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The Straits Times 에 소개되었습니다. (Sep 28, 2012)

AN HOUR @ THE MUSEUM

Japanese gallerist Ikkan Sanada showcases New Media Art by nine international artists in the exhibition titled The Experience Machine.Co curated by Andrew Herdon,director of Herdon Contemporary,a company that works with international emerging and mid-career artists to present new art to new audiences,this exhibition explores,this exhibition explores theories related to the historical differences between Western and Asian ways of seeing,understanding and experiencing the world.Flower and Corpse Glitch

By teamLab, animationJapanese group teamLab’s computer-generated 3-D virtual story animation captures the essence of traditional Japanese painting and a fairy tale.Exploring themes of nature,the clash of civilizations,cycles and symbiosis,the surface of the animation flakes away and reveals the underlying structure-the complex technology that forms the background to the work.The traditional Asian way of appreciating a painting is ‘duhua’(to read a painting) in China,or the concept of ‘narikiri’ (entering a picture,or visualizing a picture form inside it) in Japan.Without a specific focal point,the observer’s mind is allowed to drift into another world.What a Loving, and Beautiful World

By Sisyu+teamLab, interactive animation installationThis interactive animation installation,the product of a collaboration between the famous Japanese calligrapher Sisyu and teamLab,creates an immersive ‘environment’ combining projections with motion sensors in a darkened room.Kanji(Chinese characters) paper on the walls and fall slowly.When someone’s shadow touches the characters for words such as ‘moon’ and ‘butterfly’,they change their shape.This dynamic interaction shows the endlessly renewed beauty of the changes in the world caused by humans interaction with it.

WORK Flower and Corpse Glitch
SHIFT 에 소개되었습니다. (Sep, 2012)

TEAMLAB EXHIBITION "WE ARE THE FUTURE"


Held at the National Taiwan Museum of Fine Arts in Taichung, the second biggest city in Taiwan, ‘We are the Future’ is a general exhibit that lets artwork by the teamLab ‘Ultra Technology Strike Group’ and commercial works live together.There were more than twenty works on display at the exhibit including ‘Flower and Corpse Glitch,' an animation scroll which consisted of twelve films. Included are ‘One Hundred Years Sea – Running time: 100 years’ whose scale seems to span one hundred years; ‘teamLab Hanger,’ an interactive experience displaying different images when a hanger is picked up off of a clothing rack; and ‘Sword Dance and Shadowgraph,' a projection mapping video that was made to complement Taichi Saotome’s performance.
‘Peace can be Realized Even without Order Diorama Ver.,' the latest work specifically made for this exhibit, stood out conspicuously inside of the dim exhibit area, even alongside many other video works. Hundreds of smartphones were displayed in a dark, each with a tiny figure singing or playing an instrument, as if part of a Japanese festival, all while communicating with each other. These small people do not establish communication across the whole group, instead interacting with those nearby, resulting in a massive group interaction.
‘Peace can be Realized Even without Order Diorama Ver.', teamLab, 2012. Interactive Animation Installation, Smartphones, Sound: Hideaki Takahashi, Voice: Yutaka Fukuoka, With the Cooperation of HTC
teamLab’s work used to be one large print from a video, but it is an aggregate of small displays this time.For example, the scenery is large in ‘Flower and Corpse Glitch,’ which displayed at the Louvre, but pictured within are the stories of many small characters. I have realized that it is more effective to have many small displays with one character on each than it is to have one big display and put many characters on it in order to develop a story. The space becomes more abstract by placing innumerable characters in the dark, and the each smartphone pops out as if they were a sculpture of a picture. The idea of being able to create an imaginary world with only characters is like feeling you might have had as a kid trying to create your own world by setting up ‘Kinnikuman Erasers’ in your room.
'Flower and Corpse Glitch Set of 12'. teamLab, 2012, Animation, 1min 50sec (9:16 × 12)
The characters in this piece react to the audience and perform on their instruments especially well in response to each other’s actions.There are some messages in this work, but a theme of ‘beauty of unbalanced things that are not restrained’ is one of them. The old Japanese knew the beauty of incomplete things, such as the stone garden of Ryoan-ji and the shape of the stone at Zen-ji. They pick up a lump of the distorted energy in nature. The same idea applies to bonsai since they become a microcosm filled with life in a small container. Asian design seems to unleash energy while European design is made up of many restraints.Taichi Saotome and teamLab, Special New Year Performance of Dragon and Peony, Sword Dance and Shadowgraph. teamLab, 2011, Animation, 2min 32sec, Produce: UBON, Cooperation: S.J.K.

What kind of design are you particularly talking about?For example, if it’s a Western garden, it would be made symmetrically, or restrained in a way like cutting trees. The Japanese garden lets people pick up and place things anywhere, including any little cluster of natural energy that people might feel. Of course, it still continues these days. Western fashion magazines have such simple layouts while Japanese fashion magazines like ‘Koakuma AGEHA.’ are essentially doing the opposite, using confusing layouts which overflow with Asian-like energy. Western countries developed a culture that believes ‘being balanced is comfortable’ and Japan developed the idea of ‘the beauty in unbalanced things.’
Is this same energy shown in the arrangement of the smartphones in the dark?Each individual, overflowing with energy, was placed without restrictions and this might be able to create one view of the world. These small people on the smartphones created a life and became free. It's like the liberated people at festivals exist in innumerable smartphones. They will communicate with each other and could be in a festival-like mood if they do well.Can you tell me the process how you created this work in detail?This exhibit is a retrospective show, but I wanted to include a new work as well. So I looked into HTC, a Taiwanese mobile maker. I contacted them about four weeks prior to the exhibit, and two days later I was told that they were able to get hold of the necessary amount of smartphones that I would need. Since this was a very sudden project, an engineer from HTC flew all the way to Haneda from Taipei to bring six terminals. An engineer from teamLab also went to Haneda and discussed technical issues with him there on the spot.
It sounds like a pretty dynamic creation process.They also love both technology and art, so they were cool with helping us. The music was done by Hideaki Takahashi who teamLab has worked with often. The base of the music is the footsteps of the small people, since each smartphone plays music and that creates the harmony. Each smartphones starts stepping along with the footsteps of others nearby and this is the base of the music. The small people have flutes, small and large drums, and biwas. They also sing, and the voices were done by Yutaka Fukuoka, who sings the opening theme song for the TV program ‘News Station.’ Takahashi completely understood our concept for this work, and we even laughed when we heard his rough draft music the first time since it was already perfect. Minoru Terao, visual director at teamLab, directed the animation. The animation team, which includes Atsushi Ito, made the dance moves with CG based on Awa folk dances. Tetsuro Kato from the computer vision team set up the movement recognition for actual people, then Sakashita, an engineer at teamLab set up the small people' movement to be interactive based on that information. There were so many problems when they actually installed the smartphones at the exhibit area, including overheating, the smartphones couldn't handle continuous operation over long periods of time, and there were problems with the power supplies, so the work wasn't in perfect working order when the exhibit opened. Therefore, Sakashita was still in Taiwan (as of July 3rd) troubleshooting the problems. Things to be running more smoothly since the beginning of July.‘Peace can be Realized Even without Order Diorama Ver.'
Why did you choose smartphones?If you think of a camera as eyes, a microphone as ears, a speaker as a mouth, and a display as a face, smartphones are like people who can express themselves. While we were working on this project, we noticed why Google’s smartphone is called the ‘Android.’ They are a man-made intelligence known as an android, the closest creatures to human beings. They are wireless and can communicate almost like human beings do and perceive the outside world. They can express themselves with a display and a speaker. They network with each other in a very human way.
It’s not just one PC controlling all of the smartphones in this project, but it’s a situation where each one seriously communicates each other, isn't it?Due to the limited number of connections possible with Wi-Fi, they can only communicate with those nearby. Therefore, the information transmits like ripples from phone to phones. The Internet is the same thing since they go through servers or routers that are nearby. The Internet society seems more like the Asian style than the Western style since there is almost no rule in the structure of the Internet. There is no center. The rules are minimal, but society is maintained society. This project could resemble that idea.
There is also what’s called self-imposed restraint, right?That could be the state of the internet when you impose half-baked Western concepts. The Western concept sees ‘peace’ as the rule of law, the expulsion of strange things, and the use of power to maintain control. In this respect, I think that the old Asia was different. For example, when I go do the Awa Folk dance in my hometown, Tokushima, I don’t see any orders there, and even the music gets made up of rhythms which someone started and others hopped on. This is how the festival is made.
Is it a close to the idea of free Jazz?I don’t know much about Jazz but I feel like this is more selfish than Jazz. It seems like people play sounds that go well with others when they play Jazz. However, people don't care about others when they dance Awa folk. Since everyone is getting excited, I should be able to get excited as well. The idea is abstract and selfish like this.
Are there rules like a core melody or BPM in Awa Folk dance?There is a brief pattern of rhythm but absolutely no melody, so everyone will be surprised when they actually experience the festival. Everyone communicates in their way and creates the atmosphere of “I should be excited since everyone is."
So this work reflects the experience of the Awa Folk dance?I got drunk and babbled in the middle of the Awa Folk dance, “Look, peace can be realized even without order. Western society is making a mistake," but it made an impression on the people who were with me. I even forgot about what I had said at the time, but anyway, the

EXHIBITION teamLab exhibition "We are the Future"
STUDIO VOICE 에 소개되었습니다. (Jul, 2012)

About the exhibit works “LIFE SURVIVES BY THE POWER OF LIFE" at the exhibition of Venice Biennale. Toshiyuki Inoko(TeamLab) Interview

The Video work of teamLab "Life survives by the power of life" (a.k.a. “Live") has been created for their first solo exhibition in Taiwan. It has been exhibited until the end of November 27 as a few Japanese artists at the exhibition of Venice Biennale since June 2011.
This work that was exhibited with the works by Takashi Murakami and Kaikai Kiki in “Future Pass – From Asia to the World" is expressing Japanese calligraphy “生"(means “to live") as 3D. And it represents an overflowing life that following around the season by showing that vegetation sprout from the character.We asked Toshiyuki Inoko, who has done with the construction and reception party after the third day of the press review of Venice Biennale, about the background of how the work was created and the thoughts that was put in the work.History of "Gallery debut"– I think that it may be good to say that this year is the year of the art debut of teamLab because you have been through the solo exhibition at Kaikai Kiki Gallery in Taipei. Please tell us the history of how you made the commercial gallery debut.Inoko: In the spring of this year, Mr. Katagiri, who works at Pixiv, brought me to Mr. Takashi Murakami’s company. I showed our work to him at that time, and he said, “This stuff is cool." And then in the flow, it got covered in the Kaikai Kiki Gallery in Taipei.
Mr. Murakami wrote the text about this flow in the PUBLIC-IMAGE.ORG. Please use that one. (Laugh)Because it was not aware of the video work of teamLab “to sell," our works has been created on the assumption that the installation by technicians and maintenance need. For instance, “100 years sea" one of our works is using a couple of projectors. Because the length of the movie time is 100 years, the setting up computers by technicians is needed to exhibit. In the other hands, our new work “LIVE" is our first work that we thought of the case that owners could have in their possession while we have been making. This is our third time to exhibit this work. Taipei, Hong Kong, Venice. It will be Art Basel in Switzerland after here, and new offers are steadily coming now.
The Video work that represents raising the sea level of the earth as the animation of the ancient Japanese style. There are two patterns. One is showing all in 10 minutes, and another one is taking for the real time to show all which is 100 years.– The Video works of teamLab is mostly created by 3D based on paintings of the ancient Japanese style. What made you think to use calligraphy in this time?Inoko: As the major premise, we thought it simply needed to be a thing owners could enjoy. To do this, we needed to remove the technical barrier and the works should have universality as well as a good viewing thing. Because of these reasons, we made this work have generality. It has the screen ratio of 16:9 that is able to use a projector to display or use a TV monitor.We have already made some “calligraphy works." But we have a thought that it wasn’t properly presented much while we are in Asian cultural area. Japan has the culture that is always accompanied by illustrations, which is not like classified by art, literature, scroll paintings, or cartoon. There is always an illustration in scroll paintings. A western font requires objective beauty as a font, but calligraphy needs to know its background of who wrote this in what situation and what the person wrote to appreciate. Since the concept of the modern story called "calligrapher," it is the cultural character that has a story like Daishi Kobo wrote a point by throwing his brush.A character basically needs to be objective because it shares the meaning of letter with others as its rule. Japanese is the subjective from the beginning. We had written a character that depends on their emotion. I think it’s interesting. Japanese people are thinking that there is no absolute, like an objective justice or evil, in the back of their mind. There is no sense of the hundred-percent-evil in Hollywood. Because this background influences a character, I think it has become to have relatively loose rules. It is interesting because a character is to strongly reflect the mentality of the writer.It is similar to modern people who are writing messages with emoticons on their cellphone. For example, compares to “I am waiting ♡" and “I am waiting (T_T)", these are same sentences with different nuances. Of course, some people who don’t like these emoticons may not use them.
I think it is our Japanese mind putting on their subjectivity to objective character.Want to rebuild “Character" in digital form– Please explain the mentality of the character called “LIVE"Inoko: I haven’t heard anything from Sisyu, so this is what I felt about. She and I are good friends. I think she gave me her thoughts that “want you to live strongly" because my way to live seems uncertain. This “生"(to live) added a period. There is a word says, “王に点を入れたら玉"(means if a period added to王(a king), it becomes玉(a ball)) in Japanese chess. I think that the reason a period is added is her thoughts that she wants me to live stronger. When we saw this at the first time, everyone simply thought it was good one because teamLab itself is a kind of survival group itself.When Murakami contacted to me, he told me that there was no time and it was fine to exhibit one of the past works. However, I wanted to make new one. At that time, the character was first one up as a motif.
While rotating the 3D character of the "LIVE", representing the four seasons to live.– Have you thought of taking a balance of other three video works: “Flower and Corpse", “100 years sea", and “Life is the light that shines in the darkness?"Inoko: These are the works that exhibit at this time. First, “100 years sea" is the work that the sea level rises over 100 years. It has 10 minutes version. “Flower and Corpse" is representing the collision of nature and civilization. At last, these are two new works of calligraphy called “LIVE." Although it was coincidence, I felt the cause and effect of the earthquake and tsunami at this time. In face, the Taipei exhibition was postponed for one week after the earthquake. When I see the exhibition place after the construction is finished, I felt the cause and effect even though it was coincidence.– While it is a character itself, the character is three-dimensionally rotating. Is there a meaning of representing 3D?Inoko: When I went to Taipei about 10 years ago, the interior of new design hotel at the time had calligraphy as a design work. I was very mortifying. While we have same Chinese character culture, Japan does not have obtained or is losing the culture. I want people to think Japan can rebuild the character to modern taste better and it would be cool if it can be a part of design.Now media is a paper. It means the character can be digital. I always have this theme that the character can be rebuilt in digital media and it needs to be shown as cool as it is.The character is a letter. Hieroglyph and emoticon. I think there was a meaning to the shallowness or depth because it was carved in stone and wood in orgin. Therefore, I want to show it as 3D. It is easy to know the trajectory, acceleration force, and depth if it is slowly rotating. But whatever the reason was, I want people to think, “this calligraphy is awesome."Japanese are originally information supremacy.– Among this exhibition of Venice, Takashi Murakami tweets “The evaluation of the difference between the tepid power is just building the future of the confusion. Bad things need to be rejected." How do you understand about it?Inoko: It will be my own opinion. There were lots of Asian artists’ works in an exhibition beginning from Taiwan and China at this time. I think it means, “We are different from the context of the West. The high-quality works within the context of the East Asia could be better than the western one. But if we bring some bad works to Venice, people may think Context of East Asia is inferior to the context of the West." The reason representing our work to the digital way is I think that Japanese are originally Information principle rather than materialist. There is an episode, “Sen no Rikyu was entertained Hideyoshi by a flower of morning glory." Hideyoshi found value of Sen no Rikyu from the morning glory might wither tomorrow and became a sponsor. I think an ancient Japanese considered the information supremacy. However, Japan has lagged behind in the information society. I don’t like this.For instance, Oda Nobunaga made people free from the land and couldn’t forgive the landowner. So he burned out the territory of his own house after he moved out. In other words, he didn’t have no fixed value and found from added value only. He didn’t like to cling goods or places so he didn’t even build a barrier. Then GDP became 10 times and Creators like merchants, carpenters, and sword smiths came out to the front stage. In the meaning above, I chose digitalism because I want to represent the way only information society can do.– Did you feel something when you came to Venice Biennale with Kaikai Kiki at this time?Inoko: If I say ultimately straight, it may be a hint for our future, suggestion of new value and representation, tip of the added value of future, or tip for new markets.To export the concept of the lolicon.– Did you feel something when you came to Venice Biennale with Kaikai Kiki at this time?Inoko: Murakami was very popular. When we walk around Venice, Japanese came close to him and star

EXHIBITION Future Pass - From Asia to the World Collaterala Event of the 54th International Art Exhibition - la Biennale di Venezi
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