teamLab: A Forest Where Gods Live | teamLab

PAST EXHIBITION

Jul 22 - Nov 08, 2020Mifuneyama Rakuen, Takeo Hot Springs, Kyushu

#AForestWhereGodsLive#

Measures to prevent the spread of COVID-19

PAST EXHIBITION

Jul 22 - Nov 08, 2020Mifuneyama Rakuen, Takeo Hot Springs, Kyushu

Measures to prevent the spread of COVID-19

#AForestWhereGodsLive#

Continuous Life

The 500,000 square meter Mifuneyama Rakuen Park was created in 1845, during the end of the Edo period. Sitting on the borderline of the park is the famous 3,000-year-old sacred Okusu tree of Takeo Shrine. Also in the heart of the garden is another 300-year-old sacred tree. Knowing the significance of this, our forebears turned a portion of this forest into a garden, utilizing the trees of the natural forest. The border between the garden and the wild forest is ambiguous, and when wandering through the garden, before they know it, people will find themselves entering the woods and animal trails. Enshrined in the forest is the Inari Daimyojin deity surrounded by a collection of boulders almost supernatural in their formation. 1,300 years ago, the famous priest Gyoki came to Mifuneyama and carved 500 Arhats. Within the forest caves there are Buddha Figures that Gyoki carved directly into the rock face that still remain today.

The forest, rocks, and caves of Mifuneyama Rakuen have formed over a long time, and people in every age have sought meaning in them over the millennia. The park that we know today sits on top of this history. It is the ongoing relationship between nature and humans that has made the border between the forest and garden ambiguous, keeping this cultural heritage beautiful and pleasing.

Lost in nature, where the boundaries between man-made garden and forest are unclear, we are able to feel like we exist in a continuous, borderless relationship between nature and humans. It is for this reason that teamLab decided to create an exhibition in this vast, labyrinthine space, so that people will become lost and immersed in the exhibition and in nature.

We exist as a part of an eternal continuity of life and death, a process which has been continuing for an overwhelmingly long time. It is hard for us, however, to sense this in our everyday lives, perhaps because humans cannot easily conceptualize time for periods longer than their own lives. There is a boundary in our understanding of the continuity of time.

When exploring the forest, the shapes of the giant rocks, caves, and the forest allow us to better perceive and understand that overwhelmingly long time over which it all was formed. These forms can transcend the boundaries of our understanding of the continuity of time.

teamLab's project, Digitized Nature, explores how nature can become art. The concept of the project is that non-material digital technology can turn nature into art without harming it.

These artworks explore how the forms of the forest and garden can be used as they are to create artworks that make it possible to create a place where we can transcend the boundary in our understanding of the continuity of time and feel the long, long continuity of life. Even in the present day, we can experiment with expressing this “Continuous Life” and continue to accumulate meaning in Mifuneyama Rakuen.

teamLab

ARTWORKS

Drawing on the Water Surface Created by the Dance of Koi and Boats – Mifuneyama Rakuen Pond

This work is a projection onto the surface of Mifuneyama Rakuen Pond. Using sensors, the water’s surface has become interactive, and the koi, that are projected onto the surface, interact with the small boats that float on the pond. The koi do not have a predetermined action, each koi reacts in relation to the behavior of the koi that are close by to it, and each koi swims independent of the others. The koi gather around small boats that gently float on the water, when the boat moves, the koi disperse. The koi swim according to the behavior of the boats, and the influence of the other koi. The movement of the koi leaves trails that draw the artwork.

Ever Blossoming Life Rock

Flowers are blooming and scattering for eternity on a large rock (5.5m in height, 4.6m in width, and 6.5m in depth) that is covered in moss. A year of seasonal flowers from the area bloom throughout an hour, continuously scattering and changing.

Flowers are born, grow, bud, bloom, and eventually scatter, wither and disappear. The flowers are in a continuous cycle of life and death, repeating forever.

Our own existence is part of this continuity of life and death, repeating endlessly, for an overwhelming length of time, for billions of years. However, it is difficult to perceive this in everyday life.
The eternal birth and death of the flowers on the large rock, causes us to realize that the existence of life itself is part of a continuous cycle of life and death.
The artwork is rendered in real time by a computer program. It is neither a prerecorded animation nor on loop, it is continuously changing. Previous visual states can never be replicated, and will never reoccur.

Universe of Water Particles on a Sacred Rock

This artwork uses an actual giant rock. The giant rock (3m in height, 4.5m in width) was reproduced in a virtual three-dimensional space, water was simulated to fall onto it, and the simulated movement of that water on the form of the giant rock draws the waterfall.

Next to the giant rock, a collection of boulders almost supernatural in their formation surround a small shrine.

The water is expressed as a continuum of numerous water particles and the interaction between the particles is calculated. Lines are drawn according to the behavior of the water particles. The cumulation of lines that represent the waterfall are then “flattened” in line with what teamLab considers to be ultrasubjective space.

Life is Continuous Light - Azalea Valley

The azaleas spread beneath the cliffs of Mt. Mifuneyama in the azalea valley shine brightly. Each azalea's sphere light is autonomous shining brightly and then fading, as if breathing slowly.
When people pass by or approach the azaleas, the color of the light changes and a new color resonates out. Then, the light of that tree radiates out and is transmitted to nearby azaleas in the valley. The propagated light of the azaleas will again resonate, and the color will continue to resonate to nearby azaleas in the valley.
These azaleas are said to have been created by Motozo Sakamoto of the Arima Clan azalea breeding in the late Edo Period during the Tenpo Era (1830 - 1843 C.E.). The azaleas were planted right at the opening of Mifuneyama Rakuen in 1845 C.E.

Floating Resonating Lamps - One Stroke, Fire

Each of the lamps on the water’s surface floats autonomously. When a person pushes or stands still near a lamp, or when the wind blows a lamp, it shines brightly and emits a sound. The light of that lamp is transmitted to nearby lamps one by one, as the sound is continuously emitted. The transmitted light always travels through each of the lamps only once, shining brightly, as it propagates through all of the lamps. People become aware of the presence of others in the same space.
The light is transmitted in such a way that the total distance it travels as short as possible. In other words, the light travels in a single stroke along the shortest route through all of the lamps only once. 
The resonating lamps on the water’s surface change location moment by moment.Because the total distance covered by the propagating light is the shortest possible, even if the same lamp starts to shine, the path of light changes every moment.
When the wind is not blowing and people are not nearby, the lamps begin to blink slowly.
When the transmitted light meets with a light originating from a different starting point, the lamp where the two lights meet shines brightly for longer. People will surely feel the presence of others in the same space. 
*The lamps are made of Murano glass (Venetian glass).

Floating Resonating Lamps - One Stroke, Summer Forest at Night

Each of the lamps on the water’s surface floats autonomously. When a person pushes or stands still near a lamp, or when the wind blows a lamp, it shines brightly and emits a sound. The light of that lamp is transmitted to nearby lamps one by one, as the sound is continuously emitted. The transmitted light always travels through each of the lamps only once, shining brightly, as it propagates through all of the lamps. People become aware of the presence of others in the same space.

The light is transmitted in such a way that the total distance it travels as short as possible. In other words, the light travels in a single stroke along the shortest route through all of the lamps only once.

The resonating lamps on the water’s surface change location moment by moment.
Because the total distance covered by the propagating light is the shortest possible, even if the same lamp starts to shine, the path of light changes every moment.

When the wind is not blowing and people are not nearby, the lamps begin to blink slowly.

When the transmitted light meets with a light originating from a different starting point, the lamp where the two lights meet shines brightly for longer. People will surely feel the presence of others in the same space.

*The lamps are made of Murano glass (Venetian glass).

Split Rock and Enso

This artwork makes use of a large rock (2.4m in height, 4.7m in width) that has been split by a maple tree growing from it. The light that draws the calligraphy is black, meaning there is no light, thus making it indistinguishable from the shadows of the maple breaking the rock. The calligraphy and the shadows become one, drawing the Enso.
Enso is the Zen practice of drawing a circle with a single brush stroke. This artwork depicts an enso drawn as Spatial Calligraphy. The brush stroke is suspended in space but the viewpoint changes to reveal the circle enso. In Zen, enso is a circle that has since ancient times been written with canes or sticks in midair. It is said to represent enlightenment, truth, the entirety of the universe, and equality. The circle also reflects the hearts and minds of those who view it, with its interpretation left to the individual. 
Spatial Calligraphy is calligraphy drawn in space, a form of calligraphy that teamLab has been exploring since it was founded. The artwork reconstructs calligraphy in three dimensional space to express the depth, speed and power of the brush stroke, and that calligraphy is then flattened using the logical structure teamLab calls Ultrasubjective Space. The calligraphy shifts between two and three dimensions.

Spatial Calligraphy on the Rock Wall of Five Hundred Arhats, Continuous Life

About 1,300 years ago, the famous monk Gyoki, who would later create the Great Buddha in Nara, entered the caves of Mifuneyama and engraved Five Hundred Arhats into three caves, and carved the Three Buddhas in the far rock of the third cave. Also at that time, he carved a hole next to the Three Buddhas, into which water has collected over 1,300 years without ever going dry. This water has long been used as medicinal water.
The calligraphy moves back and forth between the cave and the rock wall outside. The calligraphy is drawn across the surface of a series of three-dimensional caves and walls, where it rotates in three dimensions.The light calligraphy is black, meaning there is no light, thus making it indistinguishable from the darkness of the cave. The darkness of the calligraphy and the cave become one, and the spatial calligraphy is continuously written on the rock wall.
Spatial Calligraphy is calligraphy drawn in space, a form of calligraphy that teamLab has been exploring since it was founded. The artwork reconstructs calligraphy in three dimensional space to express the depth, speed and power of the brush stroke, and that calligraphy is then flattened using the logical structure of space that teamLab calls Ultrasubjective Space. The calligraphy shifts between two and three dimensions.

Sea of Rocks of Oblivion

A sea of rocks shines brightly. The light of each rock is autonomous, shining brightly and then fading as if breathing slowly. If a person goes close to a rock the light of that rock glows strongly and the color tone resonates out.

Megaliths in the Bath House Ruins

Masses (Megaliths) of different space-times are clustered in the bath house ruins.The forest surrounding the bath house ruins is home to 3,000-year-old trees, and it changes daily with the imperceptible, slow flow of time, repeating every year, as a space where the endlessly long time accumulates. The ruins from ages past scattered in the forest and the Edo-period garden which remains today each have their own respective space-times. The bath house was made in modern times, but after just a short period, it was abandoned, becoming a space-time where time had stopped completely. And this group of megaliths is also a mass made up of compressed space-times where the flow of time varies. Here, various space-times intersect and overlap.
Each megalith is surrounded by similarly standing megaliths, the space-times of which are all connected. 
The artwork is continuously rendered in real time by a computer program. It is neither prerecorded, nor on loop. As a whole, previous states never recur, and the artwork is continuously changing due to the movement of people. Every moment is unique and can never be seen again.
The following artworks exist in the artwork space of the three-dimensional objects grouped in these bath house ruins.
・Flowers and PeopleThis artwork is in a state of continuous change. Over a period of one hour, a year’s worth of seasonal flowers blossoms and scatters. The flowers bud, grow, and blossom before their petals begin to wither and eventually fade away. The cycle of growth and decay repeats itself in perpetuity. If a person stays still, the flowers surrounding them grow and bloom more abundantly.
・Universe of Water Particles When people approach the artwork, the flow of the water changes. The movement of people influences the artwork, causing it to evolve continuously, while the artwork influences other works. For instance, the water causes the flowers in the work Flowers and People to scatter.
Water is represented by a continuum of numerous water particles. The interaction between the particles is calculated and then lines are drawn in relation to the behavior of the water particles. The lines are “flattened” using what teamLab considers to be ultrasubjective space.

* In order to view teamLab: A Forest Where Gods Live before it opens (sunset), purchase a Daytime Rakan Bath Reservation. After sunset, only a teamLab: A Forest Where Gods Live exhibition ticket is needed.

Graffiti Nature - Living in the Ruins of a Bathhouse, Red List

All the various creatures drawn by visitors live in the ruins of the bathhouse in Mifuneyama Park.  Color in a creature on the paper provided, and see the picture you have drawn come to life and move in front of you.
Living things eat and are eaten by other living things in one shared ecosystem.The creatures you draw will multiply if they eat other living things, but they will die and disappear if they do not eat enough, or if they are eaten by other creatures. The salamanders eat the snakes, the snakes eat the lizards, the lizards eat the frogs, and the frogs eat the butterflies, each one propagating as they consume. Likewise, the butterflies multiply in places where flowers grow.Although flowers will bloom if people stay still, their petals will scatter if people walk around and step on them. Salamanders will die if people step on them too much.
The International Union for the Conservation of Nature’s Red List is a database of the conservation status of biological species. Wildlife assessed in the Red List, including threatened and endangered species, appear in this work.

Concrete and Abstract - Sacred Tree Forest Entrance

This artwork exists at the border between the garden and the forest of Mifuneyama Rakuen. The forest behind the artwork leads to the famous 3,000 year-old sacred Okusu tree of Takeo Shrine.When people stop inside the artwork space, a new set of lines is born and spreads across the space.Through this artwork, the forest becomes a flattened plane.
The artwork is not a pre-recorded image that is played back: it is created by a computer program that continuously renders the work in real time. The interaction between people and the installation causes continuous change in the artwork: previous visual states can never be replicated, and will never reoccur. The picture at this moment can never be seen again.

Resonating Forest - Cherry Blossoms and Maple

The cherry blossoms and maple forest of Mifuneyama Rakuen shine brightly. Each tree’s light is autonomous, shining brightly and then fading as if it’s breathing.
As people pass nearby, the light of the trees changes color, and a tone specific to that color resonates out. The light of an individual tree spreads radially to the neighboring trees. In the same way that the light is transmitted between trees, the tone also propagates through each tree, spreading continuously.
If a wave of light comes from the other side, it signifies the presence of people there. People gain a heightened sense of awareness of the existence of other people in the same space.

Resonating Forest in the Ravine

The forest in the ravine shines brightly. Each tree’s light is autonomous, shining brightly and then fading, as if it’s breathing.

As people pass nearby, the light of the tree changes color, and a tone specific to that color resonates out. The light of an individual tree spreads radially to the neighboring trees. In the same way that the light is transmitted between the trees, the tone also propagates through each tree, spreading continuously.

If a wave of light comes from the other side, it signifies the presence of people there. People gain a heightened sense of awareness of the existence of other people in the same space.

Memory of Continuous Life

Cut Out Continuous Life - Forest Canopy

Cut Out Continuous Life - Forest Path

The Floating Tree

The Floating Tree exists near the entrance to the path to the ancient sacred tree.
The ancient sacred tree is a giant tree over 3,000 years old. The roots of the sacred tree are wrapped in rough bark, with their central section split open near the surface of the ground. The interior is a hollow space about 22 square meters in size, with a stone shrine in the back.
When the garden was built towards the end of the Edo period (1845 CE), efforts were made to find a path connecting the garden to the sacred tree based on the theory that there was a hidden path in the forest. A path made from stones was discovered, and the entrance  was restored.

Resonating Mt. Mifuneyama

The light of Mt. Mifuneyama is autonomous, it shines brightly and then fades as if slowly breathing.
It responds to the light from Life is Continuous Light - Azalea Valley at the base of Mt. Mifuneyama, resonating and shining brighter.

Mt. Mifuneyama emerged from the Ariake Sea approximately 3 million years ago. It is said that the Empress consort Jingu moored her ship (fune) on her return home from the Korean Peninsula (c. 200 C.E.), which is how the name Mifuneyama came about.

Butterflies Dancing in the Depths of the Underground Ruins, Transcending Space

In the ruins discovered at the end of a long, underground tunnel in Mifuneyama Rakuen, small microcosms of accumulated space times are spread. A group of butterflies in the microcosm dances beyond the boundaries of the time and space of the ruins.

The forest above the underground tunnel is home to 3,000-year-old trees, and it changes daily with the imperceptible, slow flow of time, repeating every year, as a space where the endlessly long time accumulates. The ruins from ages past scattered in the forest and the Edo-period garden which remains today each have their own respective space-times. The forgotten underground tunnel is a space-time where time has stopped completely.

And the microcosms that are spread through the ruins of the underground tunnels also have their own space-times. Here, various space-times intersect and overlap.

Hanamidai (Viewing Spot)

This Hanamidai (flower viewing platform) is about 30m above the ground, beyond the Memory of Continuous Life. When people pass by the trees in the Resonating Forest - Cherry Blossoms and Maple that spread out below, new colored light is born, and that light spreads to the surrounding trees along with a sound tone specific to that color. The light created by people walking in the forest can be seen spreading through the trees of Mifuneyama Rakuen.

Sansui Mizaka (Viewing Spot)

This Sansui Mizaka (landscape viewing area) is by the pond in Mifuneyama Rakuen. The artworks Drawing on the Water Surface Created by the Dance of Koi and Boats – Mifuneyama Rakuen Pond that spreads across the whole surface of the pond and Resonating Mt. Mifuneyama which illuminates Mt. Mifuneyama in light can be seen together in this composition.
The light of Mt. Mifuneyama is created by people walking in the azalea valley at the foot of the mountain in the work Life is Continuous Light - Azalea Valley.

EN TEA HOUSE Genkatei

About Genkatei

Flowers Bloom in an Infinite Universe inside a Teacup

When a cup of tea is made, flowers bloom inside the teacup. When the teacup is lifted, the flower petals scatter and spread outside of the cup. Flowers bloom infinitely as long as there is tea. The tea in the teacup becomes an infinite world in which the flowers continue to bloom. Drink in the infinitely expanding world.
Tea is a transformative entity, and the size of the flowers that bloom will change depending on the amount of tea. The artwork is born only when there is tea. Once the tea is drunk, the work no longer exists.
The flowers blooming in the teacup change with the passage of real time.
The artwork is forever changing and the picture at this moment can never be seen again.

EN TEA HOUSE Otoro

About Otoro

Ruins and Heritage

Iwakura

Location: Inside Mifuneyama Rakuen Garden
Hours: Can be viewed during Mifuneyama Rakuen opening hours

This enormous megalith, almost supernatural in its formation, is an iwakura (an ancient form of nature worship in Japan known as animism), within which a hokora (small shrine) has been preserved.

Gyoki's Three Buddha Figures and Five Hundred Arhats

Location: Inside Mifuneyama Rakuen Garden
Hours: Can be viewed during Mifuneyama Rakuen opening hours

It is said that about 1,300 years ago, the famous Buddhist priest Gyoki came to Mifuneyama and carved a total of three Buddha figures and five hundred Arhats on rocks which he then placed in a cave. After carving these five hundred Arhats, the severely ill Gyoki was believed to have carved the three Buddha figures while praying for his recovery. These figures still remain on the walls of the cave today.

Hagino Ochaya Tea House

Location: Inside Mifuneyama Rakuen Garden
* Only available to guests of Mifuneyama Rakuen Hotel or Onyado Chikurintei

In the late Edo period when Mifuneyama Rakuen was built (1845 CE), the Hagino Ochaya Tea House was constructed with a thatched roof on the shores of a pond as the public villa of Nabeshima Shigeyoshi Nabeshima, the 28th generation lord of Takeo. This venue is open to the public in spring and fall.

300-Year-Old Okusu Tree

Location: Inside Mifuneyama Rakuen Garden
Hours: Can be viewed during Mifuneyama Rakuen opening hours

A 300-year-old Okusu Tree that has existed since before the garden was built.

Mifuneyama

Location: Inside Mifuneyama Rakuen Garden
Hours: Can be viewed during Mifuneyama Rakuen opening hours

It is said that the origin of "Mifuneyama" can be traced to Empress Jingu being named "Mifune" on her journey back from the ancient kingdom of Shilla on the Korean peninsula (around 200 CE).

Mifuneyama Fudoson (Wisdom King) Figure

Location: Outside Mifuneyama Rakuen Garden
* Difficult to access due to poor footing.

This enormous 23m tall figure was carved over the entire surface of a sheer cliff.It was believed to have been carved by a sorcerer from the Asuka period in the 7th century named En-no-gyouza-ozunu, who was thought to be the founder of Shugendo (a unique Japanese religion based on ancient Japanese mountain asceticism that had been syncretized with Buddhism).
Google MAP

The Stone Gate of Tsukazaki Castle

Location: Outside Mifuneyama Rakuen Garden
Hours: On view 24 hours a day

Tsukazaki Castle is also known as Mifuneyama Castle.This castle is said to have been built by the second generation lord of Takeo, Sukeshige Goto, in the period around 1118-1120 CE.In the early Edo period (the first half of the 17th century), the Goto family received the surname of Nabeshima from the lord of Saga, Katsushige Nabeshima, and the Goto family name then became Takeo Nabeshima.Under the "One Castle per Province" law (1615 CE) of the Edo Shogunate, Tsukazaki Castle was eventually abandoned, but it survived to the present as a residence of the Takeo Nabeshima family through the Edo period.
Google MAP

Others

EN TEA's Private Farm (Ureshino Tea Plantation)

The private farm of EN TEA, from which the tea used at EN TEA HOUSE is sourced, is located around a 20-minute drive from Mifuneyama Rakuen in the woodlands of Kyushu's Ureshino, which lies along the borders of Saga and Nagasaki prefectures. This is the region where green tea was believed to have been produced in Japan for the very first time. Research on tea production methods is being conducted here, alongside the cultivation of tea in this small company farm where roaming goats eat the weeds growing in the tea fields.

Google MAP

MAP

Enlarge

1
Drawing on the Water Surface Created by the Dance of Koi and Boats – Mifuneyama Rakuen Pond
2
Floating Resonating Lamps - One Stroke, Fire
3
Resonating Forest in the Ravine
4
Resonating Forest - Cherry Blossoms and Maple
5
Life is Continuous Light - Azalea Valley
6
Resonating Mt. Mifuneyama
7
Ever Blossoming Life Rock
8
The Floating Tree
9
Split Rock and Enso
10
Sea of Rocks of Oblivion
11
Concrete and Abstract - Sacred Tree Forest Entrance
12
Universe of Water Particles on a Sacred Rock
13
Memory of Continuous Life
14
Cut Out Continuous Life - Forest Canopy
15
Cut Out Continuous Life - Forest Path
16
Spatial Calligraphy on the Rock Wall of Five Hundred Arhats, Continuous Life
17
Flowers Bloom in an Infinite Universe inside a Teacup
18
Graffiti Nature - Living in the Ruins of a Bathhouse, Red List
19
Megaliths in the Bath House Ruins
20
Butterflies Dancing in the Depths of the Underground Ruins, Transcending Space
21
Forest and Spiral of Resonating Lamps - One Stroke, Fire on Ice

1
Drawing on the Water Surface Created by the Dance of Koi and Boats – Mifuneyama Rakuen Pond
2
Floating Resonating Lamps - One Stroke, Fire
3
Resonating Forest in the Ravine
4
Resonating Forest - Cherry Blossoms and Maple
5
Life is Continuous Light - Azalea Valley
6
Resonating Mt. Mifuneyama
7
Ever Blossoming Life Rock
8
The Floating Tree
9
Split Rock and Enso
10
Sea of Rocks of Oblivion
11
Concrete and Abstract - Sacred Tree Forest Entrance
12
Universe of Water Particles on a Sacred Rock
13
Memory of Continuous Life
14
Cut Out Continuous Life - Forest Canopy
15
Cut Out Continuous Life - Forest Path
16
Spatial Calligraphy on the Rock Wall of Five Hundred Arhats, Continuous Life
17
Flowers Bloom in an Infinite Universe inside a Teacup
18
Graffiti Nature - Living in the Ruins of a Bathhouse, Red List
19
Megaliths in the Bath House Ruins
20
Butterflies Dancing in the Depths of the Underground Ruins, Transcending Space
21
Forest and Spiral of Resonating Lamps - One Stroke, Fire on Ice

Enlarge

A
Iwakura
B
Gyoki's Three Buddha Figures and Five Hundred Arhats
C
Hagino Ochaya Tea House
D
300-Year-Old Okusu Tree
E
Mifuneyama

A
Iwakura
B
Gyoki's Three Buddha Figures and Five Hundred Arhats
C
Hagino Ochaya Tea House
D
300-Year-Old Okusu Tree
E
Mifuneyama

Enlarge

G
Mifuneyama Fudoson (Wisdom King) Figure
H
The Stone Gate of Tsukazaki Castle

G
Mifuneyama Fudoson (Wisdom King) Figure
H
The Stone Gate of Tsukazaki Castle

VISIT US

Venue Details

teamLab: A Forest Where Gods Live

Term

Jul 22 - Nov 08, 2020

Hours

Jul 22 - Sep 13, 2020 19:00 - 22:30
Sep 14 - Oct 11, 2020 18:00 - 22:30
Oct 12 - Nov 8, 2020 17:00 - 22:30

* Enter from Entrance 1. Entrance 2 is only available 60 min after the opening.
* Last entry is 22:00.

Closed

Open daily

Website

Mifuneyama Rakuen
EN TEA House Genkatei
EN TEA House Otoro

ACCESS

Address

Mifuneyama Rakuen
4100 Takeo, Takeo-cho, Takeo City, Saga

Enlarge

By Train

From JR Hakata Station:
70 min by train to JR Takeo Onsen Station. Take a taxi (5 min) or a bus (8 min) to Mifuneyama Rakuen stop.

From JR Takeo Onsen Station: 
5 min by taxi or 8 min by bus to Mifuneyama Rakuen stop.

By Air

From Nagasaki Airport: 40 min by car
From Saga Airport: 50 min by car
From Fukuoka Airport: 70 min by car

Tel

Mifuneyama Rakuen
+81-954-23-3131

Notes

Regarding Entry

Entry may be restricted depending on crowds.

Due to time constraints, if the number of visitors exceeds capacity, entry may not be permitted.

Wheelchair & Stroller Access

The garden has natural trails that may be difficult to access with a wheelchair or stroller.

Accessible artworks include;

・"Drawing on the Water Surface Created by the Dance of Koi and Boats – Mifuneyama Rakuen Pond"

・"Floating Resonating Lamps - One Stroke"

・"Resonating Forest in the Ravine"

・"Resonating Forest - Cherry Blossoms and Maple"

・"Resonating Azalea Valley "

・"Resonating Mt. Mifuneyama"

・"Ever Blossoming Life Rock"

・"Flowers Bloom in an Infinite Universe inside a Teacup”

・"Forest and Spiral of Resonating Lamps - one stroke"

Liability

The organizers will not be held responsible for any injury, loss, or damage to personal items.

Trash Free Park

For environmental preservation, trash cans are not available in this park. Be prepared to take your trash home for disposal and recycling.

No Smoking

All parks and natural areas are strictly smoke and tobacco-free.

Clothing

There are steep slopes and natural trails in this park. Visitors are advised to wear suitable clothing and footwear.

No Pets Allowed

No pets are allowed in the park. Service dogs are welcome.

Exhibition Suspended or Delayed Due to Weather

In case of strong rain and/or wind, the exhibition will be suspended. Please check the park's official website, facebook, or instagram for details.

Photography & Videography

Use of flash, drones and/or tripod inside the park is prohibited.

Other

By entering this exhibition, you consent to having your image captured by official photographers and videographers. The resulting materials, including still photographs, video and audio recordings may be used by the Organizers or local promotional entities without restriction or financial compensation, in news materials, promotional materials, on the web and other properties.

NEWS

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Featured on grape, Sep 30, 2020

teamLab’s autumn mountain forest exhibition lights up historic Kyushu park with signature digital art

teamLab’s interactive digital art exhibitions have become a favourite of Instagrammers thanks to the fully immersive aesthetic experience that their work offers. They are also inspired by nature and come up with their own takes on the various seasons of Japan, adding technology to the mix to create an innovative and impressive mix of the two forces. (Excerpt from the text)

ARTIST

teamLab

teamLab (f. 2001) is an international art collective. Their collaborative practice seeks to navigate the confluence of art, science, technology, and the natural world. Through art, the interdisciplinary group of specialists, including artists, programmers, engineers, CG animators, mathematicians, and architects, aims to explore the relationship between the self and the world, and new forms of perception.

In order to understand the world around them, people separate it into independent entities with perceived boundaries between them. teamLab seeks to transcend these boundaries in our perceptions of the world, of the relationship between the self and the world, and of the continuity of time. Everything exists in a long, fragile yet miraculous, borderless continuity.

teamLab’s works are in the permanent collection of the National Gallery of Victoria, Melbourne; Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide; National Gallery of Australia, Canberra;  Amos Rex, Helsinki; Museum of Contemporary Art, Los Angeles; Asian Art Museum, San Francisco; Borusan Contemporary Art Collection, Istanbul; and Asia Society Museum, New York, among others.

teamlab.art

Biographical Documents

teamLab is represented by Pace Gallery, Martin Browne Contemporary and Ikkan Art.

Organizers

Mifuneyama Rakuen
teamLab

Cooperation

Saga Television Station