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  • Provenance

    Deitch Projects, New York

  • Exhibited

    London, Serpentine Gallery, June 30-August 9, 1998 and Museum of Contemporary Art Chicago, October 10, 1998 – March 14, 1999, Mariko Mori, pp. 74-75 (another example exhibited; illustrated); Kunstmuseum Wolfsburg, Mariko Mori: Esoteric Cosmos, January 30-May 9, 1999, np. (another example exhibited; illustrated); Brooklyn Museum of Art, Mariko Mori: Empty Dream, April 8-August 15, 1999 (another example exhibited)
    Galleria d’Arte Moderna Bologna, Appearance, January 27 – March 26, 2000; Rivoli-Torino, Castello di Rivoli Museo d’Arte Contemporanea, October 17, 2001-January 27, 2002, Form Follows Function, (another example exhibited)

  • Literature

    D. Molon, L. Corrin, C.S. Eliel, and M. King, Mariko Mori, London and Chicago, 1998, p. 30 (illustrated) and pp. 74-75 (illustrated); Kunstmuseum Wolfsburg, Mariko Mori: Esoteric Cosmos, Germany, 1998, n.p. (illustrated); G. Winter, “Mariko Mori’s Spiritual Exploration”, Anglican Theological Review, Winter 1999; J. Saltz, “A Zone of Her Own: Empty Dream, memorable Moriko Mori”, The Village Voice, April 21-27, 1999
    K. Jacobson, ed., Let’s Entertain: Life’s Guilty Pleasures, New York, 2000, p. 148 (illustrated); J. Deitch, ed., Form Follows Function, Rivoli-Torino, 2001, np. (illustrated); U. Grosenick, Women Artists in the 20th and 21st Century, Cologne, 2001, pp. 368-9. no. 2 (illustrated); J. Deitch, ed., Monument to Now: The Dakis Joannou Collection, Athens, 2006, p. 279 (illustrated)


  • Catalogue Essay

    “Mirror of Water (1996-98) was photographed in a French cave, sculpted by water over millions of years. Mori wants to suggest, using her own repeated self-portrait (a return in certain respects to her earlier cyborg persona), that the self is part of a continuous chain of life, death, dissolution, and rebirth. Human consciousness follows this endless cycle from the eternal past to the eternal future, just as the cave takes its endlessly changing shape from the water flowing through it. These multiple self-images are to be regarded as the same individual at eight different moments; the twins and triplets represent various aspects of this person at a given moment. What Mori calls the ‘UFO’ in the right half of the picture houses a variety of rooms, including an egg-shaped ‘tea ceremony room of the future’. Once again Mori combines the traditional and the futuristic.” (C. S. Eliel, “Interpreting Tradition: Mariko Mori’s Nirvana”, Mariko Mori, London, 1998)

37

Mirror of Water

1996-1998
Color photograph mounted with glass in five parts.
Overall dimensions 120 x 240 x .75 in. (305 x 610 x 1.9 cm)
This work is from an edition of three.

Estimate
£100,000 - 150,000 

Contemporary Art

14 Oct 2006, 7pm
London