Featured on GQ, Apr, 2012
ジャパン・アズ・ナンバーワン日本的って？ 「これからのジャパン異論正論暴論（？）篇」
日本のバブル崩壊後に青春時代を送る団塊ジュニア世代は、「ジャパン・アズ・ナンバーワン」をどうとらえているのか？インターネット時代のいまだからこそ、チャンスがある！むしろ、日本は圧倒的に有利だ!! と若手論客ふたりが語るその理由とは？
NEWS
Featured on B-maga, Feb, 2011
福田淳のメディア業界“カリスマ”対談シリーズ
The structure of happiness is “literally simple.” The last interview of the series for meeting people who making news among the media industry, hosted by Fukuda Jyun from SONY marketing. Thus far, many prominent guests have appeared to this interview series as following; 1st guest was Suzuki Makoto, the president of Niwango, Inc. (well known for Nico Nico Douga, a popular video sharing website), 2nd guest was Takiyama Masao, the president of Animax Broadcasting Japan, Inc., and 3rd guest was Shigemura Hajime, the president of Nippon Television Network Corporation. Therefore, editors were sorely perplexed to choose the last person to invite. They remembered their underside mission:”take a look in succeeders’ mind.” Then decide inviting a man who we’re interested to hear his account. That is Inoko Toshiyuki, the president of teamLab co. a group of Ultra Technologists that have been active in Hongo, Tokyo. teamLab’s work includes: the planning and developing of; “iza”a news portal site; an original “interesting and amusing algorithm” for collecting information to be shown on teamLabs “Sagool” search engine; “Flower and Corpse” an artwork for the 150th anniversary of diplomatic relations between Japan and France at the Kansai exhibition in Paris; 3D computer graphic animations; and a wide variety of art and technology works. Atsushi Fukuda writes of Inoko Toshiyuki; “Inoko Toshiyuki is a young charismatic genius who from childhood has a picked up the “signals” to revive Japan. From a point of ingenuity, from the simple enjoyment of making something, or even to his theory of TV playback, Inoko is able to find opportunity for entrepreneurship”. My dream no to become an adult has come true!?Fukuda(F): Guest for the last interview is Inoko Toshiyuki, CEO of teamLab co. According to B-maga editors, Mr.Inoko appeared in the TV program which invites young entrepreneurs as panel of experts called “Asa Made NamaTV” in 2010, and became famous right after that. Also I’ve heard that since you appeared in the same program again on New Year’s Day, you’ve been asked for many sessions and interviews. If you say frankly, why do you think that people pay attention to you?Inoko(I): I don’t know much about that….but it maybe because I’m like some sort of dead air or something.Everyone: (Laugh)F: This is not our first meeting, but since I’ve hear that you are from Tokushima, I found something congenial with you. I’m from Osaka, so I thought “it’s close.”I: Yeah, I understand that feeling. People in Tokushima, they all think that they are part of Kansai area. Because the weather forecast of Tokushima is displayed in TV with Kansai, and we are connected with Hyogo by land.F: Are your parents both from Tokushima?I: Yes.F: I know it can’t be said definitely, but how do you see the regional characteristics of Tokushima?I: Hmmm….Maybe they have many strange (different) people.F: Are you also the one of those different people, since you were kid?I: I was a kind of nihilist, a kid with no dreams, like wanted to be nothing particular. I didn’t really want to become an adult at all. I had so much fun in each day, but hate having “tomorrow.” When I was in elementary school, I made a list called “Things I get in trouble if I die.” I wrote the list not because I wanted to die, but to get the “want to live” feeling. Then I added the list things I would be stumped if I die, like “Mom gets sad” or something similar. But I realized that I wouldn’t know whether my mom gets sad or not after I die, because I’m already dead. So I scratched off the sentence. Kept erasing those things and sentence that has been left at the end was:”I want to know the next story of Dragon Ball.”F: Haha, you only care about the Dragon Ball which has been serialized in weekly comic magazine Jump then. How realist you were! But things you’ve said first that you didn’t want to become an adult, seems like it came true, isn’t it?I: What is that supposed to mean?!F: In a good way, I mean (Laugh). Because you’ve build office like a kid’s hideout in such a quiet district of Hongo, and set some video game at the reception area. It was quite surprising though.Editors: You play the game to call for people in the office, right?F: Really? I thought I have to win the game if I want to enter the office (laugh). Received a message saying:“Regenerate Japan.” And so start to run business.F: Anyway, Mr Inoko, you established teamLab when you graduated University of Tokyo in 2001, from the Department of Mathematical Engineering and Information Physics (Faculty of Engineering), with 5 other members. Why you choose to start-up the company instead of finding employment?I: I often talk about this story…..When I was a junior-high school student I received a electronic message (Dempa). It’s not a metaphor, but really the message saying:”Regenerate Japan.”F: The time should be when the Dot-com bubble bursts, right? Was it like, one day you got the idea that come from out the blue?I: No, I felt it rather longer. It was flabby as it sounds something like “Deeeemm.” I majored in science so I couldn’t understand and so freaked out with such unscientific phenomena. I had no choice but to obey the voice. Later, in 1996, right before I enter the university, first time I heard about the internet and connected to PC. I was absolutely shocked with it. Remember thinking: wow, this is amazing. For the first time in human history, people have the power to freely receive and transmit information to and from all over the world, moreover, it’s cheap. Originally, people’s interests and thoughts are different in various ways, so that one’s values definitely differ from others’. Users can make their own choice for information by the internet, and people are able to receive the core information about anything from all over the world. I thought the event brings historical change and transform the whole society, to such a happy age.F: And society rapidly transformed to the information-age.I: I want to clarify that technology and cultures are the essential element for the national strength. Especially Japan, a country with meager resources, we absolutely depended on those two elements. However, the industry construction have changed by appears of the internet, so we have to start from zero again. In that respect, what is the most important thing? Of course, technology and culture are. The words are the same as before but they mean totally different, because all types of technology will change. We can’t use the same old techniques and ideas. At the same time, when I graduated from University, I couldn’t find the company that takes role for both technology and culture. Therefore I decided to get involved to both technology and culture in the digital domain, establish the company where is able to make experiment of technology and creativity. I still had the ideological threats by Dempa, and I also thought it would be wonderful if new culture and creation could emerge from Japan.F: How did you implicate your friends to start up the company?I: I didn’t really implicate them but kind of cheating (laugh). We have to start with situation of no money and no connections, so couldn’t pay much. But if you are student, money is not really a big matter so I thought they won’t realize the inconvenient (laugh). For me, starting business was not a dream but an obligation. And I wanted to make the process of job more exciting and enjoyable, so I considered carefully then figures out the most exciting things; share the process of achieving a certain aim with people I like. Don’t you think the structure of happiness is literally simple? Now a day, mobile media is making a big hit. This was in-expectable in former days, but this kind of reversal phenomenon will keep happening from now on. I believe there are still chances for small personal media, and want to produce a work which is like the mobile content that follows by movies, TV, and magazines. Change the restrictive mood to the tolerant messages by the potential of TV powerF: For last topic, this magazine is a trade magazine for people who work at multi-channel industry, communication industry, and internet industry, so I want ask Mr.Inoko about the future of TV. Recently, it is said that young people are leaving TV behind, and using mobile and internet instead. Why do you think so?I: At time that TV was the king of media, when some interesting content comes out, small number of people enthusiastically supported the content and they lead it to others. Then the content expand to mass, stimulate the market and such circumstance was producing a big hit. However, those small number of people’s interests moved to internet which is more free and capable to provide core information. As a result, even one interesting TV program has produced it disappears before it reaches market. Therefore the content with all marks average but nothing outstanding has been increased recently. For another reason, I would like to mention that the society became restrictiveness. First, when we consider about the process of creating unique culture before global age, one unique thought produced unique sense of beauty and law. Then the unique law helps to create the unique culture. However, after global age, society enforces the global ethical view on people and people started to commit self restraints because they don’t want to break the lines or be bullying by others. Intolerance of society derives the freedom of expression.F: I see. Society with intolerance nip off their own buds and people commit self restraints to avoid getting trouble. Then TV, once the head of mass entertainment, becomes boring that young people stop it. TV broadcasting companies are explaining YouTube, NicoNicoDouga, and Ustream as “video sharing site”, as they are taking things too easy, but in terms of people’s time spent for TV, those websites are obviously deprive a lot time from TV. As Mr.Inoko said, diversification of people’s interests and thoughts is clear. However, TV broadcasting companies misunderstand that their media is the one users demand the most.I: Still, TV industry has the enormous brand power and highly capable human resources. Therefore, the important points are; 1. Unbending will of producers for keeping create new entertainment. 2. Providing opportunity for those producers. To say further, I believe it is possible to change the society’s restrictive mood to the tolerant messages by the potential of TV powers. That will unchain the creation possibility and there will be a lot of chances to improve for TV industry……Am I talk big too much?F: No, not at all. It’s very suggestive opinion. It is easy to say things about merging of broadcasting and communications, people hardly find the specific business pivot. From Mr.Inoko’s opinion, we may find some clue for the business and new possibility of visual expression in internet-age. Above all, Mr.Inoko tells us to remember the very first place that producers and designers should have fun if they want customers to enjoy the amusement tools. It was my pleasure talking with you. Thank you very much.
Featured on Gigazine, Jan 17, 2016
メイドカフェとテクノロジーが完全融合しすぎて2次元と3次元の壁を突破した「MaiDreamin(めいどりーみん) なんば店」
メイドカフェとテクノロジーが完全融合しすぎて2次元と3次元の壁を突破した「MaiDreamin(めいどりーみん) なんば店」「メイドさんは、マンガやアニメ、ゲームのようなコンテンツから出てきたもの。だったら、空間も、『ゲームの中のような世界』にしたい。それが今回のデザインのコンセプトです。（本文抜粋）
Featured on BRUTUS, Dec 15, 2011
自分の仲間はどう選ぶか？
あなたには、心から信頼できる仲間はいるだろうか。それは「助けて」と素直に伝え合える相手、互いの「夢」を共有できる相手だ。口に出すのが気恥ずかしい夢でも、それを「旗」に掲げてしまえば、仲間は見つかる。『ワンピース』の大ファンである猪子氏と、同作品の深いメッセージを拾い上げる安田氏が、今必要な「仲間力」を語った。
Featured on Netorabo, Nov 28, 2011
メイド喫茶が電脳化！ デジタルとリアルのメイドがお迎えします
電脳と萌えの世界へようこそ、ご主人様――メイド喫茶「電脳喫茶☆電脳酒場『めいどりーみん』」が12月6日、東京都渋谷区にオープンする。サイネージに住む萌えキャラが店内の状況に合わせて動き出すなど、店内にさまざまな「電脳仕掛け」を施しているのが特徴だ。（Excerpt from the text）
Featured on International Symposium of Seoul Art Space GEUMCHEON, Oct 2011
An information society, Technology, Design, Art, Culture, and Industry
Making the borders between Technology, Art, and Design more Ambiguous. Before the information age, technology, design and art were clearly divided areas. However, the border has become blurred within the digital domain. For example, if we look at the interface of an I phone, it is difficult to define which parts are programming and which are the designer’s work. It turns out that both technology and design are concerned with the processing and relaying of information. Before digitalization it was necessary to have a physical substance for information to be transmitted through design or art. The situation changed with the digital age when information was released from the confines of having to be mediated through a physical substance, which in-turn necessitated the boundaries of design, art and technology. In the information society people tend to become expert in one particular field and therefore it has become harder to create art on an individual basis, this is why TEAMLAB utilizes the skills of a group of artists and technicians. [1] Competitive superiority = Region highly dependent on culture In informational society, another change has been taking place. The common speed which is verbalized domain becomes too fast. Therefore the region is no more the necessary condition in order to have an advantage in the competition. Before the information society, in case of iron-making technology, technological gap is caused by the country. But the technological gap has been reduced IT can logicalize and verbalize. However in domain where is highly depending on culture, can not explain verbally; for example, in domain such as “Cool, nice, interesting”. This methodology is difficult to share. We think that really is where the advantage of developed countries. The differences are much more in region where heavily dependent on culture. As a result, it leads to competitive force. In other word, we believe that the industry which rebuilds the region highly depended on culture with technology, and the developed countries with social infrastructure can get by in the world. In the informational society, a change has been taking place. The speed at which the verbalized world can be shared has increased so dramatically that competition for a particular geopgraphical area is no longer an advantage. Before the information society, in the case of iron-making technology, a technological gap was caused by the country. But the technological gap has been reduced by IT’s ability to logicalize and verbalize.[2]Japanese Culture and Japanese Spatial Recognition So what is Japanese culture? What is behind Japanese culture? How do we grasp culture? How do we take in, understand and see the world? At TEAMLAB we believe that we may be able to find answers to some of these questions through making art and through the creative process. Before the introduction of Western culture, the late Edo period (late 19th Century), Japan was a closed country to foreign commerce. During that time it is possible that people had a different way of seeing the world. Japanese painting lacked Western Perspective, and because of this it is often said that Japanese painting is flat. However, we propose that Japanese ancestors saw the world exactly as it is depicted in a classic Japanese print. When they looked at a Japanese painting they were able to see or feel the space in the painting, just as we see space and depth information in a modern day photograph. Considering this we at TEAMLAB began to wonder if Japanese didn’t have a different logic of space recognition to Western perspective.TEAMLAB video production TEAMLAB has made a number of video works that attempt to recreate the recognition of space of our Japanese ancestors’ in 3 dimensions. We hope that in the process we may be able to discover a new mode of expression. Example; the installation movie 100 YEARS SEA -Animation Diorama- [3] This work was created in a three dimensional computer space and the motion of the waves was computer generated. Then we converted the animation so that it could be visualized inline with our ideas concerning Japanese spatial recognition – the hypothesis that, Japanese painting was founded on a different logic of spatial awareness to that of perspective. Producing video works using Japanese spatial awareness has advantages over perspective [4]. For example, the middle of a movie theater is often considered the best place to view the movie, the visual experience becoming impaired with distance from the screen. However, using Japanese spatial awareness, there is no focal point and there is no need to identify with the location of the viewers. Therefore, the viewers can freely walk around the exhibition space. In addition it is not necessary to use a flat surface on which to project the image. In the case of the installation of “100 Years Sea”, the work was exhibited on screens that were at 90 degrees to each other without damaging the installation experience. Perhaps this can be understood in relation to the tradition of painting on Japanese folding screens. The work, ”Life survives by the power of life” [5] was exhibited as part of TEAMLAB’s “Live!” exhibition at Takashi Murakami’s Kaikai Kiki Gallery in Taipei in April of 2011, at the 54th “Future Pass” Venice Biennale, Hong Kong’s art fair “ART HK”, and “VOLTA” Basel, Switzerland. This work also uses the concept of Japanese spatial recognition. When shown as a still image the work appears flat, just as a Japanese print, but during playback it appears to occupy a 3 dimensional space.Japanese Subjective Space Description which supports “Narikiri” (Entering a Picture, or Visualizing a Picture from inside it) Western perspective is drawn from the view point of the artist and recognition of space can be thought of as fan-like. If you were to try to see the view as if you were in the picture, narikiri, then what you see would change. (In the case of a portrait painting the person in the picture would look back at the artist or viewer / figure A) However, the concept of the observing point in Yamato-e (Japanese painting) is weak, and the grasp of space is very different from that of perspective. If I draw a picture from the observation point of the person who is depicted in a Japanese painting, then the recognition of the space would almost be the same. [6] As mentioned above let’s assume that you are able to see the world as an ancient Japanese saw and recognized the world, as in Japanese paintings, and that you enter into a yamato-e picture. Unlike with a perspective painting the picture doesn’t change. Even though you become the character in the picture while viewing the picture, you can still keep watching it (Figure B). In the video game “Dragon Quest”, the players enter into the character whilst watching and playing the game. It gives them enjoyment because they enter into the world of the character and experience the picture the world of Dragon Quest as if they were in it. That is the spatial representation of “Dragon Quest (Figure C) [7]. However, as mentioned above, with Western perspective a person cannot enter the picture in the same way. Therefore the player of the game only sees details like the hand, handle, and cockpit of the airplane. Japanese spatial recognition supports the notion of “pretend” and its recognition is highly subjective. This subjective awareness goes together well with the information society.We believe that in the future when new industries emerge, if the industry and culture fit together well, then the strengths of the culture will be preserved for the benefit of the whole world. [1] We at TEAMLAB create teams of specialist among various fields who are able to transcend the boundaries of their own field of research. We attach importance to utilizing the discoveries that are made during the creative process for future projects.[2] We are Japanese and the topic is based on Japan, but it might share something in common with South East Asia.[3] 100 YEARS SEA -Animation Diorama- TEAMLAB, 2009, Animation Installation, 10min 00sec(19m 200mm × 2m 400mm) & 100 years(16:9 × 5) *2 versions, sound: Hideaki Takahashi[4] There are also disadvantages. Objective and physical size information is lost.[5] Life survives by the power of life[6] Some people would consider this idea ridiculous. However, perspective is also unnatural. The focus of the human eye is very narrow. The human eye does not clearly see detail like that of photographs and paintings of the Mona Lisa. The eye moves rapidly and the focus changes along the timeline. Information is synthesized along a narrow and shallow range of focus in the brain; the image just looks like a picture in perspective. That eye continuously takes thousands of photographs and synthesizes large numbers of pictures with a certain law in the brain to recognize the spatial perspective.[7] The method of expression of Japanese art fits well with game contents in which the main character is manipulated interactively. We believe that the Japanese game industry achieved much success due to utilizing the strengths of Japanese art representation.
Featured on TechCrunch, Oct 14, 2012
Shopping 2.0: Interactive Hangers Used In Japanese Clothes Store (Videos)
“Since it is said that the next of Web 2.0 is Shopping 2.0, an “interactive hanger” may first have an interview with Japan, or it must not be surprised. This overservice, overshopping, an overfashion, Taegu Noro It is as natural as it in the country where ジ is superfluous.The store Vanquish of the problem is in department store 109 MEN’S of the center of Tokyo. It is introducing as “.
Featured on 4Gamer.net, Sep, 2011
基調講演「情報化社会，インターネット，デジタルアート，日本文化」をレポート
CEDEC 2011の3日目となる2011年9月8日の基調講演は，「ウルトラテクノロジスト集団チームラボ」の代表である猪子寿之氏による「情報化社会，インターネット，デジタルアート，日本文化」だ。アートというと，それだけでなにやら得体の知れない雰囲気が漂うが，講演は終始具体的かつエキサイティングなものであった。以下，その模様をご紹介したい。
Featured on public-image.org, July 29, 2011
Venice Biennale Report | "WORLD CULTURE REPORT Vol.19"
Creators, editors, and writers who related in various ways become contributors at PUBLIC-IMAGE.ORG. Here comes “WORLD CULTURE REPORT” that delivers the information of hot creators from all over the world. On this time, Mr. KurandoFuruya who is an editor reports the art festival “Venice Biennale” in Venice, Italy. Text: KurandoFuruyaHello, everyone. I am KurandoFuruya who is an editor.I am an editor that usually deals with videos and graphic designs, but I arrogantly came to Venice Biennale. I don’t have words to talk about arts and know not many artists. But “Venice Biennale”, the biggest art festival in the world, is the party every one wants to go at once. My complex interest drives me to book the flight ticket. I could ride the staff bus with the consideration of Mr. Inoko Toshiyuki of teamLab, who was the one of a few Japanese artists attend Venice Biennale. I spent 3 days for press preview and was able to complete Biennale. Please enjoy this with the pictures taken by iPhone.teamLab exhibited the video artwork “LIFE SURVIVES BY THE POWER OF LIFE” that was also reported our main site. teamLab, Calligraphy: Sisyu “LIFE SURVIVES BY THE POWER OF LIFE” (2011)It has beendisplayed until November 6, 2011 in the “FUTURE PASS” satellite hall with Taiwanese and Chinese artists.The First DayAs soon as we got Venice, we went to the hall directly because teamLab had to install their works.BUT!!!! Their works and monitors were not arrived yet.Mysteriously the waterbus route that usually is a foot of Venice was stopped the whole line for its strike even if that day was one day before the press preview of the Biennale.The hall in where the works were not arrived yet was empty and had full of heavy calm air. I who am slightly not a related person can’t stand to stay, so I went to the Natural History Museum in the neighborhood. There was no visitor and no feeling of Biennale at all. The place was cool. The museum was the recommended place even though it wasn’t in a guidebook. Eventually, teamLab can’t install their work and finish their first day.The Second DayIn the morning, it seemed there was something happened when I got to the exhibition hall. The story was the press pass that we could look around everything in Biennale weren’t handed out by a staff’s mistake. WHAT! It was going to be just traveling Venice until the end. It was the happening that made our goal upset from the base. I was embarrassing. After the staffs of teamLab kept complaining, we could get two passes that had the name of Chinese female artists. We wouldn’t care to be found out whether we were Chinese or Japanese, male or female as long as we are Asians. But we who related to teamLab including me were 4 people. After we do the rock-paper-scissors really seriously, Inoko and I went into the exhibition hall.Because I had to give my pass to two members who were remained, I desperately looked around the exhibition. After I finished to wait on the long line for entering the exhibition, I have suddenly noticed something at the moment the barcode of my voucher. I went directly to the trashcan close to the entrance. It was right there. It was the voucher is for the press preview. The press pass of Biennaleis at the trashcan of the exhibition. This is a little knowledge of Biennale. (Currently the entrance fee is 20 euros.)Venice Biennale is held once in 2 years. It has the three major exhibition form. The first one “Garden” is held on the main exhibition hall next to the En’nareStation. (It says a station but it is a waterbus.)“Arsenal” is a historical shipbuilding area.The festival itself is called Biennale and there is the station called Biennale. It’s very complicated. There are the National Pavilion that is organized by each country and the exhibition hall that is produced by the main director,BiceCuriger. (The title called an artistic director) It is exhibited with theme “ILLUMInations.”Each county’s pavilions that tell the history of this modern art festival continuing over 100 years on the hall “Garden” were lined in the method of Expo. Representative artists of each country use all pavilions and show their skills. By the way, the representation of Japan was TABAIMO. Pavilion is certainly not only solo, but competent of numbers of artists.GardenSomehow the each country’s fever of arts is understandable to see the line on the hall “Garden.” There were long lines on America and England. Germany and France were also success. Japan was in good condition. By the way, Italy’s place in Arsenawas pretty much empty.American’s pavilion had pretty much long line at the hall “Garden.” A person was running on the tank’s caterpillar that was installed upside down. After waiting about 30 minutes, there was the Olympic gold medalist were doing Gymnastics on woodcraft of airplane’s first class seat!And an ATM with a pipe organ.Disgusting. Jennifer Allora and Guillermo Calzadilla’s works show disgusting parts of America. And the money was suffering.The exhibition of France was Christian Boltanski. Pictures of baby’s faces were repeating on a rotary press machine surrounds the venue, and there was Montage of baby and adult at the back room. Countdown was made at the both left and right side of room. It was suggestive although I didn’t understand well.While I was walking around the hall with full of green, I arrived to the main pavilion bigger than other places. There was an exhibition place by the main director, BiceCuriger. (The title called an artistic director)First, Suffered pigeons lined up on the ceiling.SigmarPolke who passed out last year. Acrylic plate on the wave is affixed on dot paintlike noise of the old copy machine. Cool~There were full of ideas for helping life and interior.This is a permanent, Café at the Biennale venue. Cool~. The interior was so vivid that it seems to be weak in sight if staying for long time. I would copy this~.And the one that was awesome was Swiss. It was an odd space that was configured in garbage like aluminum foil, crackedbottle, magazines, and etc.Awesome~. It would be just a garbage room if I copied this. But these density, size, and equivalent. It’s crazy. Awesome. I would copy this~.Above, it was the report of elementary student levelaboutBiennale “Garden” area. There were high quality pavilions in “Garden” area. If you want to feel the air of Biennale, you need to go here first.At the second day’s night, I went to the Middle Eastern pavilion’s presentation with my t-shirt and short pants. I completely misread TPO and wanted to die. The palace… The Third DayArsenalBecause of my scavenging on the second day, four of us would be able to enter the exhibition on the third day. The exhibition work of teamLab was installed yet, but the reception party of “FUTURE PASS” on the Satellite venue would be held on 6 o’clock in the afternoon. I was worried about as their friends, but there would be nothing to be solved even though I was waiting with them. So anyway I decided to leave “FUTURE PASS.” I went toward one more main place, “Arsenal.”The place was used to be a large warehouse of shipbuilding field.It started from a really small entrance. It was indicated on water place instead of Biennale venue was surrounded by green. However, it was large after I entered the venue. There was the dismantling and rebuilding old house artwork by Song Dong. An art booth that displayed Franz West’s drawings, photos, and trashes. This kind of things even became look cool if the place is big. I would copy it~. And here is the movie work “The Clock” by Christian Marclay. It was conscious of the clock by cutting up from movies from all over the world, and it showed waiting people. After I watched for an hour, I was thinking that it was not going to be the end. As what I heard later, it was a long film of 24 hours. It would be shown at Yokohama Triennale on October 6. I would like to watch full of the movie. This one is a huge candle work. By the time the session is over, even the trace would be gone.Until here, it was perfect organized area by a curator. Of course, it had high quality average compared to the each country’s area.There was demo of “FREE Ai WeiWei” in front of China pavilion. Chinese visitors were watching the demo.I think it needs to be explained that Venice Biennale is mixed with good and bad things. Each country’s pavilions were organized by the curator who represented by the pavilion. So, there was more like a national trade fair than an art exhibition. The Italian pavilion lined up lots of their artists to crush the host county.SatelliteThe Arsenal and Biennale pavilionswere packed tightly, but there are the exhibition hallscattered around in the city of Venice. “FUTURE PASS” that teamLab participated was the one of them. Venice that has more than 100 years buildings everywhere looked great even though it was decorated with whatever. What a good infrastructure. I forgot to take a picture while walking around the Satellite. Good one was good, and bad one was bad in the Satellite exhibition that participated in the town like a maze. The qualities were different because each country organized the exhibitions. “Punta dellaDogana” that built in the 17th century and has been repaired by Tadao Ando in recent year was full of modern artworks of star artists; Jeff Koons, Takashi Murakami, Mike Kelley, SigmarPolke.At the last night, all of us went to a club. It was amazing. Because Venice is historic landfill, the ground is small. The club was also amazingly small. So few clubs were all packed and packed. DJ was using MacBook to play music. The music didn’t play, so I looked after. Then iTunes was showed up. Venice was distorted.Despite of the lower interest to local people, groups from around the world show off their big collection at the modern art museum. There were beautiful islands, historical town, and distorted amusements. It was weird but the only one in the world festival. I want to say, “See Biennale before die.”
Featured on STUDIO VOICE , 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 started a conversation like “do they know each other?” Everyone knows Kaikai Kiki at the exhibition. It is similar that people talk about One peace and Naruto at comic stores on oversea. I honestly think he who raises the value of his country with his existence itself is cool. All people wanted to be a friend with him. But it was impossible. That’s why people were trying to talk to our staff or me. (Laugh)Moreover, I think he is winning because “Japan is cool because Murakami is cool” is better than “England is cool because Damien Hirst is cool.”– It is because the expression of Murakami makes is really a Japanese way, isn’t it?Inoko: Right. That’s why my main goal is making people think “I like teamLab, so I like Japan.” It is a thing to be contributed to the industry a lot. For example, Takashi Murakami has contributed to the industry of Japan than Ichiro. Ichiro is fighting in the area of the United States, but Murakami has exported to the Japanese culture to oversea.An old woman from Italy tried to talk to our staff at the exhibition. What she said was she was worried about his son because her son who is about to be 30 years old is falling into erotic doujinshi.And she was standing in front of the work “Mr.” by Kaikai Kiki and asked why Japanese people present these kinds of a lolicon thing. She might start to think her son is not a person to be denied because there was a similar expression to the doujinshi that he was hiding in his closet. There was her try to understand his son through the work “Mr.” It was the realistic episode that “my son may be fine.” So she and her son might become to like Japan more and be positive.After I heard that, I think “Mr.” seems to be better work and be respectable. I feel the reality that the work is an art. I want to be a person who is contributed to the industry of Japan.