teamLab : Au-delà des limites | teamLab

An enormous waterfall cascades down throughout the space of Au-delà des limites as it transcends the boundaries and sometimes affects other works.
Water is represented by calculating the interactions between a continuous flow of hundreds of thousands of water particles. Then, lines are drawn in relation to the behavior of the water particles. The accumulation of these lines expresses the waterfall. 
When people stand on or touch the waterfall, they obstruct the flow of water like a rock, and the flow of water changes. The flow of water continues to transform due to the interaction of people. Previous visual states can never be replicated, and will never reoccur. 
The flow of the waterfall influences other artworks.

In the background, cherry blossoms bloom and scatter, the cycle of life and death repeats itself.As people come in contact with the space, a circle is born and grows to radiate at a certain rhythm and a specific interval. The circle born transforms only the light and darkness of the background world.

This work is to be viewed from a position close to the entrance of the space.
The artwork begins when Crows are Chased and the Chasing Crows are Destined to be Chased as well: Flying Beyond Borders enters the Cosmic Void. When it ends, the crows leave the space.
If you stand at the position close to the entrance, the boundary between the wall and the floor disappears and the real world dissolves, making the lines drawn by the trails of the crows appear three-dimensional. Eventually the body becomes immersed in the world of the artwork, and the boundary between the artwork and viewer dissolves as well.
Flocks of mythical crows (Yatagarasu) rendered in light fly around the space leaving trails in their wake and forming Spatial Calligraphy. The chasing crows are eventually chased themselves, and form flowers when they crash into each other, scattering their petals. Although the crows usually avoid crashing into people in the space, when they happen to do so, they similarly form flowers, scattering their petals.

This interactive digital installation consists of a seemingly endless number of life-sized holograms. The figures depicted in the holograms exist independently from one another. They play instruments and dance, and each individual is influenced by the sounds from the figures close to them. There is no lead figure that oversees or influences all the other dancers, and there is no center or order enforced on the crowd. External events can cause disorder, but in time, peace will gradually be restored.

When a person enters the installation and a figure senses the viewer, that figure responds to the person and stops playing music. The figure passes on this information to other figures close by. After a short period of time, the figure will start playing music and dance again, but this disturbance will have disrupted the harmony. If, however, the viewer stays still or leaves, the dancers will begin to form back into one harmonious group and the feeling of peace will return.

In Japan, there is a primitive dance festival called the Awa Dance Festival dating back so far that its origins are unknown. Groups of individual dancers play music and proceed around the town arbitrarily. Groups play their own music as they like and dance as they like. Interestingly, for some reason, the music forms into a peaceful order across the whole town. Dancers who randomly meet other groups of dancers gradually and subconsciously match the tempo of their music with that of the other group. This is not due to any set of rules; it just feels right and happens without conscious choice. It seems that when people are set free from their inhibitions, an extraordinary peaceful feeling prevails despite the lack of any order to the dances. Perhaps this is how people of ancient times maintained a feeling of peacefulness.

Today, in the Internet age, the speed at which people can connect with others has accelerated. As a result, people throughout the world have become increasingly connected, and these connections have become more important. What we experience in this new age is similar to the experience of the dance festival, and perhaps in these unordered connections there is a way to find peace. The figures that appear in the holograms are anonymous and unknown. This helps the viewer to feel as though they are a part of the installation, and that anyone can experience the feeling of peace without order.

Beating Mountains and Valleys is a three-dimensional terrain that shifts and undulates as visual and physical cognition become separated.
All the various creatures drawn by everyone live in the Beating Mountains and Valleys. 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 each other and are eaten by each other 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 stand still, their petals will scatter if people walk around and step on them. Salamanders will die if people step on them too much. 
Living creatures spread throughout the world, increasing and decreasing in number. The creatures you have drawn may be increasing somewhere. See if you can find it.
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.

Throughout a year, the flowers that bloom every day gradually change in accordance with the seasons.
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. The flowers are interactive; depending on the proximity of the viewer to the work, or if the viewer touches the flowers, they simultaneously come to life or shed their petals, wither, and die all at once.
Neither a prerecorded animation nor on loop, the work is rendered in real time by a computer program. The interaction between the viewer and the installation causes continuous change in the artwork; previous visual states can never be replicated, and will never reoccur. 

The work begins when a shoal of fish emerges from a space.The fish swim freely, transcending the boundaries of other works, and influencing other works. Then, when they enter another space they continue as a new artwork.When people touch a shoal of fish, the fish are dyed a color unique to that person.
The movement of thousands of fish is beautiful and mysterious, appearing like a single giant life form. The physiological mechanism of the movement of the shoal is shrouded in mystery, but the fact that it feels like a living organism intuitively suggests that there is a high level of order in space and time. teamLab would like to search for a new spatio-temporal form that can have a strong existence and a sense of life even if the constituent elements are temporally and spatially distant from each other. teamLab believes that we can seek a new form that can be felt as the same existence as long as the same order is maintained, even though spatially the same form will never be the same again, and even though the size of the object varies greatly over time.

A Flutter of Butterflies expressed as countless semi-transparent images. The butterflies enter the space from outside, they propagate, and dance in the space, but if a person goes near the butterflies they die.

The butterflies in this space were drawn by people in Graffiti Nature, and released from characters in Born From the Darkness a Loving, and Beautiful World, they transcend the boundaries of other works, breaking the concept of an artworks frame, and seamlessly enter and fly in other works. The butterflies gather in other works and are their flight is affected by the conditions in those works.

A large number of screens are positioned in the exhibition space. The position of the screens is reproduced on a computer in a virtual three dimensional space, and then the space is “flattened” from multiple viewpoints into ultrasubjective space. The flattened multiple viewpoints are then positioned onto the screens. Ultrasubjective space allows for the area around the viewpoints to be cut out and the artwork to be exhibited layered within the exhibition space.

When a visitor passes a screen and becomes immersed in the flutter of butterflies, from another person’s viewpoint that person appears to be in the same relative position as the flutter of butterflies, both in the artwork and exhibition space. For the viewer that person has become a part of the artwork. In other words, when visitors are seen through the screen by others, they become a part of the artwork not only in the exhibition space but also in the artwork world.

The artwork is rendered in real time by a computer program. It is neither prerecorded nor on loop, it is continuously changing. Previous visual states can never be replicated, and will never reoccur.