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Featured on Museum Week MAGAZINE, 2020/12/02

5 QUESTIONS TO THE ART COLLECTIVE TEAMLAB

teamLab (f. 2001) is an international art collective, an interdisciplinary group of various specialists such as artists, programmers, engineers, CG animators, mathematicians and architects whose collaborative practice seeks to navigate the confluence of art, science, technology, and the natural world. teamLab was created to be a “laboratory to experiment in collaborative creation", i.e. “teamLab". teamLab’s interest is to create new experiences through art, and through such experiences, we want to explore what the world is for humans. (Excerpt from the text)

EXHIBITION teamLab Borderless: MORI Building DIGITAL ART MUSEUM
Featured on euronews., Mar 20, 2018

Paris to swing to the beat of 'Japonismes'

http://www.euronews.com/2018/03/20/paris-swings-to-the-beat-of-japonisme

EXHIBITION teamLab : Au-delà des limites
Featured on Chron, May 24, 2017

Gallery and museum listings: May 25-31

Moody Center for the Arts: Thomas Struth's "Nature & Politics," through Monday; Dana Thater's "The Starry Messenger"; teamLab's "Flowers & People, Cannot be Controlled but Live Together - A Whole Year per Hour," through Aug. 13; Rice University, 6100 Main; 713-348-4772, moody.rice.edu.(Excerpt from the text)

Featured on Chron, Feb 22, 2017

Art gallery and museum listings: Feb. 23-March 1

Moody Center for the Arts: Opens 4 p.m. Friday. teamLab's "Flower's and People, Cannot be Controlled but Live Together - A Whole Year per Hour," through Aug. 13; Rice University, 6100 Main, Entrance 8; 713-348-4772; moody.rice.edu.(本文抜粋)

Featured on Virtual Stylist, Jan 2, 2016

TEAMLAB PRESENTS LIVING DIGITAL SPACE AND FUTURE PARKS

teamLab presents Living Digital Space and Future Parks at Pace Art + Technology, located at 300 El Camino Real in Menlo Park from February 6 – July 1, 2016. For tickets and information, please view teamlabpace.eventbrite.com. 
(Excerpt from the
text)

EXHIBITION teamLab: Living Digital Space and Future Parks
Featured on The Boston Globe, Oct 22, 2015

Japanese collective teamLab enchants at Radcliffe

CAMBRIDGE — Thanks to its many innovative research institutions and to the long-term contributions of organizations like Boston CyberArts, this city is a great place to see interactive, projection-based art.October has been especially rich for this kind of work. The second annual Illuminus festival — a spectacular laser and light show organized by Jeff Granz — was held on Lansdowne Street, as part of HUBweek, on the night of Oct. 10. A week later, Joseph Ketner of Emerson College organized “Electric Pilgrims," a group show featuring outdoor projections on building facades and TV screens set up on Channel Center Street in South Boston.Both events had to contend with the weather and were limited to one night. That’s not the case with “Parallax," Shahzia Sikander’s ravishing animated projection at Tufts University Art Gallery, which I reviewed a few weeks ago. Nor is it the case with a new show at Harvard’s Radcliffe Institute. Both are indoors, and ongoing.Called “What a Loving and Beautiful World," the Radcliffe show is in the new Johnson-Kulukundis Family Gallery in Byerly Hall. It is immersive, interactive, and genuinely entrancing.It’s by teamLab, a large consortium of artists, programmers, engineers, computer graphics animators, mathematicians, and graphic designers, formed in 2001 and based in Tokyo.There are three parts to teamLab’s display at the Radcliffe Institute (which, by the way, has an impressively ambitious art program). The biggest and most memorable is a video installation in a room you walk into, and then have a hard time leaving — it’s that engrossing.Calligraphic characters, in both Japanese and Chinese script, descend slowly from the low ceiling. Reach out toward them and they shrink away, before transforming into the thing they connote. The character for “mountains," for instance, turns into animated imagery of a mountain range; the same for snow, rain, and so on.The biggest and most interactive portion of the show surrounds visitors.The imagery, traditional in appearance (which is to say painted with brush and ink), spreads magically and seemingly spontaneously across the gallery’s three walls. Bare winter branches alternate with birds in flight, butterflies, and floating flower petals.A rainbow appears, then slanting rain, then snow — or the same, but in a different order. Dark, inky effusions contrast with a splendidly isolated moon, a sun, mountains and waves, a blue dawn, an enflamed sunset.The writing was executed by a professional calligrapher who goes by the name Sisyu. The work’s conception is attributed to her and to teamLab. The accompanying soundtrack, the kind of atmospheric but essentially flavorless music you hear while getting a back massage, is by Hideaki Takahashi.It’s hard to explain how charming and at times transporting the work is. The interactive conceit — your awareness that the imagery is responding to the willed movements of your and your fellow viewers’ arms — is tempered by a wondrous sense of words and pictures appearing and spreading in ways beyond your control.You lift your arm to make something happen, but a second later, some other image swells across the screen as a result of someone else’s actions. The whole thing feels likably democratic. Yet compositionally, the visuals never feel crowded or chaotic.As in traditional Asian art, there is a beautiful tension between emptiness and fullness, and between elements that splinter and those that cohere. Outside this main gallery are wall-mounted screens showing two more works, both featuring calligraphy by Sisyu, animated and ornamented by her teamLab colleagues. One called “Life Survives by the Power of Life" is a six-minute digital animation that begins, hypnotically, with pooling black ink marks appearing out of nowhere on a light, inchoate ground.The marks morph magically into bare branches, which are soon covered with snow, all in a slowly rotating three-dimensional space. Gradually, the snow melts and is replaced by buds, leaves, flowers, and a profusion of life — “weeds in wheels" shooting “long and lovely and lush," as Gerard Manley Hopkins put it in “Spring."The second, “Cold Life," began as a kind of peeling away of the virtual surface of the previous work, so that we see its computer graphics “bones," so to speak: wireframe models with dense abstracted data rendered in three dimensions, in a dominant palette of electric blue.The imagery in all three teamLab works feels clichéd and sentimental, while its stated themes — nature and humanity — are perhaps unhelpfully vague. But somehow, the mash-up of traditional and new, handmade and high tech, pulls you in, and you succumb to these works’ inner logic.Bring kids, if you can. They will love it.Art ReviewTEAMLAB AT RADCLIFFE: What a Loving and Beautiful WorldAt Johnson-Kulukundis Family Gallery, Byerly Hall, Radcliffe Yard, Harvard University, through Nov. 14. 617-496-1153, www.radcliffe.harvard.edu/event/2015-teamlab-exhibition

EXHIBITION teamLab at Radcliffe: What a Loving and Beautiful World
Featured on Boston Magazine, Oct 21, 2015

Harvard’s Radcliffe Institute Displays a Touch-Sensitive Digital Artwork

There’s a clear, unspoken rule enforced in most museum and gallery settings: Don’t touch the art.But currently, that’s not the case inside the Johnson-Kulukundis Family Gallery at Harvard University’s Radcliffe Institute for Advanced Study, where a new exhibition is very much dependent on visitors’ touch.Titled “teamLab at Radcliffe: What a Loving and Beautiful World," the interactive exhibition features projections of Chinese and Japanese characters that represent elements from the natural world and cascade down the walls of the gallery. When activated by touch, the characters trigger images of their meanings, as well as sounds, to emerge.As they’re triggered around the space by multiple people, the images can also interact with each other, constantly creating new animated environments that cannot be repeated.TeamLab, the group from Japan that created the digital artwork, is an interdisciplinary consortium that consists of artists, programmers, engineers, animators, mathematicians, architects, and designers. Their multimedia installations have appeared around the world, rendering dreamlike, responsive environments such as a floating flower garden and a cosmos-like space filled with thousands of LEDs that give visitors the illusion of standing among stars.For the exhibition at Radcliffe, teamLab collaborated with professional calligrapher Sisyu and musician Hideaki Takahashi. It’s the inaugural show at the Johnson-Kulukundis Family Gallery, which was recently redesigned and renamed following a gift from Harvard alum Maryellie Kulukundis Johnson and her husband Rupert H. Johnson Jr.“teamLab at Radcliffe: What a Loving and Beautiful World" is free and open to the public Mondays through Saturdays, noon to 5 p.m., through November 14 at the Johnson-Kulukundis Family Gallery of Byerly Hall, 8 Garden St., Radcliffe Yard, Cambridge. For more info, visitradcliffe.harvard.edu.

EXHIBITION teamLab at Radcliffe: What a Loving and Beautiful World
Featured on The Straits Times, 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
Featured on Artinfo, Sep 19, 2012

The Experience Machine

A view of the installation “What a Loving, and Beautiful World" by Japanese calligrapher Sisyu and teamLab
by Sonia Kolesnikov-Jessop, ARTINFO
Published: September 19, 2012
Rather than being the sole creators of a work of art, new media artists often offer audiences the opportunity to interact with and contribute to their artworks.
"What a Loving, and Beautiful World" by Japanese calligrapher Sisyu and teamLab is such a piece where slowly falling kanji (the Chinese characters used in Japan) for words like ‘rain,’ ‘flower’ and ‘butterfly’ transform when touched by a viewer’s shadow to become the image of the word they represent while a corresponding sound is heard. This interactive animation installation, which combines projections with motion sensors in a darkened room, is a completely immersive experience, set — as the title suggests — in a beautiful world where rainbows appear after rain showers and butterflies snuggle up to flowers. It is also a very ephemeral experience which constantly changes. As in the natural world there are no identical moments thanks to 22 kanji falling randomly and interacting differently depending on how they meet (for example the butterflies flying toward flowers will change their course if a fire suddenly appears in front of them).
The work is part of “The Experience Machine," an exhibition dedicated to New Media at Ikkan Art Gallery, which include a selection of works by nine international artists: Bea Camacho, John Gerrard, John F. Simon Jr., Jim Campbell, Morimura Yasumasa, Sisyu+teamLab, Vuk Ćosić, Ben Rubin and Miao Xiaochun.
The exhibition seeks to explore the historical differences between Western and Asian art practices of portraying the world — i.e. the use of perspective and geometry in composition vs. the flat, perspective-free approach of traditional Chinese and Japanese paintings — as well as to explore how new media artists use technology to create new interpretations of space. Of particular note is Jim Campbell’s “Home Movie" (2006) installation, which uses widely spaced strings of individual LED lights hanging like a curtain to project back onto the wall found footage of old home movies. The LEDs are facing the wall, creating an image on its surface, but also partially blocking that low resolution image. The overall effect is ethereal.
“The Experience Machine" runs till October 27 at Ikkan Art Gallery

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