Sankei News 登载。(Jul 19, 2013)

先人達の主観的世界に迫る「憑依する滝」 チームラボ新作

デジタルアートも手掛けるウルトラテクノロジスト集団「チームラボ」は、20日から大阪市福島区の堂島リバーフォーラムで始まる「堂島リバービエンナーレ2013-Litte Water」に新作「憑依する滝/Universe of Water Particles」を出品する。(Excerpt from text)

Sankei News 登载。(Apr 26, 2013)

成田の出発ロビーに「参加型アート」 女流書家・紫舟×チームラボ

国内外で注目を集めている女流書家、紫舟さんとウルトラテクノロジスト集団「チームラボ」によるコラボレーションから生まれた参加型アート作品「世界はこんなにもやさしく、うつくしい」が、27日から成田空港の第1ターミナル南ウイング4階出発ロビーに展示される。(Excerpt from text)

BLOUINARTINFO 登载。(Air 23, 2013)

teamLab Brings Their Animistic Visions to Narita Airport

teamLab Brings Their Animistic Visions to Narita Airport
TOKYO — Starting April 27, visitors to Tokyo and other travelers who are passing through Narita Airport will be able to view a specially produced atmospheric installation by Japanese art collective teamLab, projected onto the concave El Panorama Vision display in the fourth floor waiting area of Terminal 1’s South Wing (to the left of the baggage inspection area at the departure gate).(Excerpt from the text)

BLOUIN ARTINFO 登载。(Jan 25, 2013)

Strong Sales on Day 2 of Art Stage

“Nirvana,” a video installation by teamLab sold all editions at Ikkan Art Gallery

por Sonia Kolesnikov-Jessop
Publicado: 25 Janeiro 2013シンガポールで開催されている「Art Stage Singapore」の2日目は、週の半ばにも関わらず驚くべきほどの訪問者で賑わっており、相変わらず展示作品がよく売れていた。

「Ikkan Art Gallery」は、展示作品の1つであるチームラボの「Nirvana」の5つのエディションを完売し、香港を拠点とする「Kwai Fung Hin Art Gallery」も、8つのスクリーンで投影されるLee Lee Namによる5編のアニメーションインスタレーション「Traditional Painting – Happiness」を売った。ギャラリーのオーナーであるCatherine Kwai氏は、「お客様であるコレクター達は、展示している作品についてとても真剣に多くの質問を投げかけてこられますよ」と語った。

ARTINFO 登载。(Dec 24, 2012)

Best of Singapore Art Exhibitions in 2012

SINGAPORE – For visual arts in Singapore, 2012 will likely be remembered as the year Gillman Barracks opened, a cluster of new art galleries. But beyond this government-led opening, many other new international galleries independently also found their way to the city-state attesting to the interest in the region. Meanwhile, the quality of the exhibitions on offer also seems to go from strength to strength. Within one month this fall, Richard MacDonald, Bernar Venet, Richard Deacon, and Zadok Ben-David were all in town opening separate shows.

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"The Experience Machine" at Ikkan Art Gallery
The immersive exhibition of new media art allowed viewers the opportunity to interact with and contribute to many artworks. Of particular note was "What a Loving, and Beautiful World" by Japanese calligrapher Sisyu and teamLab an interactive animation installation where slowly falling kanji (the 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.

Jakarta Post 登载。(Oct 18, 2012)

Alternative realities through new media art

Carla Bianpoen, Contributor, Singapore | Art and Design | Thu, October 18 2012, 7:44 AMAs the technical revolution continues with ever evolving digital innovation, it seems that video art and digital art, which have been gradually being accepted as valid mediums of artistic expression, are just the tip of the iceberg.This is being made clear at the exhibition of new media art from the past 13 years by nine international artists at Ikkan Gallery Singapore, showcased under the title “The Experience Machine” until Oct. 27.When visiting the show at Ikkan Gallery, Tanjong Pagar recently, I was amazed and overwhelmed by the surreal landscape that I was allowed to co-create in, in what I found was the most inventive and fascinating work made by the Tokyo-based teamLab with chief executive officer Inoko Toshiyuki (b. 1977) . “What a Loving and beautiful world” was invented by teamLab, whose hundreds of interdisciplinary members from various countries have cooperated with Sisyu, a calligrapher who explored the power of emotional and visual evocation of Japanese ideograms, with accompanying music from Hideaki Takahashi.While interactive work has been around for some time, this installation work differs in that it literally transports the viewer into a self-created natural world, rendering the feeling of being a creator of sorts.
In a space specially constructed for the purpose, everything is initially black, as was the Earth before its creation, until kanji signs randomly fall from the four walls through the touch or shadow of our hands. At the touch of the sign for the flower, the entire space is filled with flowers. If the sign of bird comes down together with that for a tree and is touched simultaneously, the signs will erupt with a flight of birds that automatically occupy the branches of the emerging trees. When touching the character for wind, all things on the screen will be swept away including the character, and when one happens to touch the character for the butterfly and flower at the same time, the butterfly automatically seeks the flower. The characters are programmed with an intelligence of their own, says gallery owner Ikkan Sanada, who moved from New York to Singapore less than a year ago.As I stood in the dark space before the falling kanji signs in a dramatic night landscape illuminated by the moon, it was as if I was experiencing the very story of creation as told in the Book of Genesis. The difference of course was that the images evoked by the touch or shadow of the human hand were ephemeral, disappearing immediately as we touched another sign, perhaps hinting at the transient nature, the impermanence of things. In the same sense, requiring a human hand to evoke the images could also be understood as the role humans must play in the preservation of the natural environment.The work was awarded the Architecture, Art & Culture Award at the international contest ReVolution during Laval Virtual, Europe’s largest virtual reality salon in spring 2012.Another piece of work by teamLab in the show visualized their suggestion that Asian art appreciation differs from that of Western art. In “Flower and Corpse Glitch” animation, turning a 2D Japanese painting into a computer generated 3D virtual space, teamLab suggests that ancient Japanese visualized a picture from inside, blurring the subjective and the objective, without a focal point, whereas paint in the West considers the rules of perspective, geometry and objectification.
Similarly, the absence of a focal point is also seen in the photographic view of The Last Judgment in Cyberspace by the Chinese artist Miau Xiaochun, where the artist in fact enters the famous painting by Michelangelo, re-inventing it by transforming the 2-D into computer-generated digital scenes with depth and volume while eliminating the focal point and allowing the viewer to see the scene from various angles. He once said that it was his way of proposing equality. The repeated use of the same model “automatically abandons the distinctions between high and low, left and right, good and evil, honorable and humble, east and west, ancient and modern.”Other works in the show include Enclose by Philippine artist Bea Camacho, Home Movie by Jim Campbell, ASCII History of Moving Images by the Ljubljana, based artist VukCosic, Dust Storm by John Gerrard from Ireland, Vermeer study: Looking Back (mirror) by the Japanese artist Morimura Yasumasa, Something is boiling by Ben Rubin from the US and Endless victory by John F. Simon Jr, US.

artitute 登载。(Sep 21, 2012)

Ushering in the Electronic Age: Ikkan Art Gallery’s “The Experience Machine”

Transition has been on my mind of late. Maybe that’s why I gravitated towards the insight noted in The Experience Machine’s catalogue essay on the industrial age making way for the “electronic era”, allowing for renewed “ways of seeing and experiencing our world”.How then does our current electronic era influence art? More than ever, artists are using technological advances to alter and challenge their practices and processes, giving rise to ‘New Media Art’, which comprises “constantly evolving hybrid technological art forms such as video art, digital art, interactive installation and customized software art”. The semantics of art then comes into question. Can the programmed digital software John F. Simon Jr. used to create what I heard some visitors call a “Microsoft screensaver” be called art? Ambivalence about popular acceptance of such unfamiliar art forms has clearly not deterred co-curator and owner of Ikkan Art International, Ikkan Sanada, from presenting a plethora of unconventional, tech-savvy and wonderfully bizarre works that the local art scene has probably not yet witnessed. After all, what is transition without the slight discomfiture and strange newness of change?With change comes a reconfiguration of habits and customs. Technology allows and promotes the manipulation and reconstruction of our visual, social and perceptive norms, engendering new sights and experiences that challenge the beliefs we have become used to. Iconoclastic and irreverent, Morimura Yasumasa’s contemporary takes on the historically famed Vermeer painting, Girl with a Pearl Earring, challenge art-historical and social ideas regarding the male gaze. By reconstructing his Japanese, male identity into that of a Western, female figure, Morimura subverts the conventional notions associated with the invasive, voyeuristic male gaze, confounding the viewer and prompting him to look beyond the superficiality of representation. He employs more physical reconstruction and metamorphosis than technological (although his use of video alone in the appropriation of Vermeer inserts a wholly new artistic dimension and comparison): notorious for being contemporary art’s “most famous drag queen”, Morimura paints his face and painstakingly transforms his sartorial, facial and overall physical appearance to that of his subjects. From artist to subject (and object), male to female, Asian to Western, hidden to exposed, Morimura boldly appropriates a revered historical piece, only to playfully, completely turn it on its head.One of the things I love about contemporary art is its ability to engage audiences in participation and dialogue. Performance alone does not suffice, as the distance between artist and audience is sorely emphasized. By engaging the senses and encouraging activity, art ceases to be a hierarchical distinction and moves into a new realm of participation, reflection and agency.The magnum opus of The Experience Machine is SISYU+teamLab’s installation that presents a visually captivating spectacle, allows visitors to participate and act, and uses technology to reflect, not manipulate or violate, a natural milieu. Upon walking into a specially constructed black room, I was surrounded by screens depicting a surreal, otherworldly 3D landscape of nebula and falling kanji (Chinese characters). Intrigued, Mr. Sanada then prompted me to ‘touch’ a falling character. My action caused the kanji signifying ‘bird’ to transmogrify into an animated version of a bird. Mr. Sanada then proceeded to enliven ‘tree’, which the bird then flew to. This is just one of many instances of the everyday, arbitrary interactions between nature, the elements and animals that the installation mirrors with surprising accuracy. While we might often think of technology as automated, soulless and clinical, What a Loving, and Beautiful World demonstrates how SISYU+teamLab has invigorated their animation with the unpredictability and simple beauty of nature.While some might get lost in SISYU+teamLab’s technological playground, my favourite work from the show was unenviably positioned in a quiet corner in the neighbouring room. Walk into the room flashing with Jim Campbell and Ben Rubin’s light installations, and you might just leave without noticing Bea Camacho’s video, located on the floor in a corner next to the door. Interestingly, the artist herself made the curatorial decision to place her video screen in a negligible place.Enclose isn’t meant to scream out at you. On the contrary, as the title suggests, it wants to be hidden, isolated. Besides forcing the viewer to bend, squint and make a physical effort to watch her video, Camacho has refused to make Enclose a performance piece, isolating herself from the glare and scrutiny of a surveying audience and their emotional and auditory responses. By choosing not to sensationalize her emotions, Camacho makes a bold statement about artistic and personal integrity. Enclose is thus poignant because it is an act of catharsis, not a lurid, effusive spectacle.Having never been physically or emotionally close to her family, Camacho channels the rejection and loneliness she experienced (or is experiencing) by literally ensconcing herself in a crocheted cocoon. While crochet might evoke memories of familial warmth and affection, for Camacho, it refers to “an idealized version of home”. Challenging the futility of fulfilling a romanticized fantasy, Camacho pushes herself to physical extremes by crocheting non-stop for 11 hours, going without rest, food or water. The artist as sufferer, a familiar concept popularized by Marina Abramovic, is here given new life by Camacho, who allows us to witness and experience her pain vicariously through her creative process. As The Experience Machine shows, this shiny new electronic age has more heart than we might think.

The Straits Times 登载。(Sep 28, 2012)


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.