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Mori investigates the confluence of ecologies with place-based affectivities in Yamaguchi Prefecture, Japan. The title of the three chapters,“守(to protect)”、“森(forest)”、“杜(spirit)” are different in shapes and meaning, yet all pronounced as “Mori in Japanese.” Karst cave, groundwater, the soils, villager, burning mountain ritual, scientist, Buyō dancer, majestic oak and forest, the work questions the ways of contemplating nature through rituals and folklores, and how landscapes have been historically constructed. Conceptualizing Dan Graham’s installation “Two-way Mirror Triangular Pavilion with Shoji Screen” as diffractive model of the work, Mori sees landscape as process and inner mechanism, which is defined by our detached vision and interpreted by our bodymind. It is a panorama which continuously changes as we move along any route.Read moreLess
Mori investigates the confluence of ecologies with place-based affectivities in Yamaguchi Prefecture, Japan. The title of the three chapters,“守(to protect)”、“森(forest)”、“杜(spirit)” are different in shapes and meaning, yet all pronounced as “Mori in Japanese.” Karst cave, groundwater, the soils, villager, burning mountain ritual, scientist, Buyō dancer, majestic oak and forest, the work questions the ways of contemplating nature through rituals and folklores, and how landscapes have been historically constructed. Conceptualizing Dan Graham’s installation “Two-way Mirror Triangular Pavilion with Shoji Screen” as diffractive model of the work, Mori sees landscape as process and inner mechanism, which is defined by our detached vision and interpreted by our bodymind. It is a panorama which continuously changes as we move along any route.
The story
Mori investigates the confluence of ecologies with place-based affectivities in Yamaguchi Prefecture, Japan. The title of the three chapters,“守(to protect)”、“森(forest)”、“杜(spirit)” are different in shapes and meaning, yet all pronounced as “Mori in Japanese.” Karst cave, groundwater, the soils, villager, burning mountain ritual, scientist, Buyō dancer, majestic oak and forest, the work questions the ways of contemplating nature through rituals and folklores, and how landscapes have been historically constructed. Conceptualizing Dan Graham’s installation “Two-way Mirror Triangular Pavilion with Shoji Screen” as diffractive model of the work, Mori sees landscape as process and inner mechanism, which is defined by our detached vision and interpreted by our bodymind. It is a panorama which continuously changes as we move along any route.
Cast & crew
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- Director
- Su Yu-hsin