teamLab: Dance! Art Exhibition, Learn & Play! Future Park | teamLab

メイン画像
ロゴ画像
المعارض السابقة
‎11.30(Thu) - 2017.7.08(Sat)OCT Harbour-OCT Creative Exhibition Center, Shenzhen
メイン画像
ロゴ画像
المعارض السابقة
‎11.30(Thu) - 2017.7.08(Sat)OCT Harbour-OCT Creative Exhibition Center, Shenzhen

“teamLab: Dance! Art Exhibition, Learn & Play! Future Park” is a large-scale exhibition that is designed to stimulate people’s creativity and collaborative minds with a form of Future Park. Combining art exhibitions and futuristic amusement park, this exhibition attracted more than 460,000 visitors when firstly opened in Odaiba, Tokyo, in 2015. It was awarded ‘TOP 10 art exhibitions of 2015‘ from the world’s biggest creative media ‘designboom.

‘The Living Digital Space and Future Parks’, the 2nd exhibition that is currently being held in Silicon Valley, reportedly destroyed the long-lasting anti-art tradition of the west coast. Marina Bay Sands, the world's biggest hotel complex located in Singapore, is home to a permanent exhibition since March 2016. The news is covered by numerous local media, including 2 top national newspapers in Singapore. teamLab’s exhibition has been opened also in Thailand from May. From August, teamLab opened their second permanent exhibition at Lotte World (Seoul, South Korea).

الفنانون
logo
تيم لاب
"تيم لاب" هو عبارة عن مجموعة فنيّة عالمية (تأسست عام 2001)، يتم التعاون فيها بهدف التعمّق في نقاط الالتقاء بين الفن والعلوم والتكنولوجيا والعالم الطبيعي. فعبر الأعمال الفنيّة، تهدف مجموعة من الخبراء ذوي الاختصاصات المختلفة، بمن فيهم فنانين ومبرمجين ومهندسين، وأخصائي رسوم متحركة، وعلماء رياضيات ومهندسين معماريين، إلى استكشاف العلاقة بين الذات والعالم وأشكال جديدة من الإدراك. وفي محاولة إلى فهم العالم حولهم، يسعى الناس إلى فصله إلى وحدات مستقلة يتصوّرون حدودًا في ما بينها. ولكن "تيم لاب" يسعى إلى تجاوز هذه الحدود التي تحدّ رؤيتنا ونظرتنا إلى العالم وإلى العلاقة بين الذات والعالم واستمرارية الزمن. فكل شيء قائم في استمرارية بلا حدود، في استمرارية مستدامة وهشّة وخارقة في آن واحد. تتواجد أعمال "تيم لاب" من ضمن المجموعة الدائمة لمعرض فكتوريا الوطني في ملبورن، ومعرض الفنون نيو ساوث ويلز في سيدني، ومعرض فنون جنوب أستراليا في أديلايد، ومعرض أستراليا الوطني في كانبيرا، ومتحف الفنون آموس ريكس في هلسنكي، ومتحف الفن المعاصر في لوس أنجلوس، ومتحف الفن الآسيوي في سان فرانسيسكو، ومتحف مجموعة بوروسان للفن المعاصر في إسطنبول، وجمعية متحف آسيا في نيويورك، وغيرها.

Dance! Art Exhibition

Gold Waves

The movement of waves in water is simulated in a computer-generated three-dimensional space. The water is expressed as a continuous body after calculating the interactions of hundreds of thousands of particles. To visualize the waves, the behavior of the particles of the water was then extracted and lines were drawn in relation to the movement of the particles. The wave created in a 3-D space is then turned into an artwork in accordance with what teamLab refers to as ultrasubjective space.
In premodern Japanese painting, oceans, rivers, and other bodies of water were expressed as a series of lines. These lines give the impression of life, as though water was a living entity.  
This form of expression leads us to question why premodern people sensed life in rivers and oceans. Also, why did they behave as if they themselves were a part of nature? Perhaps something can be discovered by fusing the fixed objective world of today’s common knowledge with the subjective world of premodern people.
While viewing this artwork, if we feel a sense of life in the collection of lines—what can be called the subjective world of premodern people—then perhaps this is one aspect of objective recognition.
When viewing this artwork, as opposed to watching waves shot with a video camera, people may feel that the barrier between themselves and the waves disappears. They feel immersed in the work, perhaps even feeling life in the collection of lines, as if the waves are luring them in. Perhaps we can find a connection to the way premodern Japanese people perceived the world and consequently behaved toward the world.
If we regard ourselves as a part of nature, and consider nature not just as something to be observed, we might join premodern people in perceiving rivers and oceans as living entities. This is a way of seeing the world that lures us in and allows us to feel that there is no boundary between ourselves and nature.

Forest of Resonating Lamps - One Stroke

This artwork, in which lamps are seemingly scattered in a random manner, is composed of resonating light that changes based on the relationship between the people in the artwork space. It is a work that expresses the beauty of continuity.
When a person stands still close to a lamp, it shines brightly and emits a sound. The light spreads to the two closest lamps, which in turn similarly emit a sound, spreading their light to the lamps nearest to them. The light, now divided into two, will pass through all of the lamps in the room once, creating a single trajectory of light. The light created by your presence and light created by the presence of others, will always intersect.
Although the lamps may seem randomly scattered, they have been intentionally placed so that regardless of the light’s starting point, or even if the light spreads endlessly, a smooth trajectory of light will always be created, crossing trajectories of light created by other people. 
More specifically, the arrangement of the lamps is mathematically determined. When drawing a line between lamps that are closest to each other, the distribution in height, direction of the lamp, and the smoothness of the three-dimensional trajectory is quantified in order to create a unicursal line with the same starting and ending point.
As a result, a lamp’s light triggered by a person’s presence will, regardless of the fact that it is only spreading to the closest lamps, always pass through every lamp only once. The light will always cross the light created by others, and return to the original lamp that started its trajectory.
The arrangement of the lamps may appear random, but it is to express the beauty of the continuity of light, created by people interacting with the lamps from any position.

Universe of Water Particles

Universe of Water Particles is a virtual waterfall created in a virtual 3-D space using teamLab’s concept of ultrasubjective space, a term that refers to the depiction of space found in premodern Japanese painting.

Computer-generated water consisting of hundreds of thousands of water particles is virtually poured onto a virtually sculpted rock. The computer calculates the movement of the particles to produce a simulation of water that flows in accordance with the laws of physics. Lines are drawn in relation to a selection of 0.1% of the particles. The sinuousness of the lines depends on the overall interaction of the water particles.

In premodern Japanese painting, oceans, rivers, and other bodies of water were expressed using a series of lines. These lines give the impression of movement and life, as though water was a living entity. This form of expression leads us to explore why premodern people sensed life in rivers and oceans. Universe of Water Particles fuses the objective world of today’s knowledge with the subjective world of premodern people.

When viewing this artwork, regardless of the fact that the waterfall is a reproduction of physical phenomena, it can be possible to feel a sense of life in the collection of lines.

If, when viewing this artwork—as opposed to a video of a waterfall shot with a video camera—people feel the barrier between themselves and the waterfall dissolve, they become immersed in the work as if the waterfall is luring them in. Perhaps we can find a connection to the way premodern Japanese people perceived the world and consequently behaved towards it.

If we regard ourselves as part of nature, and consider nature as something not just to be observed, it is possible to feel that there is no boundary between ourselves and nature.

الأزهار والناس لا يمكن السيطرة عليهم ولكنهم يتعايشون مع بعضهم البعض.. سنة كاملة كل ساعة

تتعايش الفصول وتتغيّر تدريجيًا في فضاء العمل الفني الذي توجد فيه.وتزهر الأزهار بحسب الفصول، وتتغيّر الأماكن التي تنمو فيها تدريجيًا.
تبرعم الأزهار وتنمو وتزهر قبل أن تتبعثر بتلاتها وتتلاشى، ثمّ تعود وتكرّر دورة الحياة والموت إلى الأبد. وإن بقي الأشخاص ساكنين، فسوف تنمو الأزهار المحيطة بهم وتزهر أكثر من المعتاد، ولكن إن قاموا بلمسها أو الدوس عليها، فسوف تتساقط بتلاتها وتذبل وتموت في آنٍ. وفي بعض الأحيان تعبر الأزهار حدود الأعمال الأخرى، وتزهر في فضاءات أخرى، ولكن تتناثر بتلاتها أو تموت بسبب تأثير الأعمال الأخرى.
إن العمل الفني ليس صورة مسجّلة مسبقًا يتم عرضها من جديد؛ بل يتم إنشاؤه بواسطة برنامج حاسوبي يعرض العمل باستمرار في الوقت الفعلي. ويؤدي التفاعل بين الناس والفضاء الذي يوجد فيه العمل الفني إلى تغيير العمل الفني باستمرار، لذلك لا يمكن أبدًا إعادة عرض الأوضاع البصرية السابقة، ولن تتكرّر أبدًا. فالصورة التي تتجلّى في هذه اللحظة لا يمكن رؤيتها مرةً أخرى.
تزخر شبه جزيرة كونيساكي في فصل الربيع بأزهار الكرز في الجبال وأزهار الكانولا في سفوحها، وبعد زيارة هذه المنطقة تساءل تيم لاب عن عدد الأزهار التي زرعها الناس وتلك التي كانت موجودة في الأصل في تلك البيئة. لقد كان مكانًا يتسم بالصفاء والرضا. إن تجمع الأزهار الممتد هو نظام بيئي يتأثر بالتدخل البشري، والحدود بين عمل الطبيعة وعمل البشر غير واضحة. فبدلاً من أن تكون الطبيعة والبشر في صراع، فإن النظام البيئي الصحي هو النظام الذي يشمل البشر. وفي الماضي، أدرك الناس أنهم لا يستطيعون فهم الطبيعة في مجملها، وأنه من غير الممكن السيطرة عليها. وعاش الناس أكثر انسجامًا مع حكم الطبيعة، الأمر الذي ربما خلق بيئة طبيعية مريحة. ونحن نعتقد أن هذه الوديان تحمل آثارًا باهتة لهذه العلاقة السابقة للتعايش مع الطبيعة، والتي كانت موجودة في الماضي، ونأمل أن نستكشف شكلًا من أشكال التدخل البشري القائم على فرضية عدم إمكانية السيطرة على الطبيعة.

Cold Life

A calligraphic series of brush strokes modeled in virtual 3-D space forms the character 生 (Japanese/Chinese for life) which transforms into a tree. As time passes, various life forms begin to grow from within the tree.
 
This artwork was created by peeling away the surface of the artwork Life Survives by the Power of Life, 2011.
 
In computer graphics, and similarly in this digital work, wireframe models created with high levels of data are rendered as 3-D objects. When the surfaces of these computer-generated images are peeled away, their underlying mesh-like structures are revealed. Expressed by the intricacy of this work, teamLab exemplifies 3-D rendering in its stripped-down state while maintaining a highly complex and elaborate construction.

Nature brings us both blessings and disaster, and with the progress of civilization there are benefits and negative implications; nature and civilization are always connected. There is no absolute evil or true beauty. There is no easy way to understand, no simple way to arrange our feelings and our sensitivities. We must face every situation as it comes, to not despair, to face forward, and to go on with life.

teamLab has been working on the Spatial Calligraphy series since the collective formed. Spatial Calligraphy offers a contemporary interpretation of traditional Japanese sho (calligraphy) in an abstract space. It reconstructs Japanese sho in three-dimensional space and expresses the depth, speed, and power of the brushstroke. Butterflies, birds, animals, plants, and flowers appear from the calligraphy expressing the passing of the seasons. According to Zen Buddhist writing, “In all living things Buddha nature dwells.” All things are impermanent and the natural appearance of things is the Buddha nature. What we put into shape is that which we, the living, think is the heart of life.

Learn & Play! Future Park

دليل الزوار

تفاصيل المكان

teamLab: Dance! Art Exhibition, Learn & Play! Future Park

الفترة

‎11.30(Thu) - 2017.7.08(Sat)

الوقت

10:00-22:00

وسائل المواصلات

العنوان

OCT Harbour-OCT Creative Exhibition Center(OCT Bay, No.8 Baishi Road East, Nanshan District, Shenzhen)

المنظمون

Bloosming Culture and Art