Japanese artist Yuko Mohri has taken over the Barbican's Curve gallery with In Concert, a new commission that opened on October 1 and runs through January 24, 2027. Developed during an intermittent residency at the Barbican since May, the installation fills the curving space with assemblages that transform continuously in response to the building's own atmospheric conditions. Mohri's sculptures pair humble everyday objects — umbrellas, feather dusters, kettles, xylophones — with what she calls unstable elements: magnetism, humidity, air, water and gravity. The combinations generate light, sound, motion and scent, so that the gallery becomes less a display of finished works than a living system, orchestrated but never fully controllable. The idea took shape after the artist attended a London Symphony Orchestra rehearsal and was struck by how close the Curve sits to the concert hall, its sound bleeding through the walls. The review in ArtReview reads the show as an act of affectionate attention toward broken things. Mohri, it argues, turns the decrepitude of the Barbican itself — a creaking, leaky building awaiting renovation — into a virtue, paying close attention to what is faulty and disjointed. In doing so, the installation becomes an unlikely portrait of contemporary Britain: a network of things in disrepair, haunted by the past and unsure how to reassemble itself for the future, yet still alive with strange, beguiling music. For Mohri, who represented Japan at the 60th Venice Biennale, the commission confirms her standing as one of the most distinctive sculptural voices of her generation. And for the Barbican, it is a characteristically ambitious use of the Curve — a difficult, magnificent space that has rarely found a more sympathetic occupant.