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Ever Blossoming Life – Gold

teamLab, 2014, Digital Work, Endless
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Ever Blossoming Life – Gold

teamLab, 2014, Digital Work, Endless
The images that make up this digital artwork are being created and drawn in real time by a computer program. The images are not prerecorded nor played back.

Flowers grow and blossom in profusion before the petals begin to wither and the flowers die and fade away. The cycle of birth and death repeats itself, continuing for eternity, and previous states are never duplicated. The image shown now cannot be viewed again.

CONCEPT

Ultrasubjective Space
Images for media

RELATED EXHIBITIONS

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TERMINADO

Art at the David Rubenstein Forum: Selections from the Kenneth C. Griffin Collection

2021.7.15(Thu) - 2023.8.21(Mon)

David Rubenstein Forum, Chicago, Illinois

Group Exhibition

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TERMINADO

Ever Blossoming Life, ​Forever Unique

2015.4.08(Wed) - 5.18(Mon)

Nagoya Gallery, Aichi

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TERMINADO

Media Ambition Tokyo 2015 in “teamLab Dance! Art Exhibition and Learn and Play! teamLab Future Park” Special Exhibition

2015.2.11(Wed) - 3.01(Sun)

NATIONAL MUSEUM OF EMERGING SCIENCE AND INNOVATION, Tokyo

Noticias

Featured on The Sydney Morning Herald, Sep 11, 2015

All a-flutter in the beautiful, blossoming, interactive world of TeamLab

START Art Fair (until 13 September) director Niru Ratnam was literally coming up roses yesterday. He welcomed preview visitors while immersed in the ever-shifting digital blooms created by Tokyo-based collective teamLab, which was one of the most popular—and Instagrammed—projects of the fair. And he had a lot to smile about, with plaudits rolling in for the second edition of this 47-gallery fair that lives up to the much bandied term “boutique” by comfortably occupying three floors of the elegantly neutral retail-ish Saatchi Gallery spaces. But START is rarely bland and genuinely lives up to the well-worn “global” label. There are galleries from Bogotá to Budapest via Colombo aImagine this. You’re in a dark room. Around you, projected onto the walls and floor, is a bright profusion of flowers in motion, constantly budding, blooming, withering and dying. As you approach the wall, your reflection appears among the blossoms, wreathed in petals. Your movements trigger changes, causing the blooms to shrivel or spring up anew. 
Over the course of an hour, the flowers change to reflect the four seasons of a year. Also on the walls are two separate artworks displayed on large digital panels, each with a similar, blooming theme. All around the room, flying through the flowers, are countless butterflies. As you watch, they move in a seamless, fluttering path from the wall into the digital artworks then out the other side, back onto the wall, without a pause or flicker. If you reach out and touch a butterfly, it dies.
This installation, Flutter of Butterflies Beyond Borders, is the latest interactive work from Japanese creative group TeamLab, shown at Saatchi Gallery in London. Closer to home, visitors to the Sydney Contemporary art fair can see Flowers and People – Gold, a smaller-scale TeamLab work shown by Paddington’s Martin Browne Contemporary gallery.

This one appears across four digital monitors hung together as panels, with a sensor on the floor that picks up movement. As the viewer approaches, flowers start to release tiny petals in a swirling snowstorm effect, and gradually bright patches appear on the screen, like a glowing galaxy of stars. The flowers in these patches wither and die before regenerating. Complex programming algorithms responding to the sensors mean the artwork is never the same.
“The more intense your physical relationship is to the work, the more intense the work becomes,” says Baden Pailthorpe​, researcher and digital artist at Martin Browne. “When you’re used to instant gratification, like touch-screen instant outcomes, this is more gentle.” As with all TeamLab’s work, Flowers and People – Gold is connected to traditional Japanese art, with delicate, decorative elements presented on screens with a glowing golden background. Though beautiful and meditative to look at, it is not a passive experience once you realise your effect on the work.

“In the context of humans impacting their environment, you often can’t see the effects straight away because the system is so complex and slow-moving, but still the changes are profound,” says Pailthorpe.
The initial idea for Flowers and People came from the founder of TeamLab, Toshiyuki Inoko​, during a visit to Japan’s Kunisaki​ peninsula last year, when the countryside was full of flowers. It made him think about the relationship between people and flowers, which ones were wild and which were the result of human intervention, how people and nature shape each other.
After studying mathematical engineering, Inoko formed his “artist collaborative” in Tokyo in 2001, gathering a pool of programmers, engineers, animators, mathematicians, architects, graphic designers and editors.

HIs idea was not to form a company but to have a place to hang out with his friends, a creative laboratory where they could work on his fundamental belief: that art and technology can help humankind to evolve in positive ways.
It took 10 years for TeamLab to start producing the large-scale interactive art that in the past few years has gained them an international reputation, from London to Singapore to New York.
Recent highlights include projecting a giant koi carp onto a vast screen of water behind a kabuki dancer in Las Vegas; and a 3-D waterfall called Universe of Water Particles, with hundreds of thousands of water particles individually rendered, pouring over a virtual rock at a resolution five times full high-definition. For Crystal Fireworks of Wishes, visitors choose a fireworks display on their smartphone, make a wish, then set off their own explosive show on a 3-D screen of hanging crystal light strands.

Takashi Kudo​, TeamLab’s communication director, says although technology is a crucial element, it is not the first priority but a tool to express creative thought – the way artists use paint.
“We have something we want to explain. That thing we cannot explain by words, that’s the reason it becomes art,” Kudo says.
Who comes up with a concept is not important; it’s all about using TeamLab’s collective power to bring the concept to life. Like a giant hive mind, the group has 400 brains working for it, with an average age of less than 30. Some are involved in commercial work, such as advertising and data collection, which helps support the main artistic focus.
What sets TeamLab apart, Pailthorpe says, is the marriage of ultra-modern technology with age-old stories and art.
“Most digital practice is concerned with cutting-edge ideas and technology. This is between the two. It looks to the past with a foot in the future, and it is uniquely Japanese in that sense,” he says.
TeamLab’s work is also, as Kudo says, “100 per cent positive”. Where much of contemporary art offers a critique of society, for TeamLab “art is sanctuary”. But what about those butterflies dying when you touch them? Is that positive? 
Yes, says Kudo, because they die very beautifully, and then regenerate. The Saatchi installation is also about releasing art from the restriction of frames, and being mindful of others.
“If you just see it on a monitor, you don’t think about other people because it doesn’t change,” Kudo says. “But if you are part of this artwork it will change, so you have to think a little bit about other people.”
Inoko believes small changes in people’s values can mean big changes in society, but he also simply wants to invent things that make the heart beat faster and, in our digitally saturated world, reboot a sense of wonder.
“I want the future to be exciting,” he says. “A dull future makes life hard. If tomorrow looks duller than today, why live on?”
SO YOU WANT ONE ON YOUR WALL
People and Flowers – Gold sells for $US80,000 ($114,000) at Martin Browne Contemporary, a price that includes a box containing the hard drive, with software to run the work. The buyer must then purchase the required hardware, including monitors and sensors. “It’s not that different to buying a computer and installing a game,” says Pailthorpe. “Once it’s installed, it’s the most simple thing, like turning a light switch on and off.” Of an edition of 10 works, the gallery has sold five since first showing it in July.

Featured on ニューヨークで鑑賞する新しい日本美術。「異形の楽園」展。, Oct 29, 2014

ニューヨークで鑑賞する新しい日本美術。「異形の楽園」展。

同時代に生きるアーティストの作品を鑑賞することは、自分の生きている世界について新たな視点を与えてくれることのような気がします。日本美術というカテゴリーは、そのテーマやモチーフ、歴史背景などから日本人であっても、逆に馴染みが薄い人も多いかもしれません。今月ニューヨークのジャパン・ソサエティーで始まった展覧会は日本美術に対する既成概念をいい意味で覆してくれました。今回の企画「異形の楽園:池田学、天明屋尚、チームラボ」は1960年代後半以降に生まれたアーティストたちの作品を展示しています。ギャラリー館長の手塚美和子氏によれば「この3作家は、ペン、ペイント、さらにはソフトウェア等、それぞれが違うツールを使いながら、自分達の良さを最大限に引き出し、見るものを異次元の幻想的な世界へと導きます」と説明しています。展覧会場はまず、池田学が製作した12点の作品に迎えられます。入口で配布された虫眼鏡で拡大して見なくてはならないほどに細密に描かれた作品の数々。ハイライトは2008年に製作された「予兆」という作品です。4枚のパネルによって構成された大きな波をモチーフとしたもので、高層ビルや車、人などを巻きみながらうねりをあげるその様子は3.11の大津波を連想させる、というので震災後は展示が自粛されていたとか。今回は日本国外での初公開、さらに震災後初の一般公開となるそうです。1点を完成させるまでには何年もの時間を要するそうで、全体の下絵を描いてから仕上げるのでなく、一部分ずつ描き込みながら、パーツを広げていくという方法をとっているのだそうです。次のルームはチームラボによる展示です。彼らは2001年に設立されたグループで、日本のスティーブ・ジョブスとも称される猪子寿之のもと、アーティストやプログラムエンジニア、建築家、数学者、アニメーターなど多彩なクリエーター300人以上による大所帯です。日本の古典美術をテーマにしたデジタルアートを製作し、最近ではニューヨークのペースギャラリーでも展覧会を開催しました。今回は江戸時代の奇想画家として知られる伊藤若冲による「鳥獣花木図屏風」をリソースとした大きなモニターの作品などを展示しています。8枚のパネルにはカラフルな花園に象や鳥など動物たちが映っており、鑑賞者が近づくと画面が反応する、というインタラクティブな作品となっています。ほか、今回の展覧会のために製作された「Flowers and People―Gold and Dark」という作品は部屋全体にフローラルパターンが投影されており、壁や床に触れることによって開花したり、散ったりといった植物の一生と対話できるような作品となっています。そして展覧会最後は天明屋尚による初の大型インスタレーション「韻」が設置されています。レオナルド・ダ・ヴィンチやミケランジェロなどルネッサンス時代の巨匠たちが描いたバトルシーンにも影響を受けたというこの作品は1対になった2枚の絵と、真っ赤な砂による枯山水の庭で構成されています。ミラーイメージのように反転した状態の絵は、実はどちらかがコピー(デジタルプリント)。鑑賞者の目利きぶりを試される、かのような作品でもあります。アーティストいわく現代の“和魂洋才”的手法によって製作されたこの作品、全員全く同じ風貌の兵士たちはふんどし姿に艶やかな黒髪に滑らかな肌が特徴。ある意味で肉体のリアリティがなく、フィギュアが描かれているようにも感じました。制作方法もメディアも、そしてコンセプトも、ほんとうに三種三様の作品。でもどれも日本美術の“現在”、そして私たちの住む世界の今を象徴しているといっていいでしょう。ニューヨークで鑑賞する新しい日本美術。今、お薦めの展覧会です。Garden of Unearthy Delights: Works by Ikeda, Tenmyouya & teamLab
異形の楽園:池田学、天明屋尚、チームラボ (2015年1月11日まで)
Japan Society / 333 East 47th St. New York
Tel: 212-832-1155
www.japansociety.org

Featured on J-COLLABO.ORG, Oct 11, 2014

TOSHIYUKI INOKO

– What is the concept and highlights of the current exhibition at Japan Society in New York?

Inoko:
This time, we have exhibited three pieces, two of which are interactive works.

“United, Fragmented, Repeated and Impermanent World” was created based on an artwork by Ito Jakuchu, an Edo-period painter. It is an interactive digital art piece since it gradually changes in response to viewers’ gestures.

There is also a space that showcases “Flowers and People – Gold and Dark” that has the function to make flowers fall when you touch them and to keep the flowers blooming when you remain a certain distance from them. Flowers bloom and die naturally without any interruption by humans. But in this art piece, the lives of flowers become shorter when you touch them and more flowers bloom if you stay away from them.

These kinds of interactive artworks are affected by viewers’ behaviors and they become complete art pieces by including viewers rather than having them as observers.

– Please tell us about team members of the project as well as the process from the design to the completion of your artwork.

Inoko:
“Life survives by the power of life” is created by a 3D CG animation team. First of all, we created a three-dimensional space on a computer and drew flowers and calligraphic brush strokes for the art piece in that space. Then, we transformed the drawings into animations using our theory of a logical structure of space called “Ultra Subjective Space.”

For “United, Fragmented, Repeated and Impermanent World,” we drew motifs inspired from Ito Jakuchu’s painting and then our CG team made three-dimensional objects of the drawings, which were then animated in a three dimensional space. The video was edited by computer to make tiles that make the mural change into abstract pixels when viewers face the tiles. The team for the project was made up of artists, a group of people for 3D animation, and engineers for the sensors.

I don’t envision the completed final versions of our artworks from the beginning. They are created through trial and error and we continually make improvements to our art pieces.

– What made you establish teamLab?

Inoko:
The main purpose of launching teamLab is to fulfill my personal interest. Not by myself, but with people with various specialties enabling us to experiment with a lot of new things. I wanted to offer a place where we can create and learn something new through experimentation. That’s why my company’s name includes the word “Lab.”

Right before going to college, the Internet came out and I recognized the coming of a new digital society, which led me to have an interest in creating something new in that new society. I was especially interested in changing people’s sense of value by innovation through technology and the arts.

However, the technological innovation had already been made by talented people in Silicon Valley – at such a spectacular level that I couldn’t compete with it. Therefore, I decided to focus on expanding the definition of art using digital technology and changing people’s minds by art, both of which hadn’t been done in Silicon Valley.

– Which aspects of the arts did you focus on?

Inoko:
Since I was little I have been immersed in computer games and comic books. For me they captured a space in a different way from that of Western perception, such as the space captured by a camera. One day, when I looked at a traditional Japanese art painting, I felt the way that the computer games and comic books are depicted on a flat screen is similar to that of traditional Japanese paintings. Then I started to look at many old Japanese paintings, and felt that old Japanese artists may have had a different spatial logic than that of Western perspective that fixes your view when you flatten a three-dimensional space. In the ideas of physics, which was my major at college, lenses and Western arts are considered to be a logical way to convert a three-dimensional space into a two-dimensional space. However, I thought flat pictures of traditional Japanese arts are a result of a unique Japanese logic to convert a three-dimensional space into a two-dimensional flat screen.

It was at the time when I was about to go to college that the internet rolled out, and I was so interested in the areas of computers, digital, Internet and computer networks that I started to think I wanted to work in that field. Computers enabled me to interpret a three-dimensional world to a two-dimensional space in a variety of ways, so by using the computers I was trying to find out the Japanese spatial logic that is common to the old Japanese arts. Then by using that logic, I started to create Japanese art pieces myself.

– What did you want to represent in your artworks? 

Inoko:
A reason that I started to create the artworks is because I wanted to find out the old Japanese spatial logic that is different from the Western perspective. When you look back at history, after big revolutions new ideas were introduced and completely new societies were established. In that process, things that had been important before the revolutions turned out not to be and vice versa. Therefore, I thought the old Japanese spatial concept was something that was disregarded in the modern society because there were no benefits to us. However, I believe there are some tips for the new society in that idea and I’m interested in finding it out and making things that go on into the future.

When you look for the traditional Japanese spatial logic, a common approach would be to read through old documents as historians do, but in my case I created simulations using a computer since my background is in physics. In the beginning, I had no idea about how the benefits from the traditional Japanese perspective go along with this new society and I started to find it out through a process of making my own artworks. So I kept making art pieces without thinking of places to showcase them.

– What are characteristics of teamLab’s artworks?

SERIES

  • Ever Blossoming Life II – A Whole Year per Hour, Dark
  • Ever Blossoming Life – Dark
  • Ever Blossoming Life II - A Whole Year per Year, Gold
  • Ever Blossoming Life II - A Whole Year per Year, Dark
  • Ever Blossoming Life II - A Whole Year per Hour, Gold
  • Ever Blossoming Life Waterfall - Deep in the Mountains of Shikoku
  • Ever Blossoming Life Rock Wall - Mt. Shiun
  • Ever Blossoming Life Tree - Fallen Jiro Cedar
  • Ever Blossoming Life Tree - Giant Taro Cedar
  • Ever Blossoming Life Rock
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