teamLab: Dance! Art Exihibition, Learn & Play! Future Park | teamLab

メイン画像
ロゴ画像
전시 종료
2017.7.08(Sat) - 11.30(Thu)OCT Harbour-OCT Creative Exhibition Center, Shenzhen
メイン画像
ロゴ画像
전시 종료
2017.7.08(Sat) - 11.30(Thu)OCT Harbour-OCT Creative Exhibition Center, Shenzhen

“teamLab: Dance! Art Exhibition, Learn & Play! Future Park” is a large-scale exhibition that is designed to stimulate people’s creativity and collaborative minds with a form of Future Park. Combining art exhibitions and futuristic amusement park, this exhibition attracted more than 460,000 visitors when firstly opened in Odaiba, Tokyo, in 2015. It was awarded ‘TOP 10 art exhibitions of 2015‘ from the world’s biggest creative media ‘designboom’.

‘The Living Digital Space and Future Parks’, the 2nd exhibition that is currently being held in Silicon Valley, reportedly destroyed the long-lasting anti-art tradition of the west coast. Marina Bay Sands, the world's biggest hotel complex located in Singapore, is home to a permanent exhibition since March 2016. The news is covered by numerous local media, including 2 top national newspapers in Singapore. teamLab’s exhibition has been opened also in Thailand from May. From August, teamLab opened their second permanent exhibition at Lotte World (Seoul, South Korea).

Dance! Art Exhibition

Gold Waves

The movement of waves in 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 visualize the waves, the behavior of the particles of the water was then extracted and lines were drawn in relation to the movement of the particles. The wave created in a 3-D space is then turned into an artwork in accordance with what teamLab refers to as ultrasubjective space.
In premodern 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.  
This form of expression leads us to question why premodern 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 premodern people.
While viewing this artwork, if we feel a sense of life in the collection of lines—what can be called the subjective world of premodern people—then perhaps this is one aspect of objective recognition.
When viewing this artwork, as opposed to watching waves shot with a video camera, people may 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, as if the waves are luring them in. Perhaps we can find a connection to the way premodern Japanese people perceived the world and consequently behaved toward the world.
If we regard ourselves as a part of nature, and consider nature not just as something to be observed, we might join premodern people in perceiving rivers and oceans as living entities. This 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.

호응하는 램프의 숲- 원 스트로크 / Forest of Resonating Lamps - One Stroke

This artwork, in which lamps are seemingly scattered in a random manner, is composed of resonating light that changes based on the relationship between the people in the artwork space. It is a work that expresses the beauty of continuity.
When a person stands still close to a lamp, it shines brightly and emits a sound. The light spreads to the two closest lamps, which in turn similarly emit a sound, spreading their light to the lamps nearest to them. The light, now divided into two, will pass through all of the lamps in the room once, creating a single trajectory of light. The light created by your presence and light created by the presence of others, will always intersect.
Although the lamps may seem randomly scattered, they have been intentionally placed so that regardless of the light’s starting point, or even if the light spreads endlessly, a smooth trajectory of light will always be created, crossing trajectories of light created by other people. 
More specifically, the arrangement of the lamps is mathematically determined. When drawing a line between lamps that are closest to each other, the distribution in height, direction of the lamp, and the smoothness of the three-dimensional trajectory is quantified in order to create a unicursal line with the same starting and ending point.
As a result, a lamp’s light triggered by a person’s presence will, regardless of the fact that it is only spreading to the closest lamps, always pass through every lamp only once. The light will always cross the light created by others, and return to the original lamp that started its trajectory.
The arrangement of the lamps may appear random, but it is to express the beauty of the continuity of light, created by people interacting with the lamps from any position.

Universe of Water Particles

Universe of Water Particles is a virtual waterfall created in a virtual 3-D space using teamLab’s concept of ultrasubjective space, a term that refers to the depiction of space found in premodern Japanese painting.

Computer-generated water consisting of hundreds of thousands of water particles is virtually poured onto a virtually sculpted rock. The computer calculates the movement of the particles to produce a simulation of water that flows in accordance with the laws of physics. Lines are drawn in relation to a selection of 0.1% of the particles. The sinuousness of the lines depends on the overall interaction of the water particles.

In premodern Japanese painting, oceans, rivers, and other bodies of water were expressed using a series of lines. These lines give the impression of movement and life, as though water was a living entity. This form of expression leads us to explore why premodern people sensed life in rivers and oceans. Universe of Water Particles fuses the objective world of today’s knowledge with the subjective world of premodern people.

When viewing this artwork, regardless of the fact that the waterfall is a reproduction of physical phenomena, it can be possible to feel a sense of life in the collection of lines.

If, when viewing this artwork—as opposed to a video of a waterfall shot with a video camera—people feel the barrier between themselves and the waterfall dissolve, they become immersed in the work as if the waterfall is luring them in. Perhaps we can find a connection to the way premodern Japanese people perceived the world and consequently behaved towards it.

If we regard ourselves as part of nature, and consider nature as something not just to be observed, it is possible to feel that there is no boundary between ourselves and nature.

Flowers and People, Cannot be Controlled but Live Together – A Whole Year per Hour

공간 속에 여러 계절이 동시에 존재하며 그 계절들이 천천히 변화 해간다.꽃들은 움직이는 계절을 따라서 피어나는 장소도 천천히 이동한다.
꽃들은 태어나, 성장해, 꽃망울을 맺히고, 꽃을 피우고, 이윽고 꽃잎을 떨구고, 시들어 죽어간다. 즉, 꽃은 탄생과 사멸을 영원히 반복하고 있다. 사람들이 가만히 있으면 주변에 꽃들이 평소보다 많이 태어나고 피어나간다. 사람들이 꽃을 만지거나 밟으면 한꺼번에 흩어져 죽어간다.
봄에 구니사키반도를 방문했을 때, 산 속의 벚꽃과 산기슭의 유채꽃을 바라보며, 어디까지가 사람이 심은 것인지, 어디까지가 자생하는 꽃들인지 의문이 들었다. 그곳은 많은 꽃들에 둘러싸여, 아주 기분이 편하고 좋은 장소였다. 그리고, 그 자연이 사람의 활동에 영향을 받은 생태계라는 것을 느끼게 한다. 어디까지가 자연이고 어디부터가 인위적인가, 경계가 매우 애매하다. 즉, 자연과 인간은 대립하는 개념이 아니며, 기분 좋은 자연이란, 사람의 활동을 포함한 생태계인 것이다. 그리고, 지금과는 달리, 자연을 이해하거나 제어할 수 없어 자연의 규칙을 따르던 사람들의 활동이 이 기분 좋은 자연을 만든게 아닌가. 계곡 사이에 있던 동네에는, 옛적의 자연과 사람의 관계가 희미하게 남아있는 것처럼 느껴, 자연을 제어할 수 없을 때에 자연에 대한 인위는 무엇인가, 모색하려 한다.

차가운 생명

본 작품은 ‘생명은 생명의 힘으로 산다’(2011)의 표면을 벗겨내, 그 구조를 드러내고 있다.

컴퓨터는 3차원적인 물체의 형상을 격자로 그려진 추상적이며 고차원적인 정보로 표현한다. 3차원으로 그려진 물체는 그 표면을 벗겨내면 격자의 집합으로 이루어져 있다. 작품은 표면을 벗겨낸 상태, 즉 구조가 그려진 추상적이며 고차원적인 정보의 상태를 그대로 표현해내고 있다.

자연의 축복과 위협, 그리고 문명의 축복과 위협은 모두 끊임없이 연결되어 있다. 절대적인 악의를 갖고 있는 것도 아니며, 그렇다고 해서 완벽하게 아름다운 것만도 아니다. 알기 쉬운 해답이 존재하는 것도 아니며, 감정적으로 쉽게 정리할 수 있는 문제도 아니다. 하지만 어떠한 상황이 오더라도 ‘살아가는 것’은 전부 긍정하고 싶다. 생명은 아름답다.

teamLab 설립 후 꾸준히 작업을 이어온 공간에 쓰는 서(書), ‘공서(空書)’. 서예의 먹자국이 갖는 깊이나 속도, 힘의 강약과 같은 요소들을 새롭게 해석해 입체적으로 재구축한 작품이다. 나비와 새, 꽃 등의 동식물이 머물며 변화하는 계절과 더불어 생명을 표현했다. ‘산천초목실개성불(山川草木悉皆成佛, 살아있는 모든 것은 성불한다)’이라는 말에서 알 수 있 듯, 선종(禪宗)에서는 어떠한 것에도 구애받지 않은 자연 그대로의 모습이야말로 부처 그 자체라고 생각한다. 작품은 현대를 살아가는 우리들이 고찰하는 생명의 마음을 형상화하고 있다.

Learn & Play! Future Park

teamLab에 대해
아트 컬렉티브 teamLab은 2001년 활동을 시작했다. 국경을 넘어선 연대 속에 집단 창작의 방식으로 예술, 과학, 테크놀로지 그리고 자연계의 교차점을 학제적 접근으로 모색한다. 아티스트, 프로그래머, 엔지니어, CG 애니메이터, 수학자, 건축가 등 다양한 분야의 전문가들로 구성된 teamLab은 예술을 통해 인간과 자연, 개인과 세계의 새로운 관계를 탐구하고 표현한다. teamLab은 우리에게 익숙한 모든 경계에 대해 질문한다. 인간은 각자를 둘러싼 바깥 세상을 감각 기관으로 인지해 스스로와 분리하고 낱낱을 경계지어 독립체로 구분하려 한다. 현대 문명은 그런 방식으로 세계를 이해해 왔다. teamLab은 예술을 통해 감각을 확장하고 개인과 세계의 경계, 시간의 연속성에 대한 인지의 경계를 넘어설 수 있다고 믿는다. 이 세계의 모든 것은 광대한 시간 속에, 생명의 끝없는 연속 안에 가까스로, 하지만 기적적으로 존재하고 있다. teamLab의 작품은 시드니 뉴사우스웨일스 주립 미술관, 애들레이드 사우스오스트레일리아 미술관, 샌프란시스코 아시아 미술관, 뉴욕 아시아 소사이어티, 이스탄불 보루산 현대 미술관, 멜버른 빅토리아 국립 미술관, 헬싱키 아모렉스가 영구 소장하고 있다. teamlab.art Biographical Documents teamLab is represented by Pace Gallery, Martin Browne Contemporary and Ikkan Art.

전시회장 정보

teamLab: Dance! Art Exihibition, Learn & Play! Future Park

기간

2017.7.08(Sat) - 11.30(Thu)

영업 시간

10:00〜22:00

오시는 길

주소

OCT Harbour-OCT Creative Exhibition Center

주최자

Bloosming Culture and Art