The Harvard Crimson にて、取り上げられました。(Oct 20, 2015)

'What a Loving and Beautiful World' Brings Digital Art to Radcliffe

“Far from affording artists continuous inspiration, mass-media sources for art have become a dead end,” art critic Robert Hughes wrote in 1990. Hughes lamented creative production’s submission to the immaterial, to the mind-numbing spectacle of television. Yet 25 years later, even with the advent of the internet and the further absorption of everyday experience into the disembodied realm of the digital, the contemporary Japanese artistic collective teamLab sets out to push the bounds of media art.teamLab, whose multimedia installation “What a Loving and Beautiful World” opened at the Radcliffe Institute for Advanced Study on Friday, Oct. 16, engages with this question of the expressive potential of digital media. In the installation space, Japanese characters float on gallery walls rendered luminous veils of color by light projections. When the viewer reaches out to touch a character, the symbol transforms into the image it represents: Silver waves ripple out from the point of contact with the character for “sea,” and pink cherry blossoms burst from the character for “flower.” As more visitors enter the space, images whirl across the walls, then subside. Within the installation, the boundaries between text and image, nature and culture, spectator and actor are constantly in flux.Through digital media, teamLab’s artists, calligraphers, programmers, and engineers create a participatory visual environment that is both playful and meditative. “teamLab demonstrates what is possible when people with different kinds of expertise—in the arts, engineering, computer science, robotics, architecture, different areas of design—come together to solve artistic problems,” writes Yukio Lippit, professor of History of Art and Architecture at Harvard and the exhibition’s curator, in an email.Meg Rotzel, the Radcliffe Institute’s Arts Program Manager and a practicing artist, believes that the immersivity of teamLab’s installation renders it uniquely compelling. “I’m happiest when I’m really in my work, when I’m thinking and making simultaneously,” she says. “When I go to a museum, normally I feel like I’m here and the work of art is there, and there’s a separation. But with ‘What a Loving and Beautiful World,’ you can see whole groups of people just playing in the art, within the space of the work of art.”Hughes feared the passivity enforced by media spectacle, but teamLab uses digital media to invite the viewer to participate in the art’s making. The gallery acts as a canvas upon which the viewer inscribes his or her curiosity. Because the animation responds to the actions of viewers, the possibilities for visual variation are endless: The installation will never look the same twice. Lippit says that he appreciates the work’s capacity to give visible form to the viewer’s thoughts. “I really enjoy standing in the room and doing nothing. Somehow, the work responds,” he writes. “In theory it is supposed to be interactive and ‘triggered’ by the movements of viewers, but the installation somehow takes on new moods and can quicken its metabolism even if one does nothing, generating an uncanny sensation. It is like a mindscape.”Within the dreamlike gallery space, teamLab weaves together calligraphy and computer-generated images, the expressive gesture of the artist’s hand and the pixel, traditional artistic practice and modern digital technology. Melissa McCormick, Harvard professor of East Asian Languages and Civilizations and Lippit’s wife, says that teamLab’s work engages with both the conditions of contemporary life and with artistic precedent. “Traditional Japanese painting is radical by many standards: It uses a multidimensional and shifting perspective, [it] folds time into spatial representation, and its formats are immersive and anticipate the movement and touch of the viewer,” McCormick writes in an email. “These are all things that have come to characterize digital art made in our current age…but teamLab’s work emphasizes their connection to art in the past and encourages new ways of thinking about links between the science of perception, consciousness, and artistic representation.”She adds that teamLab’s work has resonance beyond the field of art history. “It would be hard to find a better example of the kind of visually stunning and even poignant results that can emerge through an integration of art and science, something in which many on this campus are thoroughly engaged,” she writes.Lippit also emphasizes the potential of the work to broaden students’ experience of the arts. “It is not often that Harvard exhibits contemporary artists from Japan or Asia, and the exhibition expands the purview of the arts featured here,” he writes.The installation “What a Loving and Beautiful World” will be on view in the Johnson-Kulukundis Family Gallery in Byerly Hall in Radcliffe Yard until Nov. 14.

HARVARD gazette にて、取り上げられました。(Oct 19, 2015)

For gallery visitors, a chance to be one with the art

What’s it like to walk into a living dream, one you can control with a wave of your hand? To find out, stop by Radcliffe’s redesigned Johnson-Kulukundis Family Gallery in Byerly Hall, where the interactive installation “teamLab at Radcliffe: What a Loving and Beautiful World” transforms the viewer into virtual artist.Behind a black curtain, a vivid dreamscape springs to life as visitors pass their hands in front of projected Chinese and Japanese characters that cascade down the gallery’s walls and vanish into the floor.Move a hand in front of the character for butterfly and the character disappears, replaced by a burst of brilliant insects fluttering on the wall. Pass your hand over the character for lightning and the gallery explodes in jagged flashes of white.As multiple visitors move through the space, the images they trigger interact with one another, creating a unique environment every few seconds. Each image has its own acoustic signature, so viewers are also virtual composers who generate an ever-changing world of sound.The gallery has been transformed into something “entirely unpredictable” said Yukio Lippit, the Johnson-Kulukundis Family Faculty Director of the Arts at Radcliffe and a professor of the history of art and architecture, who was instrumental in bringing the show to Harvard.Visitors, he said, will be surprised by “the degree to which they have agency in shaping this world, in interacting with it, in triggering its various mechanisms and effects to create something new.”The brain behind the new design is teamLab, a Japan-based consortium of designers, engineers, architects, artists, mathematicians, computer scientists, and specialists in 3-D modeling who use technology to expand the boundaries of art and creativity. For the Radcliffe show, the group used characters by the Japanese calligrapher Sisyu that represent the natural world, and music by Hideaki Takahashi.In Cambridge last week for the gallery opening, Toshiyuki Inoko, teamLab’s founder, discussed through an interpreter the genesis of the project, his vision for the work, and the importance of having its U.S. debut at Harvard.Created in 2001 with five members, teamLab now numbers more than 400, all of whom share the belief, said Inoko, “that digital technology can expand the expressive boundaries of art.”Inoko, an engineer by training, said art has been as important as science in the history and development of human perception. Taken together, the disciplines can help reconnect people to their physical surroundings and to one another, he said, adding that he worries that such connections are increasingly scarce in today’s hyper-connected digital world.“In the pre-modern world, life was based in community,” said Inoko, “one understood that one’s actions were mutually interactive and consequential in profound ways. And so the interactivity of the installation is meant to evoke a kind of resonance with one another and the world, which has been lost.”Bringing the installation to Radcliffe has been a good fit for teamLab, whose collaborative nature, Inoko said, resembles Radcliffe’s operating ethos, one that encourages interdisciplinary engagement among its fellows and visiting scholars.“To fully explore the potential of this realm one has to work collaboratively. The digital realm is very complex, and the boundaries that separate what I am calling creativity and technology are actually thoroughly blurred.“We come together to work out problems and think of solutions, using our combined expertise to solve problems,” he continued. “And that process is very important because it leads to the generation of knowledge and small intellectual discoveries that are then folded back into the process. … So being able to showcase our work in an interdisciplinary environment such as this one is highly meaningful.”Lippit agreed, adding that the installation can help show Harvard students what’s possible when various disciplines work together.“I think this offers one kind of ideal model of collaboration.”

the creators project にて、取り上げられました。(Sep 18, 2015)

A Balloon Light Pyramid Illuminates Japanese Ruins

The lightning speed at which teamLab releases new work is mindboggling. Seriously, it’s hard to believe anyone in the collective even sleeps. Coming off their recently released Crystal Universe, the Japanese artists are back with yet another interactive light installation set in the ruins of Shizuoka City’s Sunpu Castle.

A gridded network of 108 white balloons, or “globes,” floats in mid-air, creating a pyramid shape that resembles the roof of a house. The floating spheres change color when touched and emit a sound “unique to that color,” according to teamLab’s description. The surrounding balloons then echo the same sound and color in a rippling effect that alters the entire color of the piece.

The site-specific installation was constructed in dedication to Tokugawa Ieyasu, the founder and first shogun of the Tokugawa shogunate in Japan, who built and died in the Sunpu Castle.

In the video’s description, teamLab writes, “In this pyramid of light unfolds a show of light and sound themed on Lord Ieyasu’s life.” Check out a preview of the installation in action below:

FASHION PRESS にて、取り上げられました。(Sep, 2015)


新江ノ島水族館が「えのすい×チームラボ ナイトワンダーアクアリウム2015」を、2015年7月18日(土)から12月25日(金)まで開催する。





そしてメインの水槽「相模湾大水槽」へ。「花と魚 – 相模湾大水槽」と題された今シーズンは、水槽全体に花を咲かせるプロジェクションが。この映像の大きな特徴は、もともと作成されたものではなく、水槽の魚たちの動きに合わせてリアルタイムで永遠に変容し続けること。魚やエイが水槽の近くを横切ると、その魚に花柄を投影、そして水槽の周りの花々は、魚が近づくと散っていく。その瞬間にしか見ることができない一瞬のアートが見るものを魅了する仕掛けだ。



そして2015年9月19日(土)より、新たな作品「空書 ライン、魚、そして、しんかい2000」が展示開始。日本初の本格的な有人潜水調査船「しんかい2000」がある空間を、光の空書で取り囲んだアート空間に変身させる。空書とは、チームラボがここ10年ほど取り組んでいる空間に書く書。書の墨跡が持つ深さや速さ、力の強さのようなものを新たな解釈で空間に立体的に再構築している。

えのすい×チームラボ ナイトワンダーアクアリウム2015
入場料:大人 2,100円 高校生 1,500円 小・中学生1,000円 幼児(3歳以上) 600円
主催:新江ノ島水族館 チームラボ 日本テレビ放送網
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Stylourbano にて、取り上げられました。(Sep 15, 2015)

A bela e serena instalação artística “Jardim de Flores Flutuantes” é apresentada em Paris

O coletivo japonês chamado teamLab apresentou sua bela e serena instalação artística chamada “Jardim de Flores Flutuantes”, na Maison et Objet, em Paris. A instalação conta com 2.300 orquídeas importadas da Holanda presas de ponta cabeça em suportes móveis com sensores de movimento, e quando o visitante chega próximo ao espaço repleto de flores,  elas sobem de uma só vez, criando um espaço em volta dele.(本文抜粋)

IDOL Magazine にて、取り上げられました。(Sep 15, 2015)


To build a collective memory of world’s creativity, we document temporary acts and spaces, where art, fashion and innovation come together. 

Where? Maison et Objet, Paris.

What? Transported from Tokyo, the flower garden is a project by Japanese studio Teamlab. Bunches of orchids fill the space, as serene music and beautiful aromas wake our senses. The installation is designed to impact human emotions and impressions via space, which in this case is a collection of simple pleasures that fuse to elicit good feelings and reunite visitors with nature.

BBC World Service にて、取り上げられました。(Sep 15, 2015)

The amazing flutter of butterflies

Tracey Logan visits the Saatchi gallery in London to see if technology is bringing about a renaissance in art. She asks if installations depicting the flutter of butterflies and the blooming of flowers – all digital of course – are having the same impact on art as the invention of oil paint did for the Renaissance?
(Image caption: Flutter of Butterflies Beyond Borders – courtesy teamLab and START Image © Alexa Horan)

BWW art WORLD にて、取り上げられました。(Sep 15, 2015)

Saatchi Gallery Announces Date Extension for FLUTTER FOR BUTTERFLIES BEYOND BORDERS, 9/15

Saatchi Gallery Announces Date Extension for FLUTTER FOR BUTTERFLIES BEYOND BORDERS, 9/15

London, UK – 14 September 2015: Saatchi Gallery announces extended dates for Japanese collective teamLab’s interactive installation which will be open to public free of charge from 15th – 17th September.

Part of this year’s START art fair’s curated projects, Japanese collective teamLab featured their latest installation Flutter of Butterflies Beyond Borders. The immersive environment which reacts to the viewer’s behaviour and movement explores the cycle of birth and death as butterflies flutter across the room and an entire season of flower’s blossom and wither away. Rendered in real time, the projections are not on a loop and therefore never repeat itself.

Due to the overwhelming response received from press and visitor’s to this year’s START art fair, the installation will remain open to the public from Tuesday 15th – Thursday 17th September and entry will be free.