Sankei News登载。(Aug 22, 2015)
スマホで宇宙創造 チームラボ新作「クリスタル ユニバース」 銀座で公開
プログラマー、エンジニア、CGアニメーターら多岐にわたるデジタル分野の専門家で構成するウルトラテクノロジスト集団「チームラボ」(猪子寿之代表)が東京・銀座のポーラミュージアム アネックスで個展「teamLab Exhibition, Walk Through the Crystal Universe」を開催している。(Excerpt from text)
Sankei News登载。(Aug 22, 2015)
プログラマー、エンジニア、CGアニメーターら多岐にわたるデジタル分野の専門家で構成するウルトラテクノロジスト集団「チームラボ」(猪子寿之代表)が東京・銀座のポーラミュージアム アネックスで個展「teamLab Exhibition, Walk Through the Crystal Universe」を開催している。(Excerpt from text)
Casa BRUTUS登载。(Aug 21, 2015)
昨年47万人を動員した、日本科学未来館の展示『チームラボ 踊る!アート展と、学ぶ!未来の遊園地』。その勢いのまま、この夏も各地で展覧会を開催しているチームラボ。現在、ポーラ ミュージアム アネックスでも新作がお披露目だ。彼らが開発したインタラクティブ4Dビジョンを使った作品はこれで3つ目。今作の楽しみ方を、代表の猪子寿之さんに指南してもらった。Q 新作のコンセプトは?LEDを3次元上に配置して、立体の映像表現をできるようにしたのがインタラクティブ4Dビジョンなんですが、せっかく立体にできたなら、いつか中に入ってみたいなと思っていたんです。それを実現したのが今作。およそ6万個のLEDがひしめく宇宙のような空間です。これまで同様、鑑賞者がスマートフォンで専用のWebにアクセスし、その中にある”流星”や“ビッグバン”といったアクションを選んでスワイプすると、LEDの光に変化が起きる。訪れた人によって宇宙が構成され、刻々と変容していく作品です。Q インタラクティブ4Dビジョンについて詳しく教えてください。3次元化された映像表現なのに、“4D”と呼ぶワケは?例えば、3D映画は現実には2次元で、メガネを掛けることで視覚的に3次元のように感じられるだけなのに“3D”と呼びますよね。でも僕らがやっているのはリアルに3次元の立体物。現実の次元がひとつ上だから、じゃあ“4D”だよね、と(笑)。まぁ、これは冗談で、真面目に話すと時間軸を4つ目の次元と考えているんです。変化しない彫刻を3次元と考えると、映像やインタラクティブな作品は時間も関わるので、数学的には4次元。この考え方は僕らが見つけたわけじゃなくて、昔からあるもの。それを映像技術によって現実化するシステムを作ったというだけです。Q 今作では人の介在も大きなキーワードですね。これまでの芸術鑑賞では他人は邪魔な存在だったと思います。モナリザを観るときも、周りにいる人はみんな邪魔でしょ?(笑)。つまり、重要なのは僕とモナリザ。個人と作品の関係性しかなかった。それがデジタルを使ったインタラクティブな作品では、他人がいたほうが面白い。例えば今作で“ブラックホール”というアクションを選んでスワイプすると、中にいる人を中心にブラックホールが生まれたりするんです。“流星”も人に向かって飛んでいくし、作品を介して人と人に新たな関わりが生まれていく。これは今までのアートになかったことです。Q 次元の考え方や関係性の発見。新作がより楽しみになりました。今作はまだまだ解像度が粗くて、初期のファミコンみたいなもの。6000万個のLEDがあればなぁ……! 近い将来、もっと密度は上がっていくはず。とにかく今は、4Dビジョンの新しい試みを体感してほしいですね。インタラクティブ4Dビジョンって?チームラボが開発したスマートフォンなどでコントロールできる、立体映像システムによって作られた立体ディスプレー。過去にはクリスマスツリーや花火をモチーフにした作品が発表されている。
Art Radar登载。(Aug 21, 2015)
START Art Fair re-dimensions the global art fair to gallery size.Now in its second edition, START Art Fair takes over London’s Saatchi Gallery to present a fully-fledged art fair programme focusing on emerging artists and art scenes.Challenging the standard location of the global art fair in a convention centre or a dedicated space, START Art Fair takes the annual event back to the gallery. The second edition of the young London art fair will take place from 10 to 13 September 2015 (preview on 9 September) at Saatchi Gallery in London, covering all three floors of the famed art museum.The fair is presented by Prudential and organised in a collaboration between Saatchi Gallery and Parallel Contemporary Art, a non-profit organisation dedicated to supporting emerging artists across the world, founded by art collectors and patrons David and Serenella Ciclitira in 2008 (and sponsored by Prudential).START features young galleries from around the world, and shifts the focus on emerging artists and new art scenes. In addition to the usual gallery booths, the fair also introduces a curated projects section, a charity auction held by Christie’s and a talks programme. This year, participating in the fair are 47 international galleries from 25 cities, including Art Twenty One (Lagos), Dastan’s Basement (Tehran), Hafez Gallery (Jeddah), Galeri Chandan (Kuala Lumpur), Osage Gallery (Hong Kong), Gallery SoSo (Seoul) and Triumph Art Space (Beijing).A fresh lookSTART’s location is a paradox of our contemporary times. An art fair is primarily a ‘market place’ for collectors to purchase art. The museum is, on the other hand, a non-profit space, where the public goes to appreciate and learn about art. Saatchi Gallery’s art fair bridges these two opposites, giving rise to a new hybrid that perhaps might be less intimidating for some yet more pretentious for others.Nonetheless, START has already – in its young life – garnered success. Talking to Art Radar, Fair Director Niru Ratnam says:We had a really good response to the first edition with London’s top collectors attending. The most important lesson we learned was the importance of creating a pleasant environment for them. If you are starting a new fair it really helps if you can do it in something that isn’t a convention centre and somewhere where collectors are happy to spend time. […] The fair takes place in the museum-quality surroundings of the Saatchi Gallery so that really is the best context you could imagine for displaying new work.Another key strength of the art fair is its dimension: in smaller scale, it presents a good overview of art from the ‘peripheries’, which does not usually find much space or opportunity to participate in the larger art fairs in London such as Frieze. Ratnam says that there is now a real demand from London’s collectors and curators to have access to newer galleries or galleries from emerging markets. Moreover, START also revolutionises the traditional presentation of the art fair and its booths, by making it more similar to an exhibition. Ratnam says:Most of the artists in the fair are new to London collectors, so the way they are displayed is crucial in attracting their attention. It is also because of this that we keep the fair small – there might be too many new discoveries to take in if there were 100 galleries! […] We want to continue with the beautiful looking presentations that characterised the first edition of the fair – so the booths are laid out in a rather unusual fashion for an art fair that is designed to make it look more like a museum show.START is innovative not only for its location in a museum, but also for its complete focus on emerging artists and art scenes. Ratnam tells Art Radar:We’re all about new art scenes so it’s rewarding to have galleries from cities like Seoul, Cape Town and Tehran in the fair. […] There is a natural connection between what the Saatchi Gallery programme of the last few years [has been] (emerging artists from around the world) and what START is doing, so that’s a huge advantage as that’s what collectors expect from a visit to the Saatchi Gallery.New art from AsiaThis year’s edition of the fair introduces a new section, START Projects – a specially curated sector that takes up the whole of the second floor at Saatchi Gallery. This part of the event is really important, according to Ratnam, “to give variety and depth to an art fair”.“This is Tomorrow” is a series of solo artist presentations selected by Fair Director Ratnam, focusing on artists whose work is “rooted in the contemporary either through the way they work, their subject matter or the context in which they work”. Among the highlights is 2010 Sovereign Art Prize winner, Sri Lankan artist Pala Pothupitye, who is showing with Hempel Galleries from Colombo. His work articulates the history of violence in the island through a mixture of formal academic style and family craft-based visual tradition.Vietnam-born, London-based Chinese artist Vay Hy, showing with Christine Park Gallery, will present a series of abstract ink paintings whose final forms are determined by the use of salt and acrylic as well as the effects of the everyday English weather as they stand on the balcony outside his studio.The Projects also present the first UK solo exhibition of Japanese art collective Chim↑Pom, winners of the ‘Emerging Artist of the Year’ at the Prudential Eye Awards 2015. The show includes some of their key pieces, such as KI-AI 100, Black of Death and REAL TIMES. All three performative film works engage with the effects of the Fukushima nuclear disaster. In KI-AI 100 (2011), the group with friends stand at Fukushima yelling 100 “KIAI”, a traditional fighting cry used in Japan.In Black of Death (2007), set partly in the evacuation zone around Fukushima, the collective herds a growing crowd of crows over Tokyo’s landmarks. For REAL TIMES (2011), Chim↑Pom trespass into high-security areas of towns uninhabited due to the nuclear accident, and finally stretch out a white flag onto which they spray a red circle – the sun in the Japanese flag – before transforming it into a radiation symbol.The Prudential EYE ZONE draws from the 2015 Prudential Singapore Eye exhibition at the ArtsScience Museum in Singapore as part of the 50th anniversary celebration of the city-state. The show featured 17 innovative artists selected from over 110 submissions by an international curatorial panel.Selected artists in this section include some of the most influential and promising from Singapore:Charles LimJeremy SharmaGerald LeowJane LeeChia Ming ChienChen Sai Hua KuanDonna OngJustin LokeLee WenSean LeeThe fourth project is the first solo presentation in London by Japan’s teamLab, an Ultra-technologists group that includes programmers, mathematicians, architects, CG animators, web designers, graphic designers and artists. The collective was shortlisted for ‘Best Emerging Artist Using Digital and Video’ at the Prudential Eye Awards 2015.teamLab’s interactive digital installation Flowers and People, Cannot be Controlled but Live Together – A Whole Year per Hour, Dark (2015) creates a fully immersive environment comprising a mirrored walkway and a large open space. While flowers spring up, blossom, whither and die, the interaction of the viewer will affect their transformation, causing continuous change in the installation.
The Japan Times登载。(Aug 18, 2015)
Artist collective teamLab was founded in 2001, and its members include artists, programmers, engineers, CG animators, mathematicians, architects, designers and editors. Its work, therefore, has always been of a sophisticated artistic and technological nature.(Excerpt from the text)
ARCHITECTURAL DIGEST登载。(Aug 14, 2015)
En el acuario de Enoshima en Japón, el equipo de arquitectura y diseño teamLab creó la instalación “Flowers and Fish”, que de manera experimental proyecta flores sobre la pecera Big Sagami Bay para convertir cada rincón en una obra de arte.(本文抜粋)
LAS VEGAS WEEKLY登载。(Aug 12, 2015)
To those who would argue that spectacle has slipped from the Strip, that the monuments of Vegas wow erected by the Wynns and Kerkorians and Sarnos are on their way out or somehow less powerful, I give you the Fountains of Bellagio this weekend. They remain awe-inspiring every weekend, but there’s something special going on right now.(Excerpt from the text)
名駅経済新聞登载。(Aug 11, 2015)
名鉄百貨店本店(名古屋市中村区名駅1)本館7階催場で現在、「チームラボアイランド 学ぶ!未来の遊園地」が開催されている。
designboom登载。(Aug 8, 2015)
from now until dec 25, 2015, visitors to the enoshima aquarium in kanagawa, japan are immersed in a field of digital nature projected onto the big sagami bay tank filled with aquatic life. the installation ‘flowers and fish’ by japanese studio teamlab depicts botanical forms, leaves, and petals slowly floating across the surface of the water tank, blooming and collapsing in response to the passing fish inside.softly-lit projected blooms overlay the marine life swimming through, momentarily turning them into colorful and floral hybrid beings. when the fish in the tank cross the flowers’ path, they scatter into a burst of glittering petals that gradually fades from view. as the images used for the installation are not pre-programed, but rather determined by the movement inside the tank, the compositions created are completely unique throughout the duration of the installation. a series of additional installations placed throughout the aquarium include ‘resonating spheres and night fish’, a series of orbs which change color in response to human touch; ‘sketch aquarium’, which allows physical drawings to be transferred to a digital wall; and ‘small resonating sea’, which changes the color of a fish tank when people approach.-nina azzarello
FAD登载。(Aug 7, 2015)
START Projects is a series of curator-led initiatives that will occupy the entire second floor of the Saatchi Gallery. The 2015 edition of Start Projects features ‘This is Tomorrow’, a solo exhibition by the award-winning Japanese collective Chim?Pom, highlights from the Prudential Singapore Eye and an immersive environment by ultra-technologist phenomenon teamLab called Flutter of Butterflies beyond Borders .In the largest piece of the exhibition, Flowers and People, Cannot be Controlled but Live Together – A Whole Year, Dark (2015), flowers will keep on springing up, growing, blossoming and withering away in the real-time rendered artworks – but the viewer holds the key to affecting the cycle. Nature is constantly evolving, as is our digital knowledge: the exhibition challenges the ways of perceiving both our surroundings and the digital developments taking place.Ever Blossoming Life II – Dark teamLab, 2015, digital workThis artwork is being created in real time by a computer programme. The images are not pre- recorded or played back. Flowers are born, grow and blossom in profusion before the petals scatter and the flowers wither and fade away. The cycle of birth and death repeats itself, continuing for eternity. The entire work continues to change and the same state will never be repeated again.Flutter of Butterflies beyond Borders teamLab, 2015, digital workThe flutter of butterflies fly across and through the other works of eliminating the boundaries between them. The butterflies’ flight is altered by the state of the artwork and the behaviour of the viewer.The artwork is being created in real time by a computer programme. The images are not pre- recorded or played back. The entire work continues to change and the same state will never be repeated again.START projects will be at START art fair held at Saatchi Gallery, London. The fair shines a spotlight on emerging artists and new art scenes. The second edition of the fair runs from 10th to 13th September 2015.It takes place across all three floors of the Saatchi Gallery, and with events that range from dinners to talks to a Gala Charity Auction, is aimed to enable London’s collectors, curators and critics to discover new artistic talent. START takes the concept of the art fair out of its usual locations and situates it within a museum-quality space, allowing the best possible presentation of the participating galleries and artists. startartfair.com
designboom登载。(Aug 2, 2015)
within the japan pavilion at expo milan 2015, japanese studio teamlab presents two interactive, digital art exhibits that respond to the theme ‘harmonious diversity’. the pair of immersive installations are spread across two rooms — in one, a participatory projection space requires the visitor to wade through a technological expanse of rice patty fields; in the other, a digital waterfall of information relays descriptive knowledge about japanese food and culture.teamlab founder toshiyuki inoko takes us inside the japan pavilion’s digital abyss. inoko tells us about the two works’ relationship to the history of japanese cuisine and culture, the ways in which visitors interact with the installations, and teamlab’s overall fascination and preoccupation with interactivity and technology. read more about each of the installations on designboom here. designboom: how did you interpret the expo theme ‘feeding the planet, energy for life’ for the two installations?toshiyuki inoko: responding to the expo theme, the japanese pavilion made own theme as ‘harmonious diversity’. we also thought the two words ‘harmony’ and ‘diversity’ are at the core of our japanese food and culture. so we put the two words at the center of our idea development. japan is one of the most unique countries in terms of geography. it is surrounded by mountains and the sea. therefore japanese agriculture has been developed by beautiful harmony which exists between humans and nature. it means that the relationship between human and nature is not hostility, but the human beings are also a part of nature, so that nature and people have existed as one.in the installation of ‘harmony’, the visitor and the piece are not just facing each other, visitors can actually get into the artworks freely and it reacts by the people’s standing point or behavior — so people and the installation create a one piece of work together. also in ‘diversity’, the water is the origin of foods, agriculture and energy of life. in japan, the distance between the mountains and the coast is very short, with very few plains along the way, causing many short fast-flowing streams to form throughout the islands. this art installation uses waterfalls to represent water, a symbol that is at the heart of japan’s food and landscape.DB: what do ‘diversity’ and ‘harmony’ convey about the history of japanese food and culture?TI: in ‘harmony’, rice fields form the background of the origin of japan’s food culture. they were grown and developed in areas at different height levels. this is reflected in the terraced rice-fields that are so characteristic of japan, a country surrounded by mountains and the sea. in order to show the fact that paddy fields have prospered in places with differing heights, as well as through the harmonious relationship between humans and nature, the space of the exhibition room has been filled with screens resembling ears of rice. these screens have been installed at different heights, from the knees up to the waist, creating an interactive projection space that seems to spread out infinitely in various directions. the projected images change in line with the visitors’ movements as they wander through the room. while they move around the interactive projection space, people can experience a passing of nature that is characteristic of japan across the period of a whole year.in ‘diversity’, the artwork seeks to convey large volumes of information related to the great diversity found in japanese food. in order to achieve this, it shows a gigantic waterfall that can be viewed from 360 degrees, displaying many images of food.DB: can you describe the relationship between the visitor and the two installations? how do they interact with each other?TI: as for ‘harmony’ people get into the space that is filled with various heights of screens resembling ears of rice. the projected movie reacts the position of people and change its visuals. for example, rice plant grows up around from people and gold ears of rice that are near people can be brighter. also, the movie reacts people’s behaviour. if people try to touch a shrimp in the movie, the shrimp get away from people.in ‘diversity’, visitors can touch the images that flow down the waterfall and transfer the image, with some detailed information, into their smartphones. they can then take the information home with them. this art installation tackles the challenge of making sure that people can share their emotions and experiences, while offering the convenience of providing large amounts of information. we achieves this by creating a symbolic waterfall that allows many visitors to share the same experience within the same space, and by giving them the ability to link this experience with their own personal smartphones.DB: what do you want visitors to take away from the installation? how do you want them to feel?TI: nature and human beings are not the opposing concept, they exist as one.DB: can you describe the kind of technology used in the making of ‘diversity’ and ‘harmony’?TI: basically two installations are applied real-time rendering movie that is created by programing and positional information from sensors and make interactive expressions. as for ‘diversity’, we communicate the art piece and mobile phones. the communication system consists of the devices that read information of mobile phones and internet.DB: what were some of the challenges and complexities in creating these works for the expo?TI: there were a lot of the first challenges in the world for our two installations, and also the space is so large. therefore, a lot of experiments and study needed to be done to develop initial ideas to the actual piece. also, we challenged to express nature as it is, with digital technology. ‘harmony’ has a scene that fishes swim around, but the fishes are not just swimming, we applied the movements of school of fishes too and make it natural as much as possible. the waterfall of ‘diversity’, we created water particles and expressed the materiality of water as a continuum of particles that flow in accordance with the laws of physics.DB: interactivity and technology are common threads throughout teamlab’s work. what about the relationship between the two disciplines interests you, personally, the most?TI: art pieces are usually just to be viewed, but with the digital technologies, the way of expressions can be expanded much wider than before, then we believe the digital technologies can also expand the concept of art. for example, people can actually get into the art pieces and it makes the new relationships and communication between artworks and people. and with interactive artwork the viewer’s actions and behaviour can decide the artwork at any particular moment. we seeks to find new relationships between people and digital art in order to expand the concept of art.continued: digital technology allows us to express ourselves in ways that weren’t possible without digital technology. for example digital technology enables more freedom for change and rigorous detail. digital arts enable us to express the transformation itself and in other words, by creating an interactive relationship between the viewers and the artworks, viewers become an intrinsic part of the artworks themselves. with interactive artwork the viewer’s actions and behaviour can decide the artwork at any particular moment.the border line between the artwork and the viewer has become more ambiguous. the viewer has become a part of the artwork itself. for example, in paintings before the digital era, artworks stand independently of the viewers, with a clearly defined boundary between the viewers and the objects being viewed. the viewer, as an independent person, is always facing against the artwork. paintings always remains the same whether someone had seen it 5 minutes before, or even if someone were to be standing right next to you at the same time. these are the important questions. an artwork comes to life based on its relationship with an individual.continued: however, the incorporation of the viewer causes the viewer and the artwork to become more like a single entity, changing the relationship between the artwork and an individual into the relationship between the artwork and a group of people.then the important questions become: was there another viewer there 5 minutes ago? how is the person next to you behaving? at the very least, even when you are looking at an paintings, you will start to wonder about the person standing next to you. in other words, the change in the relationship between artworks and groups, the impact on the relationship between viewers, has more potential to influence the relationship among viewers themselves than before.-nina azzarello