Inês Bonbuki in Brazil and Yukie Hori in Japan. Two images of the same day are created as mirrored pairs in a poetic dialogue that brings together realities on opposite sides of the planet. [Project website on “Links”]
– “The termite Nest”, from Brazilian Reminiscences of Yukio Mishima series, 2019
Collective project in progress by artists Alline Nakamura, Yukie Hori and Mishima researcher, Rodolfo Rocha.
Based on Yukie Mishima’s travel writings on his visit Brazil in 1952, we searched, in the current time, for reminiscences of the country that impacted the Japanese writer. “The termite nest” is a play whose scenario was inspired in the house where Mishima was hosted in Lins, countryside of São Paulo: a coffee farm owned by his friend, Toshihiko Tarama.
– “Horizon and Tableau: Practical Archeology at Natsuyuki Nakanishi Former Atelier”, 2019
Project developed at the former studio of the Japanese avant-garde artist Natsuyuki Nakanishi, member of Hi-Red Center group and friend of Butô’s creator, Hijikata Tatsumi. The atelier is inspired by the architecture of Hijikata’s studio, Asbesto-kan. Thus, functioning a large stage, this space design inspired Nakanishi to incorporate aspects of the dance in his art practice. Currently, the atelier is closed, but preserves part of the Hijikata Tatsumi’s archive. With temporary access to the atelier, the collective aimed to investigate and resuscitate Nakanishi’s creative space. The artwork “White blood cells” documents the process of cleaning and tiding up the atelier. “Sutures” highlights the damaged areas of the building that are inaccessible to the visitors. On these areas, I exhibited a selection of objects from Hijikata’s archive, including photos by Eikoh Hosoe. [Project website on “Links”]
– “Adapted Penetrable”, 2016-2018
“Adapted Penetrable (or a Garden for Helio Oiticica)” appropriated a strangely shaped concrete construction at Uekitenji Park in Tachikawa, Japan, dressing its walls with a cosplay of Oiticica’s artwork “Invention of Color, Penetrable Magic Square #5, De Luxe” (1977). In a second movement, similar to “Parangolés”, another serie of works by Oiticica that were incorporated by people, in a process of “readymade-site-specific”, the nylon fabric covers are incorporated to different contexts. “Penetrable Adapted Parangolezed #1: Scenography” became the stage for a shamisen performance by the group Mitsudomoe, in a place near to Uekitenji Park. The covers are sleeping inside a suitcase, ready to incorporate other places.
– “Camouflaged Past” I, II and III, 2008-2014
Triptych of installations that integrates the collection of the Art Museum of Ribeirao Preto.
The work “Ao Tonico com amor” by the local artist, Vera Barbieri, was exhibited in July 2019 at the museum. The following month, in the same place and dimensions, it was presented “Camouflaged Past parte I”, a two-dimensional version of Barbieri’s work. In the next year, in the solo exhibition of the previous year awarded artists, “Camouflaged Past part II” was created as semi-folded version of the house, using the museum floor as a building material. “Camouflaged Past III”, a non-site-specific “ghost”, was produced through the “FUNARTE Artes Visuais” award, allowing it to include part II and III to museum collection.
– “Being Hiroshi Sugimoto”, 2009
video I: Yukie Hori trying to be Hiroshi Sugimoto (5’35”)
video II: Daniel Medina trying to be Yukie Hori trying to be Hiroshi Sugimoto (5’39”)
The video installation simultaneously screens the videos I and II in a loop.
Trying to imitate the framing of “Seascape” by photographer Hiroshi Sugimoto, Yukie shoots the Ostend Sea horizon with a compact digital camera, in black and white mode and auto focus settings. Daniel is behind Yukie, with a digital camcorder, trying to match the horizon lines of his frame with the LCD screen of Yukie’s camera. The length of the filming was determined by the time the artists were able to hold the cameras in their hands and stay focused on that frame, until they got tired. Unlike the images of “Seascape”, which invites the viewer to a state of contemplation, both videos are restless, unstable, oscillating between focused and blurred.
– “Horizont and Tableau: Practical Archeology at Natsuyuki Nakanishi Former Atelier”, art collective “Jissen Kokogaku” with Masumi Inoue + Moeko Ishiguro, Sanghae Kwon, Sayoko Suwabe and Yukie Hori, Saruhashi, Japan
– “de noite penso no dia, de dia penso na noite”, art collective with Inês Bonduki and Yukie Hori, Brazil’s embassy in Tokyo and Yukoto Kan in Minakami, Japan
– “Por sobre o tempo/ cristal corpo/ flutua”, art collective with Carlos Praude, Rita de Almeida Castro and Yukie Hori, Museu Nacional da República, Brasilia, Brazil
– “Série negra: Makie”, Paço das Artes, São Paulo, Brazil
– “Passado camuflado II e III”, Museu de Arte de Ribeirão Preto Pedro Manuel-Gismondi (MARP), Ribeirão Preto, Brazil
– “Em Louvor das Sombras ou Através do Espelho”, Museu de Arte Murillo La Greca, Recife, Brazil
– “Through the Boyds’s Looking-Glass House, and What Lady Shadow Found There” [Através da casa de espelhos dos Boyds e o que a Dona Sombra encontrou por lá], Bundanon Trust, New South Camberra, Australia
– “Studio Games/Stiúideo Clichí”, Leitrim Sculpture Centre (LSC), Manorhamilton, Ireland
– “Passado camuflado II”, Museu de Arte de Ribeirão Preto Pedro Manuel-Gismondi (MARP), Ribeirão Preto, Brazil
– “Camuflagem reencarnada. Evocação ao Espaço V”, Espaço W de Arte, Ribeirão Preto, Brazil
– “[Camuflagem propositiva para] Jogo da memória”, Centro Cultural São Paulo (CCSP), São Paulo, Brazil
Main group exhibitions
– World Art Tokyo, Tokyo Art Fair, Tokyo International Forum, Tokyo, Japan
– Comité Colbert Award – People and Nature in the Modern World, The University Art Museum of Tokyo University of the Arts, Japan
– “Antilogias: o fotográfico na Pinacoteca”, curated by Mariano Klautau Filho, Pinacoteca do Estado de São Paulo, São Paulo, Brazil
– “Art in Farm”, curated by Yoji Inoue, Tokyo Metropolitan Agriculture and Forestry Research Center, Tokyo, Japan
– Coleção Diário Contemporâneo de Fotografia, curated by Mariano Klautau Filho, Museu da Universidade Federal do Pará, Espaço Cultural Casa das Onze Janelas, Belém, Brazil
– “Art in Farm”, curated by Yoji Inoue, Uekitenji-en, Tokyo, Japan
– “Art in Yujuku”, Yujuku Onsen, Japan
– “Olhar InComum: Japão Revisitado”, curated by Michiko Okano, Museu Oscar Niemeyer, Curitiba, Brazil
– “Gestos, relatos, escritas e autoficções”, Festival de Fotografia de Tiradentes, curated by Mariano Klautau Filho, Centro Cultural Yves Alves, Tiradentes, Brazil
– “Naturantes”, curated by Hugo Fortes, Biblioteca Brasiliana Guita e José Mindlin-USP, São Paulo, Brazil
– 5º Prêmio Diário Contemporâneo de Fotografia, Espaço Cultural Casa das Onze Janelas, Belém, Brazil
– Arte Visual Indoamericano, mostra itinerante por capitais da América Latina
– “Kamiyama Artist in Residence+Exhibition”, Espaços públicos da cidade de Kamiyama, Tokushima, Japan
– “Lave-me as costas – Intervenções artísticas em espaços pouco prováveis”, LxFactory, Lisboa, Portugal
– Prêmio Diário Contemporâneo de Fotografia, Museu da Universidade Federal do Pará, Belém, Brazil
– Segunda Muestra de Arte Iberoamericano, Centro Cultural de España (CCE-MX) e Centro Nacional de Las Artes (CENART), Mexico City, Mexico
– 34° SARP – Salão de Arte de Ribeirão Preto Nacional-Contemporâneo, Museu de Arte de Ribeirão Preto Pedro Manuel-Gismondi (MARP), Ribeirão Preto, Brazil
– “Máquina”, curated by Sérgio Bonilha, Museu de Arte de Ribeirão Preto Pedro Manuel-Gismondi (MARP), Ribeirão Preto, Brazil
– 59º Salão de Abril, Centro de Referência do Professor, Fortaleza, Brazil
– “3+2”, curated by Herbert Rolim, Centro Cultural Fortaleza Banco do Nordeste, Fortaleza, Brazil
– “Oniforma”, curated by Claudinei Roberto da Silva, Centro Cultural São Paulo (CCSP), São Paulo, Brazil
– “A grande linha”, SESC Pompeia, São Paulo, Brazil
– “Em trânsito”, mostra dos artistas recém-formados pelo Departamento de Artes Plásticas da Universidade de São Paulo ECA/USP, Galeria Olido, São Paulo, Brazil
– Prêmio Porto Seguro de Fotografia 2004, Espaço Porto Seguro de Fotografia, São Paulo, Brazil
– V Prêmio Diário Contemporâneo de Fotografia
– VI Prêmio Artes Plásticas Marcantonio Vilaça e Rede Nacional FUNARTE Artes Visuais
– UNESCO Aschberg Bursary Programme for Artists [residency prize]
– 34° SARP do Museu de Arte de Ribeirão Preto (MARP) Pedro Manuel-Gismondi
– Programa de Exposições do Centro Cultural São Paulo (CCSP) [residency prize RIAA]
– Prêmio Visualidade Nascente [Visual Arts category]
– UNESCO Aschberg Bursary Programme for Artists, Bundanon Trust Art Centre, New South Wales, Australia
– KAIR, Kamiyama Artist-in-Residence, Program, Kamiyama International Cultural Village, Tokushima, Japan
– LSC Artist Residency Programme, Leitrim Sculpture Centre, Manorhamilton, Ireland
– Programa de Residencia Artísticas para Creadores de Iberoamérica en México, Centro de Artes de San Agustin Etla (CaSa), Oaxaca, Mexico
– RIAA, Residencia Internacional de Artistas en Argentina, Viejo Hotel Ostende, Ostende, Argentina
– Pinacoteca do Estado de São Paulo, São Paulo, Brazil
– Museu de Arte de Ribeirão Preto (MARP), Ribeirão Preto, Brazil
– Centro Cultural Onze Janelas, Belém, Brazil