https://marikohori.space Mariko HORI Fri, 24 Apr 2026 13:58:47 +0000 https://marikohori.space en http://marikohori.space/forever-in-different-ways Fri, 24 Apr 2026 13:58:47 +0000 Mariko HORI 459493 Mariko HORI Forever in Different Ways interactive installation water, glass, brass, books, paper, cement, seeds, salt, pigment, microbes, corten steel, UHMWPE, stones, and found objects 2026In the collection of KWR Water Research Institute, Nieuwegein, the Netherlands <img width="4000" height="2668" width_o="4000" height_o="2668" src_o="https://cortex.persona.co/t/original/i/a25466b3cbf327578b17a720d5f81d1c89fdd7abae020d3ec1a1d5ec3910945d/2026-04-14-KWR-onthulling-kunstwerk-highres-51.jpg" data-mid="1437442" border="0" /> Forever in Different Ways is an interactive installation that imagines a world already beyond tipping points, where water no longer behaves as it once did. On a desolate ground, a slender line traces a slow curve, as if searching for its way. When visitors offer drops of water, the droplets follow the curved path, falling at an unexpected point onto a superhydrophobic glass plate shaped like melting water—an unfamiliar material state whose surface refuses each droplet, sending it away in an unpredictable direction. (Si–OH)→Si–O–Si(CH3)2 The landscape holds signs of dryness, of something slowly collapsing, and of resilient microbes continuing their invisible labour on the other side. Between them stands a glacier-like mass, gradually shaped by countless droplets. Slowly, the ground records their passage, and eventually — perhaps tomorrow, or a decade from now — it will collapse. This collapse may seem destructive, but it also breaksthe wall that once divided the human world from the more-than-human. With each attempt, visitors are invited to try again — to follow the droplet’s path, to adjust the angle, the timing, or the rhythm of their offering. The outcome is never fully predictable: many attempts may seem fruitless, sometimes the droplet finds a path to the distant formation. Gradually, the installation becomes a quiet negotiation between human gesture and a landscape that resists, remembers, and transforms. Developed in collaboration with three scientists from KWR — Peter van Thienen (Decision-Making under Deep Uncertainty/ Deep Adaptation), Maria Lousada Ferreira (Biological wastewater and water treatment), and Elvio Amato (Emerging Contaminants in Water / PFAS) — the work invites us to experience the fragility of this moment, and to reflect on how action, attention, and imagination might still matter, even beyond the point where systems appear to be failing. <img width="4000" height="2668" width_o="4000" height_o="2668" src_o="https://cortex.persona.co/t/original/i/35d311501276672cf29f220c5a2d7466940c80018e1090bfc176c7ce38a71a3d/2026-04-14-KWR-onthulling-kunstwerk-highres-60.jpg" data-mid="1437443" border="0" /> <img width="4000" height="2668" width_o="4000" height_o="2668" src_o="https://cortex.persona.co/t/original/i/cc9041f1f68e9ed0059cd62423ebb223bf9efe0380759a46a769a1e1a3a98851/2026-04-14-KWR-onthulling-kunstwerk-highres-59.jpg" data-mid="1437444" border="0" /> <img width="2668" height="4000" width_o="2668" height_o="4000" src_o="https://cortex.persona.co/t/original/i/cf46f1c306af33e083722e589b5d6bd4e30deb4462f093533519be79f4f163ce/2026-04-14-KWR-onthulling-kunstwerk-highres-67.jpg" data-mid="1437445" border="0" /> <img width="2668" height="4000" width_o="2668" height_o="4000" src_o="https://cortex.persona.co/t/original/i/8c3e1004ff0910f0493d353a53c526cb103ba40455a887ea415a7ba1e32bea6e/2026-04-14-KWR-onthulling-kunstwerk-highres-68.jpg" data-mid="1437446" border="0" /> images ©Jan Buteijn Nothing in this world feels eternal — except perhaps PFAS, the “forever chemicals” now found in water, soil, and even our bodies. They do not decay, they do not disappear. They remain as a permanent trace of our time. If there is a kind of “forever” today, it is a forever of pollution.But what about the forever of water? For a long time, water was seen as endless. In the Netherlands, it seemed abundant: rain fell again and again, cities floated upon canals, farmland lay on wet ground. When you opened a tap, water ran as if it would never end. It was easy to imagine, or to wish, that water was eternal. As nature and daily life became divided, and values of mass production and efficiency spread, something in us began to dry. Drying is a slow process of aging,of decay, of losing the moisture of imagination and empathy.This desertification of the human mind has been followed by the desertification of landscapes. What happens to us also happens to nature. Today, under deep uncertainty, water no longer follows the patterns we thought we knew. It seems that water decided to exist elsewhere, in unexpected forms, directions and situations. As water resists, the bonds between things fall apart. Soils, species, and systems that were once connected through water fragment into fragile pieces. Collapse soon follows. And yet, life does not end there. Microbes turn what has passed into something new.They clean water, restore balance, and sustain the cycle. Their “forever” is not about staying the same, nor about endless progress, but about continuous adaptation. In this installation, visitors are asked to offer drops of water into this fragile world. Each drop is a small act, uncertain, almost useless. Yet with repeated attempts, something can change. Over time, the wall that once stood between human activities and microbial cycles will slowly break, until one day it collapses, leaving behind a new, unknown relation. This work does not promise control, nor does it romanticize simple acceptance. It is an experiment in staying with deep uncertainty — a way of sensing forever in different ways. It invites us to act not because we know the outcome, but because we still care — even if collapse might come, and much of what is lost will not return in human time. Each drop of water becomes a gesture of empathy — an attempt to remain part of the cycle, to work for this world as one among many, to imagine that our presence could still matter in the futures that will unfold beyond us. <img width="7542" height="4731" width_o="7542" height_o="4731" src_o="https://cortex.persona.co/t/original/i/27b115ccd62e9475097ecdf1d01c0b3273212ce4e9ae54ddc297c7ca04076c94/DSCF0291.jpg" data-mid="1437447" border="0" /> Created during the artist in residence programat KWR Water Research Institute, Nieuwegein, the Netherlands&nbsp; All content © Mariko Hori 2026 Mariko HORI Forever in Different Ways interactive installation water, glass, brass, books, paper, cement, seeds, salt, pigment, microbes, corten steel,... http://marikohori.space/something-defined-by-the-world-around-or-within-it-1 Wed, 17 Dec 2025 14:50:07 +0000 Mariko HORI 458758 Mariko HORI Something defined by the world around or within it installation epoxy resin, pigments, and transparent films 2025In the collection of KWR Water Research Institute, Nieuwegein, the Netherlands <img width="5577" height="3225" width_o="5577" height_o="3225" src_o="https://cortex.persona.co/t/original/i/08cbc0919184b2be3e3e674c4d65015d7887e49ecd01c3559f31e79abb8bd932/IMG_64.jpg" data-mid="1427485" border="0" /> "[Uncountable] a liquid without colour, smell, or taste, falling as rain, filling lakes, rivers, and seas, used for drinking, washing, etc." — Oxford English Dictionary Inspired by books as vessels of knowledge, this work takes the shape of the most essential fluid on our planet, free from what we expect a book to be. Each page describes the liquid without naming it—as data, statements, or sometimes poetry—written by researchers who study something around or within this element every day. Their words float on the surface, easy to read at first glance. But if you linger, they gather beneath, forming a deeper density. Reading shifts from reflection to immersion: from observing the surface to exploring what lies beneath. What seems simple above reveals layers of stories, countless perspectives, and emotions, reflecting the nature of scientific practice. Clear, yet never fully explained, it is shaped by what continually escapes definition. Mariko HORI Something defined by the world around or within it installation epoxy resin, pigments, and transparent films 2025In the collection of KWR Water... http://marikohori.space/many-beings-sharing-this-planet Thu, 04 Dec 2025 17:14:13 +0000 Mariko HORI 458668 Mariko HORI Many Beings Sharing This Planet installation stone, mineral, glass, bead, gold, agarwood, frankincense, thread, sand, dust, pollen, rice grain, soil, nail, salt, metal, seed, shell, fragrance oil, sea sponge, epoxy glue on tile 2022 <img width="1819" height="1471" width_o="1819" height_o="1471" src_o="https://cortex.persona.co/t/original/i/0e481bf7372b47268b704937dd6a6d57ea53c2e3cdff02181e6089e0d7ed1b5d/IMG_1560.jpg" data-mid="1426626" border="0" /> This work invites the audience to rediscover the richness of tiny, often overlooked elements of this world. To appreciate the immediate, physical reality that surrounds us. In the near future, perhaps devices will always find ways to satisfy us, in order to save our precious time. But gradually, we may lose the opportunity to engage our own senses to discover what we truly appreciate. Fewer and fewer people use their sense of smell, influenced by the idea of expiration dates. Things that are popular among many seem to matter more than our own feelings, whether we actually like them or not. If we pay less attention to our real sensations, perhaps even our sense of happiness will become entirely artificial in the end. The experience of this work may offer the audience sensory development and spiritual enrichment by sharpening the mind. Respecting our own sensations, even in everyday life, may lead to greater respect and acceptance of all other subjects in this world. Group Exhibition Refresh Amsterdam #3 Imagine the Future 11.07 - 30.11. 2025 Amsterdam Museum All content © Mariko Hori 2025 Mariko HORI Many Beings Sharing This Planet installation stone, mineral, glass, bead, gold, agarwood, frankincense, thread, sand, dust, pollen, rice grain,... http://marikohori.space/becoming-part-of-the-harbour Thu, 04 Dec 2025 16:45:02 +0000 Mariko HORI 458667 Mariko HORI Becoming Part of the Harbour participatory performance&nbsp; 2025 <img width="3936" height="2624" width_o="3936" height_o="2624" src_o="https://cortex.persona.co/t/original/i/02679f0f51267a097375bd53e5eee55995b4ba8be36f6514cc4d6f265618ee7a/DSC01727.JPG" data-mid="1426624" border="0" /> Becoming a Part of the Harbour invites participants to experience the harbour in a unique, sensory way, emphasizing how their physical presence connects them to this ever-changing archive, making them part of its future history.Floating on the surface, observing, listening, touching, and breathing in its scent, participants explore the harbour’s layered and living character through the full range of their senses. Throughout the session, participants engage in simple, symbolic gestures to connect with the harbour’s ecosystem. One such action involves gently scrubbing the body in the water, allowing minute fragments of oneself to be released—particles that, over time, will merge with the harbour and become part of its future material history. At the conclusion of the complete series of sessions, a caption is created in which the names of all participants are listed as elemental components of the harbour’s water. &nbsp; <img width="3709" height="2473" width_o="3709" height_o="2473" src_o="https://cortex.persona.co/t/original/i/8a3968cd4c75c20257ebcb0a0bef3cca445b98ec2c6a60ddb36607e652efc9db/DSC01616.JPG" data-mid="1426625" border="0" /> Project with Mediamatic, Amsterdam, the NetherlandsOriginated from 2021 project Under the Harbour All content © Mariko Hori 2025 Mariko HORI Becoming Part of the Harbour participatory performance&nbsp; 2025 Becoming a Part of the Harbour invites participants to experience the... http://marikohori.space/touched-by-the-sun Thu, 01 May 2025 19:24:41 +0000 Mariko HORI 456719 Mariko HORI touched by the suncollage two postcards from a souvenir shop in Morocco 2025 <img width="3840" height="2725" width_o="3840" height_o="2725" src_o="https://cortex.persona.co/t/original/i/23cbaa092eaf7460d6fceff72773fdb439cf2dd756677bd5b7ca50a104a6d6a3/M3.jpg" data-mid="1406095" border="0" /> <img width="3840" height="2725" width_o="3840" height_o="2725" src_o="https://cortex.persona.co/t/original/i/23cbaa092eaf7460d6fceff72773fdb439cf2dd756677bd5b7ca50a104a6d6a3/M3.jpg" data-mid="1406095" border="0" />w297 x h210 (mm) All content © Mariko Hori 2025 Mariko HORI touched by the suncollage two postcards from a souvenir shop in Morocco 2025 w297 x h210 (mm) All content © Mariko Hori 2025 http://marikohori.space/every-tiny-element-of-this-world Thu, 01 May 2025 19:11:38 +0000 Mariko HORI 456718 Mariko HORI every tiny element of this worldcollage images of the universe and ancient Greek objects, dried plants, gold leaf, mica stone, aurora origami, metal, and pigments 2025 <img width="3469" height="2443" width_o="3469" height_o="2443" src_o="https://cortex.persona.co/t/original/i/dc22ca9dd5d93bc951dc3559d1b672b24c4757411db7cc95c0c0fb8fb78edb46/B1_3.jpg" data-mid="1406087" border="0" /> <img width="3469" height="2443" width_o="3469" height_o="2443" src_o="https://cortex.persona.co/t/original/i/dc22ca9dd5d93bc951dc3559d1b672b24c4757411db7cc95c0c0fb8fb78edb46/B1_3.jpg" data-mid="1406087" border="0" />w297 x h210 (mm) <img width="3850" height="2725" width_o="3850" height_o="2725" src_o="https://cortex.persona.co/t/original/i/58437e04101ad7ab30eedf9f088243fc079d6f1397b4a5e030cc702d2eafda17/B2_1.jpg" data-mid="1406088" border="0" />w297 x h210 (mm) <img width="3809" height="2677" width_o="3809" height_o="2677" src_o="https://cortex.persona.co/t/original/i/85ae45f94a6183a4f0edd6fd01004a254ffead16604a34e58e1f8df217373677/B3_1.jpg" data-mid="1406089" border="0" />w297 x h210 (mm) <img width="3809" height="2716" width_o="3809" height_o="2716" src_o="https://cortex.persona.co/t/original/i/de1a2d1ae65cec8d90cd9d013bafacb86c3b1287acce60201e25e6b3eb69a3f8/B4_1.jpg" data-mid="1406090" border="0" />w297 x h210 (mm) <img width="2914" height="4115" width_o="2914" height_o="4115" src_o="https://cortex.persona.co/t/original/i/56aa935884962cd527c78823ad3ecde076d1804ca3d08ed369189fd3050183f6/A4_1.jpg" data-mid="1406091" border="0" />w250 x h350 (mm) <img width="2663" height="3733" width_o="2663" height_o="3733" src_o="https://cortex.persona.co/t/original/i/d3ab07383e5492d2ce24d284e4bb32a23fce1b17223435761f1de45e8004c8b7/A5_3.jpg" data-mid="1406092" border="0" />w250 x h350&nbsp;(mm) <img width="3648" height="2619" width_o="3648" height_o="2619" src_o="https://cortex.persona.co/t/original/i/a58f0f7962291a3ed495efbdcf259f18b857b94f9bb0e33fe2b085aa70cba6b2/A2_3.jpg" data-mid="1406093" border="0" />w350 x h250 (mm) All content © Mariko Hori 2025 Mariko HORI every tiny element of this worldcollage images of the universe and ancient Greek objects, dried plants, gold leaf, mica stone, aurora origami,... http://marikohori.space/behagen-de-hagen Thu, 27 Jun 2024 11:06:25 +0000 Mariko HORI 453567 Mariko HORI Behagen de Hagen (Pleasing the Hedges)installation existing hedges in Watou, poetry written and recited by the collective de Letterzetter, specifically by Maite Vanthournout (BE, °1998), Veronica Juliana Schmalz (BE, °1997), Alice Boudry (BE, °1997), Imane Karroumi (BE, °2001), and Loeke Vanhoutteghem (BE, °1996). 2024 <img width="3941" height="2597" width_o="3941" height_o="2597" src_o="https://cortex.persona.co/t/original/i/7bf288bc53ea57f5a71749b29225821f35714d441d0603e5c06784549208dba8/1.jpg" data-mid="1369654" border="0" /> "Behagen de Hagen" is a series of site-specific artistic interventions featuring existing hedges, exploring the delicate relationship between man-made borders and boundless nature. Several inhabitants of Watou were asked to stop trimming parts of their meticulously maintained hedges, allowing nature to take its course. Over time, these man-made boundaries will disappear as the hedges regain their natural flow. The rigid, cube-shaped hedges illustrate how humans impose artificial boundaries on nature. At the same time, these structured forms intertwine with wild, freely growing elements, revealing the innate, chaotic, and uninhibited essence of nature. This creates a striking and captivating contrast, highlighting the interaction between order and wildness. "Behagen de Hagen" poses important questions about the boundaries we create between our society and the true essence of nature. Perhaps we should consider letting things take their natural course rather than forcing or controlling them. We, as humans, are not mere artificial creations. We have the capacity to once again become an integral part of nature and transcend the borders we established long ago. <img width="5712" height="4284" width_o="5712" height_o="4284" src_o="https://cortex.persona.co/t/original/i/9b457a5d98a6abde2d8269b0e56dc562695e5392d5a4ea735341b3c441789522/IMG_1100.jpg" data-mid="1369655" border="0" /> <img width="5712" height="4284" width_o="5712" height_o="4284" src_o="https://cortex.persona.co/t/original/i/91674f6828763fd3b0fbf0faab09a2937873a9df6d8e340138e6229c171782f2/IMG_1029.jpg" data-mid="1369656" border="0" /> Heggen die grenzen verleggen Met ‘Behagen de Hagen’ onderzoekt de Japans-Nederlandse visual artist Mariko Hori de delicate relatie tussen de door de mens gemaakte grenzen en de grenzeloze natuur. Tijdens een bezoek aan het Watou-festival herontdekt ze de natuur, maar merkt ook dat die in en rond het Westhoekdorp zeer sterk georganiseerd is, als een kunstmatig aangelegd patchwork, met sterke grenzen. Prachtig onderhouden tuin, strak in het gelid staande gewassen op de akkers. Een idee rijpt. Ze vraagt aan verschillende inwoners van Watou om een deel van hun – doorgaans secuur getrimde – hagen niet meer te scheren, en de natuur de vrije loop te laten gaan. Na verloop van tijd zullen de door de mens gestelde grenzen verdwijnen, en krijgt de haag zijn natuurlijke flow terug. Met haar installatie breekt Mariko Hori een lans voor een meer harmonieuze samenleving tussen de mens en de natuur die hem omringt. Met ‘Hedges and Beyond’ toont ze hoe. Strak vormgegeven heggen in de vorm van een kubus tonen hoe de mens kunstmatige grenzen oplegt aan de natuur. Tegelijk zijn die heggen innig verstrengeld met wilde, vrij groeiende elementen, die de aangeboren, chaotische en ongeremde essentie van de natuur blootleggen. En net dat zorgt voor een heel mooi, boeiend en wat onwennig contrast. Tegelijk duikt Mariko Hori dieper in haar eigen identiteit: als Japanse in Nederland botst ook zij op grenzen. Is ze Japanse of Nederlandse, of zit ze ergens tussenin? Ze onderzoekt de afstand tussen haar natuurlijke zijn en haar nieuwe identiteit. In februari 2024 kreeg ze de Nederlandse nationaliteit. Wat doet zoiets met een mens? ‘Behagen de Hagen’ stelt pertinente vragen: in welke mate creëren, we grenzen tussen onze samenleving en de ware essentie van de natuur? En moeten we misschien niet overwegen om dingen hun natuurlijke gang te laten gaan in plaats van ze te forceren of te controleren? En kunnen we dan als mens zelf – in al onze natuurlijkheid – weer meer deel worden van de natuur, waar we tenslotte zelf deel van uitmaken? Text by Sven De Potter <img width="5712" height="4284" width_o="5712" height_o="4284" src_o="https://cortex.persona.co/t/original/i/5341fc798cbdd02df43ec293d7480ee20edffb936fdcb34d4794f62077cec2bf/IMG_1199.jpg" data-mid="1369657" border="0" /> <img width="5712" height="3886" width_o="5712" height_o="3886" src_o="https://cortex.persona.co/t/original/i/e5023785bf2185d71b1de404092439b3e5c9097fe5916d9001a4eeb1d1179350/IMG_1008.jpg" data-mid="1369658" border="0" /> <img width="5678" height="4258" width_o="5678" height_o="4258" src_o="https://cortex.persona.co/t/original/i/a9f002a54dabc9ce81fe9aa325a61631f3e786ad9f794ab96190c81b18e6866c/IMG_1057.jpg" data-mid="1369659" border="0" /> <img width="5544" height="4248" width_o="5544" height_o="4248" src_o="https://cortex.persona.co/t/original/i/f0e0bec9f7f31a7c9c2e02732ddc1629ce2483dd06b62b64845d4ed2f30d9046/1.jpg" data-mid="1371496" border="0" /> <img width="3264" height="2599" width_o="3264" height_o="2599" src_o="https://cortex.persona.co/t/original/i/eb191153a23fefc8bdfbbe96fd8a1e34b5ef733fbb20defcbc6cf735a2202c58/2.jpg" data-mid="1371497" border="0" /> Commissioned for Watou Art Festival &nbsp; ‘Landscape of the Imagination’06.07- 01.09. 2024 Watou, Poperinge, Belgium All content © Mariko Hori 2024 Mariko HORI Behagen de Hagen (Pleasing the Hedges)installation existing hedges in Watou, poetry written and recited by the collective de Letterzetter,... http://marikohori.space/archiving-the-unknown Fri, 23 Feb 2024 17:26:36 +0000 Mariko HORI 451917 Mariko HORI Archiving the Unknown&nbsp;installation hand crafted paper, frames, copper, a book and a freezer 2024 <img width="2000" height="1333" width_o="2000" height_o="1333" src_o="https://cortex.persona.co/t/original/i/20fea2a9f60f35af59e2f0a6655a4599af620653c3b0efc525988560847d06d0/Hydromedia_01_2024.jpg" data-mid="1350745" border="0" /> For her work Archiving the Unknown, Mariko Hori combines an artistic and scientific approach. Partly based on the book Provincie Utrecht: Literaire reis langs het water ("Literary journey along the water", 2003), she collected water from various canals, channels and streams in and around the city of Utrecht and then used it to make paper in which microscopic elements from this water are preserved. If this paper is preserved at least 20 degrees Celsius below zero, future scientists should be able to read ecological information from it using so-called environmental DNA techniques: which life forms have lived in this water, when and for how long?Text by Taco Hidde Bakker <img width="2000" height="1333" width_o="2000" height_o="1333" src_o="https://cortex.persona.co/t/original/i/b65d4089a69f4d72cbe47e3d912f356ebbb44c542897d03ec89c8ad0c76b14b2/Hydromedia_10_2024.jpg" data-mid="1350851" border="0" /> <img width="2000" height="1333" width_o="2000" height_o="1333" src_o="https://cortex.persona.co/t/original/i/82207c7500373873622a7452ffd2092d934025ab3da560267f9f6e9952f201eb/Hydromedia.jpg" data-mid="1350746" border="0" /> image ©Sjoerd Knibbeler Water connects things and leaves them. This unique property of water has been put to practical use for human purposes, including traditional papermaking. For instance, in Japan, the clear water of the upper stream is commonly used for crafting traditional handmade paper. De Schoolmeester, the only paper mill in the world still operating on wind power, relies on ditch water for its process. Throughout the process, water helps to blend paper pulp materials, such as plant and cotton pulp and binds them together. Once the process is complete, the water departs and moves on to a different state. Imagine this: water from a stream or a ditch is not just water; it contains, among others, most of it invisible to the naked eye, micro-organisms, traces of aquatic life, metals or pollutants from agricultural runoff or deposits from rainwater. These invisible elements will also find their way into the paper.Archiving the Unknown explores the possibility of creating handmade paper that can archive eDNA* or other forms of data from the areas where the water is sourced. The intention is to use local water sources—such as canals, rivers and rain puddles—as part of the paper-making process, potentially including various larger elements found floating in the water.&nbsp; Technologies like eDNA may advance much further in the coming years. When that time arrives, this work might serve as a means to access past information from the water sampled and preserved in the handmade paper. Like a time capsule, it could provide us with something very precise and/or imaginative. Perhaps in only a decade, it could tell us much more than anything currently imaginable. In this project I am to discover an effective method for archiving elements of this world by combining a realistic (scientific) and imaginative (artistic) approach. The attempt to archive something without focusing on specific subjects, but using an open approach, could offer a broad and exciting spectrum of possibilities. From this hopeful perspective, this work may become valuable to next generations in various and unforeseen ways. Each copy of the crafted papers will be archived in a freezer set at a minimum of minus 20 degrees Celsius. Scientists expressing interest in examining papers, are welcome to do so. There is still much we don't know about this world and emerging technologies, as the outcomes of long-term research are not yet available. How far will humans go in trying to understand everything? As long as there are no answers to everything, there are possibilities. While I am working on this project, its practical implications remains uncertain. Time will tell in which ways it will matter, or perhaps it won’t matter much at all. *The environmental DNA method (abbreviation: eDNA method) is a relatively new approach used to monitor the distribution of species. Using this method it is possible to detect species without actually seeing or catching them. The method uses DNA-based identification, also called barcoding, to detect species from extracellular DNA, or cell debris, that species leave behind in the environment. Research has shown that in water eDNA breaks down within a few days to a month. Therefore the detection of a species’ DNA in the water confirms its recent presence. In other environments, such as soils and sediments, the persistence of eDNA can be much longer, under specific conditions up to hundreds thousands of years. Therefore, it is more difficult in those environments to confirm current presence of a species based on eDNA.See &nbsp;www.environmental-dna.nl <img width="2325" height="1664" width_o="2325" height_o="1664" src_o="https://cortex.persona.co/t/original/i/d02e0aef1651982ff9de45e2056b09ae4e09e222ef9690432fee734019b59bb6/installation-view-2.JPG" data-mid="1350740" border="0" /> <img width="4032" height="3024" width_o="4032" height_o="3024" src_o="https://cortex.persona.co/t/original/i/e9a7abbe9f8a95b9462553b0d4e5603353a5d060a57d794dc52d2697b4496a71/Installation-view-1.jpg" data-mid="1350741" border="0" /> <img width="1939" height="1391" width_o="1939" height_o="1391" src_o="https://cortex.persona.co/t/original/i/132124f6bfa57f179c51947a58a61bea9d89b08ccc1fd05d555a356da7b84e93/Installation-view-3.jpg" data-mid="1350742" border="0" /> <img width="4032" height="3024" width_o="4032" height_o="3024" src_o="https://cortex.persona.co/t/original/i/36e2f8f546f7fd3b2b69115eae0e74812cac92be30bb3135562ac924d2ff3681/installation-view-4.jpg" data-mid="1350743" border="0" /> <img width="3546" height="2659" width_o="3546" height_o="2659" src_o="https://cortex.persona.co/t/original/i/6d4a26c164b49d007b8b9257d596dc202120340497a324048aafb52dbdf653cb/installation-view-5.jpg" data-mid="1350744" border="0" /> Hydromedia: Seeing with Water 17.02- 03.03. 2024 HKU | AG - Ruimte voor nieuwe kunst en media - 16.03.2025the Technische Sammlungen / Dresden, Germany The exhibition Hydromedia: Seeing with Water features new work by four artists, created as part of an international research project in which HKU participates. Mariko Hori (JP/NL), Alexandra Crouwers (NL/BE), Meng-Chan Yu (TW/DE) and Sanne Vaassen (NL) conducted research in the city and province of Utrecht in October 2023, in collaboration with curators Taco Hidde Bakker and Sjoerd Knibbeler (both working as lecturers at HKU Media), which included exchanges with ecologists, engineers and scientists who deal with water issues in very different fields.Using water as a source of inspiration and as a medium, Hydromedia develops new artistic representations through which our relationship to the elements and the biosphere can be experienced from within. Sharing research processes and methods through accessible publications, exhibitions and workshops, allows the public to understand how the artist's imagination can contribute to the profound ecological issues of our time.This edition of Hydromedia: Seeing with Water is the second local Hydromedia exhibition, following the presentation of the results in Antwerp (September 2023) and before the presentation of the results in Karlsruhe (July 2024). A major Hydromedia exhibition will open in November 2024 at the Technik Museum in Dresden, collecting the work of all twelve artist- residents.The Hydromedia project is co-funded by the European Union's Creative Europe program. All content © Mariko Hori 2024 Mariko HORI Archiving the Unknown&nbsp;installation hand crafted paper, frames, copper, a book and a freezer 2024 For her work Archiving the Unknown,... http://marikohori.space/if-the-wind-blows-in-Elefsina Sat, 16 Sep 2023 13:41:10 +0000 Mariko HORI 447934 Mariko HORI IF THE WIND BLOWS ( sheep graze upon the ships ) sound installation winds, fabric, seeds, soil, stones and a collage work 2023 <img width="3508" height="2480" width_o="3508" height_o="2480" src_o="https://cortex.persona.co/t/original/i/60908a790e5a3e8a6ea2144a5960734b915bed5bdf563677919c9e019c8f38ca/Mariko-Hori-A4.jpg" data-mid="1316273" border="0" /> The project "IF THE WIND BLOWS" investigates the relationship between natural phenomena and contemporary society, drawing inspiration from a well-known classic Japanese proverb: "if the wind blows, the barrel makers prosper." This proverb implies that any event can have unexpected consequences. It captures an intriguing chain of cause and effect in old Japanese society. The backstory of the proverb explains its meaning: When the wind blew, dust could get into people's eyes, potentially causing blindness. In old Japan, blind individuals often found employment as itinerant shamisen-playing storytellers, creating a demand for shamisen instruments made with animal skins, particularly from cats. Therefore, an increase in blind individuals led to more shamisen purchases, resulting in the killing of cats for their skins. With fewer cats around, the population of mice increased, leading people to store their rice in barrels for protection. This, in turn, increased the demand for barrels, benefiting barrel makers economically. Although widely recognized in Japanese culture, the true origins and significance of this proverb may not be practical today in our modern society. "IF THE WIND BLOWS" is an artistic endeavor that revitalizes and reinterprets an ancient Japanese proverb in a contemporary context by creating a new narrative through dialogue with the local community in Elefsina. Through this project, the artist underscores the interplay between the power of nature and human social dynamics. By exploring how humanity perceives and responds to nature's influence,&nbsp;the project sheds light on our collective existence, shaped by our alignment or defiance toward natural forces. Amid exceptional events like the recent pandemic and participation in the European Capitals of Culture, the artist sees these transitional periods as symbolic moments when the wind blows, signifying unexpected benefits and positive transformations. "IF THE WIND BLOWS" invites us to embrace the belief that every event holds the potential for positive outcomes or the discovery and creation of positive benefits in any situation. <img width="2418" height="1393" width_o="2418" height_o="1393" src_o="https://cortex.persona.co/t/original/i/3eab5a84d0358424311611eb22fc8db2c12cecc1cc0688b6171366a840f72b3a/IMG_8259.jpg" data-mid="1316275" border="0" /> <img width="3956" height="2469" width_o="3956" height_o="2469" src_o="https://cortex.persona.co/t/original/i/dc2b2be9d00250f71511ed55e0766643788eb0eddbce0aa4ba92e5b58647c550/IMG_8300.jpg" data-mid="1316276" border="0" /> If the wind blows in Elefsina, sheep graze upon the ships If the wind blows, it may flutter Demeter’s skirt, dispersing the seeds that will nurture the culture. The wind brings the scent of the sea and the sounds of the factories to the city. These two different realities of Elefsina, where the past meet the present. We should motivate ourselves to effect positive change; It should be manifested in everyday life, and not just through spoken words. Foreign influences can bring both the good and the bad. It is essential that the newly spread seeds are beneficial, and will sprout harmoniously with Elefsina and its existing culture. We also need to consider the local people and other living beings, remnants of a more traditional way of life, such as the shepherds and the sheep. The seeds will also provide sufficient and more nutritious food for the sheep, and Elefsina will require more soil to support the newly-spouted greenery. The ships at VLYCHA Graveyard have found new purpose, as they host some soil. These half-sunken, rusted, old ships now have a new life. A unique landscape, where sheep graze upon the ships. Commissioned for2023 Eleusis European Capital of Culture Supported by EU- Japan Fest Japan committee Voice OverEnglish – Shira WolfeGreek – Giorgos Konstantinos DimitrakopoulosJapanese – Helen Vogt Project coordination:Georgia Voudouri – Director of Cultural Development 2023 EleusisNeoklis Mantas – Head of Cultural Development 2023 Eleusis Mystery 169“If the Wind Blows…” 16. September - 01. October. 2023 Old town hall, Elefsina, Greece The project "IF THE WIND BLOWS" has started in 2021 in collaboration with Artegiro Contemporary Art,&nbsp; AILAE Associazione Culturale curated by Renata Summo - O'connell supported by MAD- Murate Art District in Florence, Italy &nbsp; All content © Mariko Hori 2023 Mariko HORI IF THE WIND BLOWS ( sheep graze upon the ships ) sound installation winds, fabric, seeds, soil, stones and a collage work 2023 The project "IF... http://marikohori.space/reflections-on-the-flow Tue, 12 Sep 2023 08:36:41 +0000 Mariko HORI 447784 Mariko HORI Reflections on the Flow installation natural clay mud, wood, fishing net, rope, buoy 2023 <img width="3912" height="2934" width_o="3912" height_o="2934" src_o="https://cortex.persona.co/t/original/i/ce7103e9b855c21315adb8289102f5999e5ab92dc0b5aafd06105dabc6150d5d/MarikoHori2.jpg" data-mid="1315086" border="0" /> "Reflections on the Flow" is an art installation that takes the form of a small island floating on the reservoir formed by the Ataturk Dam on the Euphrates River in Turkey. On its surface, a layer of natural clay sourced from the surrounding area is spread, symbolizing the inherent connection between land and water. As the clay dries out on the water's surface during the biennial, it serves as a symbolic reflection of the changing nature of the world influenced by human activities, where these abundant water bodies can be related to scarcity elsewhere. <img width="4032" height="3024" width_o="4032" height_o="3024" src_o="https://cortex.persona.co/t/original/i/099a0fed8c7ea27cac5f4496d4262cc4f687dc05cbd158143adf163773588c99/MarikoHori1.jpg" data-mid="1315089" border="0" /> Commissioned for&nbsp;Commagene Biennial&nbsp; Commagene Land and River Art 2023 “The Value of a Metaphor”23. September - 23. December. 2023 Adiyaman Kahta, Turkey All content © Mariko Hori 2023 Mariko HORI Reflections on the Flow installation natural clay mud, wood, fishing net, rope, buoy 2023 "Reflections on the Flow" is an art installation...