teamLab: Continuity | teamLab

EXPOSIÇÃO PASSADA

2021.07.23(Fri) - 2022.02.28(Mon)Asian Art Museum, San Francisco, California

EXPOSIÇÃO PASSADA

2021.07.23(Fri) - 2022.02.28(Mon)Asian Art Museum, San Francisco, California

Continuity

"teamLab: Continuity" is a different approach to an art exhibition experience based on teamLab’s core concepts that the digital domain can expand art, and that within the digital domain, art can transcend both physical and conceptual boundaries. Instead of offering a selection of objects plucked from the world around us, presented in clusters or in sequence, it offers a world of dynamic artworks without distinct boundaries, and without a map. The interactive digital installations are neither a prerecorded animation nor on a loop—the work is rendered in real time. 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. Artworks fly beyond borders, expand, influence, and sometimes intermingle with each other.

Exhibitions have played many roles over past centuries, often looking at objects as ways of understanding the world around us. Royal collections assembled things of splendor and fascination. World’s fairs and expositions were organized to showcase modern technologies alongside art and culture. These modes of display incorporate power dynamics, as do the practices of today’s museums. The exclusivity of the curated subjects or objects, the rarefied nature of the experience, and the politics of who collects what and when are all still present in the exhibitions we attend today.

Contemporary museums often require visitors to balance their interest in attending the special event that is the temporary art exhibition, a fundamentally social event shared by both friends and strangers, with the desire to contemplate and examine art as a personal, if not solitary, experience. In "teamLab: Continuity", immersive works of art react to each other and to the people in the space, making the presence of others a fundamental and positive part of the experience. Explore with intention, discover, and create a new world with others.

A Collective Future: Exhibitions in the Age of Digital Interactivity
Living in challenging times, when we are confronted daily with the global threat of the climate crisis, the playfulness and wonder of teamLab’s artworks might seem escapist, self-indulgent, or naïve. After spending time in the exhibition, however, it is hard to deny its connection to the real world. Natural life cycles play out and start anew, historical modes of representation are explored and redeployed, and our interdependence with the environment is front and center. The interconnected artworks, governed by dynamic algorithms, are never exactly the same twice, although the various experiences, imagery, and tempos are underpinned by a type of measured continuity. Seamless transitions between experiences, and the interactive quality of the artworks, are based not just on the actions but the presence of the visitors. Thinking back to Imperial collections, world’s fairs, and other pre-digital exhibitions, what is different about this one, realized in the age of digital interactivity and unprecedented connectivity? Is the principle impulse still to better understand the world we live in? Or is it designed to detach the viewer from the real world by offering a creative alternative?

teamLab’s artworks—interpretations of blooming flowers, of strokes of ink, of soaring birds, or of schools of fish—can almost feel like windows into adjacent realms, but they can also serve as mirrors that reflect the world we live in. Each work can be explored in an unstructured way with the option to return, revisit, and re-explore. Rather than passively consuming works of art, viewers are automatically actively involved in sympoiesis—“together-making”—or collective production. Not just an assembly of marvelous things to behold, "teamLab: Continuity" offers a place to reflect on the shared creation of the world we live in—a collective privilege and responsibility as crucial to recognize in spaces dedicated to art and culture as it is in natural ecosystems.

- Karin Oen, Curator, Asian Art Museum of San Francisco

OBRAS

Forest of Flowers and People: Lost, Immersed and Reborn

The seasons co-exist and change gradually across the installation space.
Flowers blossom according to the seasons, and the places where they grow gradually change.

The flowers bud, grow, and blossom before they begin to wither and their petals eventually scatter, repeating the cycle of life and death in perpetuity. If a person stays still, the flowers surrounding them grow and bloom more abundantly than usual, but if people touch or step on the flowers, they shed their petals, wither, and die all at once. Sometimes the flowers cross the boundaries of other works and bloom in other spaces, but scatter or die due to the influence of other works.

The artwork is not a pre-recorded image that is played back; it is created by a computer program that continuously renders the work in real time. The interaction between people and the installation causes continuous change in the artwork, so previous visual states can never be replicated, and will never reoccur. The picture at this moment can never be seen again.

In spring in the Kunisaki Peninsula, there are many cherry blossoms in the mountains and canola blossoms at their base. A visit to this region led teamLab to wonder how much of these flowers were planted by people and how much of them were native to the environment. It was a place of great serenity and contentment. The expansive body of flowers is an ecosystem influenced by human intervention, and the boundary between the work of nature and the work of humans is unclear. Rather than nature and humans being in conflict, a healthy ecosystem is one that includes people. In the past, people understood that they could not grasp nature in its entirety, and that it is not possible to control nature. People lived more closely aligned to the rule of nature, which perhaps created a comfortable natural environment. We believe that these valleys hold faint traces of this premodern relationship with nature that once existed, and we hope to explore a form of human intervention based on the premise that nature cannot be controlled.

Crows are Chased and the Chasing Crows are Destined to be Chased as well, Transcending Space

This artwork is to be viewed from a position close to the entrance of the space.
The work begins when the crows from Crows are Chased and the Chasing Crows are Destined to be Chased as well enter the space. The work ends when the crows leave the space and disappear.
If you stand at the position close to the entrance, the boundary between the wall and the floor disappears, 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.
The artwork is not a pre-recorded image that is played back: it is created by a computer program that continuously renders the work in real time. It is in constant change: previous visual states can never be replicated, and will never reoccur. The picture at this moment can never be seen again.

Crows are Chased and the Chasing Crows are Destined to be Chased as well, Flying Beyond Borders

This work starts when the crows leave a room.
The crows cross the boundaries of other works, and fly around extensively influencing the works that they enter. For example, the crows’ flight scatters the flowers of other works, or in the case of Born From the Darkness a Loving, and Beautiful World, if the crows fly into a Chinese character, the world contained within that character will appear.
Crows are rendered in light as they fly around the space, leaving trails of light in their paths and creating Spatial Calligraphy. The crows chase one another and in turn become chased themselves. When the chased crows crash into one another, they scatter, turning into flowers. The crows attempt to fly around people in the space, but when they crash into a viewer, they scatter, turning into flowers in the same way.
The artwork is rendered in real time by a computer program. It is neither a prerecorded animation nor on loop, it is continuously changing. Previous visual states can never be replicated, and will never reoccur.

Crows are Chased and the Chasing Crows are Destined to be Chased as well – Black in White

Mythical crows (Yatagarasu) drawn in black ink fly around the space, and their trajectories become ink trails of Spatial Calligraphy. A group of crows chases after the first crow. When the crows catch up with the leader, it turns into a flower and scatters, and the chasing crows eventually become the one being chased.
The original artwork of the Crows are Chased and the Chasing Crows are Destined to be Chased as Well series was created in 2013. Subsequent installations include, Folding and Enclosing (2013),Dividing (2014), and Mori Art Museum's Space and Art Exhibition (2016), leading to the artwork of the Crows are Chased and the Chasing Crows are Destined to be Chased as well: Cosmic Void exhibited now at teamLab Borderless in The Cosmic Void space.

The Way of the Sea, Transcending Space - Colors of Life

This artwork is to be viewed from a position close to the entrance of the space.
This work starts when the shoal of fish from The Way of the Sea, Flying Beyond Borders enters the space at the far end of the exhibition. The work ends when the fish leave the space and disappear.
If you stand at the position close to the entrance, the boundary between the wall and the floor disappears, making the lines drawn by the trails of the shoal appear three-dimensional. Eventually your body becomes immersed in the world of the artwork, and the boundary between the artwork world and the viewer dissolves as well.
The shoal of fish rendered in light moves freely through the space, leaving trails of light. They sense people’s presence and try to avoid colliding with them. People who enter this space are assigned a certain color, and when a fish passes by a person, it takes on the same color.This work is part of a series called The Way of Birds. “The way of the bird” is a Zen expression that refers to how the flight of a bird is free, as opposed to the fixed roads in the human world. The way of the bird is free, unfettered, and leaves no trace. Here, the birds are replaced with fish.
The movement of thousands of fish is beautiful and mysterious, appearing like a single giant life form. The shoal has neither a leader nor mutual consensus, but it is said that the fish move on the simple basis of; if my neighbor moves, then I move too. However, the biological mechanism that causes hundreds of fish to move at the same time remains a mystery. It seems there is a universal principle that humans have yet to understand. Likewise, the arrangement of color of the shoal is not predetermined. Influenced by people, the fish move, based on a primitive rule unknown to humankind, which in turn creates a complex and beautiful coloration in the space.
The artwork is not a pre-recorded image that is played back: it is created by a computer program that continuously renders the work in real time. The installation is in constant change,  previous visual states will never be replicated, and will never reoccur. The picture at this moment can never be seen again.

The Way of the Sea, Flying Beyond Borders - Colors of Life

This work begins when a shoal of fish, The Way of the Sea, leaves a room and crosses the boundaries of other works, sometimes influencing the works, and moves around freely. 
People have their own color, and when they hold a hand over the fish, the fish are dyed that color.
This work is part of a series called The Way of Birds. “The way of the bird” is a saying in Zen which refers to the fact that unlike a human road, the road of the bird is not fixed. The road of the bird is free, unfettered, and leaves no trace. Here, the birds are replaced with fish.
The movement of thousands or tens of thousands of fish is beautiful and mysterious, like a single giant life form. The school of fish has neither a leader nor mutual consensus, but just moves on the simple basis of; if my neighbor moves, then I move, too. However, the biological mechanism that causes hundreds of fish to move at the same time is still enigmatic. It seems there is a universal principle that human beings do not yet understand. The group of trails of light drawn in the space have no meaning as a whole, while being influenced by the existence of people, the lines are drawn by the movement of each fish that seems to obey some kind of primitive rule.
The work is not a pre-recorded image that is played back; it is based on a computer program that continuously renders the work in real time. The interaction between people and the installation causes continuous change in the artwork; previous visual states can never be replicated, and will never reoccur. The picture at this moment can never be seen again.

Sharing Rock Mass

A rock mass floating in the world of teamLab Borderless in Shanghai. The rock mass floats down the passage of teamLab Borderless in Shanghai and sinks into the wall. The rock mass transcends the physical space of the museum itself, the sunken part appearing in the space of this exhibition.
When people hold a hand over the rock mass that comes out of the walls of this space, the rocks glow blue. The light flows to the rock mass sinking into the walls of Shanghai. When people touch the rock mass sunk into the wall at Shanghai, the rock mass glows red and the light flows into the rock mass on this side. When red light flows into the rock mass, it means that someone in Shanghai is touching the other side of the rock mass.

Reversible Rotation - Cold Light

The Spatial Calligraphy rotates in the artwork space, every aspect rotating in the same direction. But because of the special characteristics of ultrasubjective space, it can appear to be rotating clockwise or counterclockwise.

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 teamLab calls ultrasubjective space. The calligraphy shifts between two and three dimensions.

Reversible Rotation, Flying Beyond Borders - One Stroke, Cold Light

The monitor Spatial Calligraphy artwork Reversible Rotation transcends the boundaries of the display and draws across the entire space with a single stroke. This single stroke influences other artworks: it causes the flowers in Forest of Flowers and People: Lost, Immersed and Reborn to scatter.
The Spatial Calligraphy rotates in the artwork space, every aspect rotating in the same direction. But because of the special characteristics of Ultrasubjective Space, it can appear to be rotating clockwise or counterclockwise.

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 teamLab calls Ultrasubjective Space. The calligraphy shifts between two and three dimensions.

Reversible Rotation - Continuous, Cold Light

This work has no end and surrounds the exhibition space. The Spatial Calligraphy rotates in the artwork space, every aspect rotating in the same direction. But because of the special characteristics of Ultrasubjective Space, it can appear to be rotating clockwise or counterclockwise.

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.

Flutter of Butterflies Beyond Borders, Ephemeral Life

When no one is in the space, it is completely dark and nothing exists. When people enter the space and stand still, butterflies are born from their feet where they stand, or from their hands held above the wall. When people hold their hands over the butterflies themselves, the butterflies die.
The butterflies fly beyond borders and through other artworks, entering monitors or leaving rooms, dissolving the boundaries between artworks and flying through other works. By flying seamlessly through the other pieces, the artwork is freed from the concept of “frames” and blurs the boundaries between works. The butterflies are influenced by other artworks as they fly.
Only the butterflies born from people fly in this exhibition. If people kill more butterflies than they create, this artwork will cease to exist.
The artwork is not a pre-recorded image that is played back: it is created by a computer program that continuously renders the work in real time. The interaction between people and the installation causes continuous change in the artwork: previous visual states can never be replicated, and will never reoccur. The picture at this moment can never be seen again.

The Void

A pitch black artwork with nothing in it.
Because it is empty, anything can enter it. Infinite possibilities open up. Because it is empty, it highlights other existences and concepts.

Flutter of Butterflies Beyond Borders, Transcending Space

This work is to be viewed from a position close to the entrance.
The artwork begins when the Flutter of Butterflies Beyond Borders, Ephemeral Life enters the space. If other works enter the space, the Flutter of Butterflies Beyond Borders, Ephemeral Life leaves.
If you stand at a position close to the entrance, the boundary between the wall and the floor disappears. Eventually, the body becomes immersed in the artwork world, and the border between the artwork and the viewer dissolves.
The artwork is not a pre-recorded image that is played back; it is created by a computer program that continuously renders the artwork in real time. As a whole, it is continuously changing, and previous visual states are never replicated. The picture at this moment can never be seen again.

Born From the Darkness a Loving, and Beautiful World

When people hold a hand over the characters, the worlds that the characters embody will appear, influencing one another to create a single world.
This artwork is also influenced by other works. For example, when the crows from Crows are Chased and the Chasing Crows are Destined to be Chased as well, Flying Beyond Borders or the fish from Sketch Ocean touch the characters, the worlds contained within the characters appear. 
The elements that are born from the characters are placed at various positions within the artwork space, and the various physical effects and interactions between them produce a single world. For example, when the wind blows, flowers and snow physically fly away. Birds alight in trees, and butterflies are attracted to flowers. Just as in nature, what you see at this moment can never be seen again.

Life Survives by the Power of Life II

Although self and nature seem distinct, they are actually a single entity, inseparable from each other. The opposite of division is not unification, and we might  realize that existences that appear to be distinct are actually part of a single whole.The blessings and threats of nature, as well as the blessings and threats of civilization, are continuous. Neither is there a source of absolute malice, nor can it all be dismissed idealistically. Nonetheless, we seek to affirm life in all aspects. Life is beautiful.
In this artwork, 生 (sei), the character that signifies life, is written three-dimensionally using Spatial Calligraphy. Spatial Calligraphy is a form of calligraphy drawn in space 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 teamLab calls Ultrasubjective Space. The calligraphy shifts between two and three dimensions.
The space of a traditional artwork, framed by a lens or perspective, appears to be on the other side of the artwork’s surface: the surface becomes a boundary, and the space where the viewer exists is separated from the artwork space. However, one of the characteristics of Ultrasubjective Space is that the artwork surface does not become a boundary. Thus the space in which the artwork exists, transcends the boundary of the artwork surface and is perceived as though it exists three-dimensionally in the same space where the viewer stands. The artwork space is continuous with the viewer’s physical space.

Sketch Ocean

All the various fish drawn by everyone swim around in this ocean.
Color in a fish on the paper provided and see the picture you have colored come to life, swimming out into the ocean in front of you together with fish drawn by other people. If you touch the fish, they will swim away. You can also feed the fish by touching the food bags.
Sometimes, the fish leave the room, transcend the boundaries between artworks, and begin to swim through the museum.
The tuna transcend the physical boundaries of the museum and swim out into Sketch Ocean or Sketch Aquarium: Connected World artworks in exhibitions around the world. Similarly, tuna drawn in other parts of the world may appear and swim into Sketch Ocean right in front of you.

VISITE

Detalhes do local

teamLab: Continuity

Duração

2021.07.23(Fri) - 2022.02.28(Mon)

Horário

Mondays, Fridays, Saturdays, & Sundays 10:00 - 17:00
Thursdays 13:00 - 20:00

Special Museum Hours Starting February 17, 2022:
Thursday 12:00 - 21:00
Friday 9:00 - 19:00 (members only 9:00 - 10:00; 18:00 - 19:00)
Saturday 9:00 - 21:00 (members only 9:00 - 10:00)
Sunday 9:00 - 18:00 (members only 9:00 - 10:00)
Monday 9:00 - 18:00
* Advance reservations are strongly recommended as walk-up availability is extremely limited.

Fechado

Tuesdays, Wednesdays

Website

Asian Art Museum

Acesso

Local

Asian Art Museum
200 Larkin St, San Francisco, CA

CONTACTOS

TEL

(+1) 415-581-3500

NOTÍCIAS

Featured on IDN TIMES, Nov 24, 2021

5 Lokasi Pameran Seni Digital teamLab di Seluruh Dunia, Keren Abis!

teamLab dikenal oleh masyarakat di dunia sebagai penyelenggara pameran seni digital yang mampu menggabungkan seni, teknologi, dan sains sehingga kamu dapat menikmati karya seni yang mempesona selama berkunjung ke teamLab. (Excerpt from the text)

Featured on Tatler, Nov 4, 2021

Chasing Lights: 7 teamLab Exhibitions Around The World

For 20 years, Japanese art collective teamLab have wowed audiences with spectacular installations that bend and stretch the imagination—bringing together art, science, magic and metaphor in the form of immersive digital dreamscapes. As international border restrictions begin to ease, here are some current teamLab exhibitions around the world worth travelling for, from Singapore to Shanghai to San Francisco. (Excerpt from the text)

Featured on MarinaTimes, Oct, 2021

‘After Hope: Videos of Resistance’ and ‘TeamLab: Continuity’ at the Asian Art Museum

“TeamLab: Continuity” consists of 14 movement-sensitive artworks, filling the gallery space in a hyper-response to human activity, and transforming visitors into participants. The digital animation’s reactive algorithm responds to the locations and movements of the museumgoers as they move through space, creating a kind of artistic fingerprint of that particular moment. (Excerpt from the text)

ARTISTA

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.

teamLab: Continuity is organized by the Asian Art Museum of San Francisco. Presentation is made possible with the generous support of Bank of America; CB2 Builders; Karla Jurvetson, M.D.; Puja and Samir Kaul; Nion McEvoy and Leslie Berriman; Diane B. Wilsey; and an anonymous donor. Additional support is provided by Ann and Paul Chen, Sakurako and William Fisher, Beverly Galloway and Chris Curtis, and the W.L.S. Spencer Foundation. This exhibition is a part of Today's Asian Voices, which is made possible with the generous support of Salle E. Yoo and Jeffrey P. Gray. 

Sustained support generously provided by the following endowed funds: 
Akiko Yamazaki and Jerry Yang Endowment Fund for Exhibitions 
Kao/Williams Contemporary Art Exhibitions Fund 

OUTRAS EXPOSIÇÕES

ON VIEW

teamLab Borderless: MORI Building DIGITAL ART MUSEUM

2024.02.09(Fri) - Permanente

Azabudai Hills, Tokyo

teamLab Museum

ON VIEW

teamLab Planets TOKYO

July 7, 2018 - End of 2027

Toyosu, Tokyo

teamLab Museum

ON VIEW

teamLab Borderless Jeddah

2024.06.10(Mon) - Permanente

Culture Square, Jeddah Historic District

teamLab Museum