2 sets of 5 screens, Ginza | teamLab

メイン画像
2 sets of 5 screens, Ginza
ESPOSIZIONI PASSATE
2016.01.27(Wed) - 12.31(Sat)Ginza Mitsukoshi, Tokyo
メイン画像
2 sets of 5 screens, Ginza
ESPOSIZIONI PASSATE
2016.01.27(Wed) - 12.31(Sat)Ginza Mitsukoshi, Tokyo

OPERE

Spatial Calligraphy: Line, Space, Overlap, Continuous and Uncontinuous, 2 sets of 5 screens - Gold and Silver in White

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.

In a Japan that had no knowledge of perspective, depth was constructed through a different method, not just in painting but actual space itself. For example, in the gardens of France's Palace of Versailles, trees of the same species and height are planted at regular, uniform intervals. A continuous sense of depth in the garden is created by how the identical trees systematically appear smaller as one looks to the horizon. Conversely, at the gardens at the Shugakuin Imperial Villa in Japan, the scenery consists of a foreground, middleground, and background, and a sense of depth is achieved by layering.

For this artwork teamLab expresses Japanese calligraphy in a variety of spaces, then brings these spaces together in a single exhibition area. It is an experimental work to see what experience is created by the various ways in which the spaces where the calligraphy are drawn, and the larger space where they are exhibited, relate to each other.

Black Waves, 2 sets of 5 screens

The movement of waves of 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 express the waves, the behavior of the particles at the surface of the water was then extracted and lines were drawn in relation to the movement of the particles. The 3-D wave created in a 3-D virtual space is then turned into an artwork in accordance with what teamLab refers to as "Ultra Subjective Space."

In pre-modern 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.
Did people in pre-modern times see the world (oceans, rivers and other bodies of water) as a living entity made up of a collection of lines just as depicted in classical Japanese painting?

This form of expression causes us to question why pre-modern 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 pre-modern people.
On viewing this artwork, regardless of the fact the waves are a reproduction of a physical phenomena, if we feel a sense of life in the collection of lines, what can be called the subjective world of pre-modern people, then perhaps this is one aspect of objective recognition, and there is a different side to the the modern objective world view.

If when viewing this artwork, as opposed to waves shot with a video camera, people 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, and that the waves are luring them in, then perhaps we can find a connection to the way pre-modern Japanese people perceived the world and consequently behaved towards the world.

If we regard ourselves as a part of nature, and that nature is not something just to be observed, as people of old perceived rivers and oceans as a living entity of which they were a part of, then it 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, removing the boundary between us and nature.

VISITA

Informazioni sulla Sede

2 sets of 5 screens, Ginza

Durata

2016.01.27(Wed) - 12.31(Sat)
ARTISTA
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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 exhibitions have been held in cities worldwide, including New York, London, Paris, Singapore, Silicon Valley, Beijing, and Melbourne among others. teamLab museums and large-scale permanent exhibitions include teamLab Borderless and teamLab Planets in Tokyo, teamLab Borderless Shanghai, and teamLab SuperNature Macao, with more to open in cities including Abu Dhabi, Beijing, Hamburg, Jeddah, and Utrecht. teamLab’s works are in the permanent collection of the Museum of Contemporary Art, Los Angeles; Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide; Asian Art Museum, San Francisco; Asia Society Museum, New York; Borusan Contemporary Art Collection, Istanbul; National Gallery of Victoria, Melbourne; and Amos Rex, Helsinki. teamlab.art Biographical Documents teamLab is represented by Pace Gallery, Martin Browne Contemporary and Ikkan Art.