teamLab: A Forest Where Gods Live | teamLab

メイン画像
ロゴ画像
ESPOSIZIONI PASSATE
2020.07.22(Wed) - 11.08(Sun)Mifuneyama Rakuen, Takeo Hot Springs, Kyushu
メイン画像
ロゴ画像
ESPOSIZIONI PASSATE
2020.07.22(Wed) - 11.08(Sun)Mifuneyama Rakuen, Takeo Hot Springs, Kyushu
Measures to prevent the spread of COVID-19

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

OPERE

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.

EN TEA HOUSE Otoro

STAGIONALEUntil Dec 08

Forest and Spiral of Resonating Lamps - One Stroke, Autumn Mountain

Before the modern era in Japan, Kasane no Irome (nuances of layered colors) were seasonal colors created in silk. The complicated colors were the result of a combination of front and back colors (silk at the time was so thin that the liner was transparent, creating more nuanced colors), overlapping color gradations, complex weave colors, and combinations of warp and weft.
When a person stands still close to a lamp, it shines brightly and emits a color that resonates out. The light of this lamp becomes the starting point, and it spreads to the two nearest lamps. The light from the two nearest lamps transmits the same color to other lamps, one after another, spreading out continuously. The light transmitted from the lamp always resonates out as a bright light once, passing to close lamps, until all of the lamps have shone brightly once, and then returns to the first lamp. The light of the lamp in response to human interaction, divides in two, becomes one optical line through all of the lamps respectively, before finally, returning to the first lamp that was the starting point. People become aware of the presence of others in the same space.
All the lamps, seemingly scattered randomly, have a single connecting line (unicursal) that can be drawn. When drawing a line, the stroke (the same starting and ending points) is drawn from a lamp to the lamp that is the closest in distance in three-dimensions. By arranging the lamps in this way, the light of the lamp corresponding to the person is always propagated to the nearest lamp, and must always pass through all the lamps in the space in a single stroke, before finally returning to the first lamp that was its origin.
The arrangement of the lamps is mathematically determined to satisfy a number of restrictions outlined below. A large number of solutions were evaluated that take into account the variation and distribution in the height, the direction of the lamps, and the smoothness of the three-dimensional path (light trajectory).
The hanging lamps are arranged uniformly, in such a way that they form an orderly grid. This is the first constraint. The second constraint is that of the boundaries of the physical space: the distance between the floor and the ceiling, and the height and the width of the passages through which people can move. And the third constraint is that when a line is drawn from any lamp to another lamp in three dimensions, the starting point and the ending point must be connected as a single line (unicursal).
Since the arrangement of the lamps born from such a process seems to be random at first sight, the trajectory of the resonating light cannot be predicted: the light continues to the lamp that is physically closest, thus giving a natural feeling - like a fire burning. And since the light trajectory of the lamps is connected by a single line, the light born from any particular lamp and the light born from any other lamp will always cross each other.
The arrangement of the lamps is not only beautiful in a static way, but also in a dynamic way when activated by people in the space. It demonstrates the space of a new era that can be designed freely and change itself through digital technology, a space that adapts and changes due to the movement of the people in it. 
※The lamp are made of Murano glass (Venetian glass).

Ruins and Heritage

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Informazioni sulla Sede

teamLab: A Forest Where Gods Live

Durata

2020.07.22(Wed) - 11.08(Sun)

Orari

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.

Chiuso

Open daily

Accesso

Sede

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

CONTATTI

Tel

Mifuneyama Rakuen
+81-954-23-3131
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.

Gli Organizzatore

Mifuneyama Rakuen
teamLab

Cooperation

Saga Television Station