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.&nbsp;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. Depending on the proximity of the viewer to the work, the flowers shed their petals all at once, whither and die, or come to life and blossom once again.

Ultrasubjective Space

Frieze Los Angeles 2019

Children’s Festival: Small Big Dreamers 2018

teamLab: Walk, Walk, Walk: Search, Deviate, Reunite

INFINITE DIMENSIONS IN DIGITAL ART AND BEYOND

ENJOY - L'arte incontra il divertimento

Art Dubai

teamLab

Frieze London

teamLab: Living Digital Space and Future Parks

Seattle Art Fair

Prudential Eye Zone

Art Basel - Hong Kong

Prudential Eye Awards 2015 Exhibition

WIDEWALLS

Global art world will gather for the 11th time in Dubai in March, for the occasion of one of the world’s leading art fairs –&nbsp;Art Dubai 2017. Situated at Madinat Jumeirah, this year’s edition will feature&nbsp;over 90 galleries from 43 countries, including 25 new galleries that will be part of the fair for the first time.（本文抜粋）

ART DUBAI 2017 - THE 11TH EDITION OF THE LEADING FAIR

TheNational

Art Dubai’s 11th edition is in full swing now and my advice to any visitors is to make sure to check out the TeamLab booth. It is a collaboration between three galleries Singapore’s Ikkan Art Gallery, together with Martin Browne Contemporary of Sydney and Pace Art + Technology, from Menlo Park, California, USA.（Excerpt from the text）

Art Dubai: Artist Focus, teamLab

OKJ DISCOVERIES

ArtScience museum celebrates their fifth anniversary with a new permanent exhibition that might just be Singapore's best Instagram spot yet.（本文抜粋）

ArtScience Museum just became Singapore's best Instagram scene yet

Artdependence

Art Dubai Contemporary as part of Art Dubai 2017 is extraordinarily diverse. The 2017 fair features 79 galleries from 41 countries, from the world’s most influential galleries to dynamic young art spaces.（本文抜粋）

Art Dubai Contemporary 2017: highlights

WHAT'S ON

Held under the patronage of His Highness Sheikh Mohammed Bin Rashid Al Maktoum, Vice President and Prime Minister of the UAE and Ruler of Dubai,&nbsp;Art Dubai it is an international art fair with roots in the Middle East, Africa and South Asia（本文抜粋）

Art Dubai 2017: Your guide to the art fair

El Comercio

La navegación por&nbsp;YouTube&nbsp;puede arrojar algunos resultados tan inesperados como interesantes y es a través de esta plataforma que muchos han podido conocer la espectacular propuesta de la empresa y colectivo artístico “TeamLab”.（本文抜粋）

Team Lab, un espectacular proyecto artístico y empresarial

THE DAILY

The
 Living Computer: Museum + Labs, founded by Microsoft co-founder Paul 
Allen, recently underwent a major expansion and reopened to the public 
Nov. 18.（本文抜粋）

Exhibit Review: The Living Computer: Museum + Labs

THRILLIST

As the actress Stella Adler once said, “Life beats down and crushes the soul, and art reminds you that you have one.” Plus it’s a scientific fact (probably) that everyone leaves an art gallery with renewed appreciation for their fellow man and the world at large.&nbsp;（本文抜粋）

THE 8 BEST ART EXHIBITIONS RIGHT NOW

ARTSY

<div>The 20 Best Booths at Frieze London</div><div>From immersive installations by biennial darlings, like Hans Op de Beeck and Philippe Parreno, to new work by artists on the rise, like Ouyang Chun and Lloyd Corporation, this year’s Frieze London covers a lot of ground.&nbsp;</div><div>（Excerpt from the text）</div>

The 20 Best Booths at Frieze London

Art Practical

When Toshiyuki Inoko decided to leave the countryside for the university in the mid ’90s, the internet was still growing, but he was already imagining that “the networks and digital fields would become big and create new societies.（Excerpt from the&nbsp;text）

Living Digital Space and Future Parks

Artsy

The opening night of the inaugural Seattle Art Fair was buoyantly cheerful and densely packed, with 62 galleries and a smattering of powerhouse collectors: Seattle’s Wrights and Hedreens, New York’s Beth Rudin DeWoody, and of course, fair founder and Microsoft co-founder Paul Allen, who hosted the event in a complex that also houses his own stadium (literally, the venue where his Seattle Sounders professional soccer team plays). The rest of the crowd was atypical of the art fair norm—fewer suits and ties than Teva sandals and khaki shorts, plus young children with their families. “Last night was one of those evenings that felt very social,” said David Zwirner director Robert Goff, who brought a spread of work by the gallery’s artists, including a new Oscar Murillo, a 1976 Dan Flavin, a 1969 Alice Neel, and a brand new stainless steel sculptural “Pumpkin” by Yayoi Kusama. The assemblage ranged in price from $8,000 to “just under” $2 million. “It was a good energy,” Goff told Artsy the morning after, although it didn’t bring a wholly “art-collecting crowd.”&nbsp; “A lot of people might not know the artists we show even though they’re quite well known,” he continued. “There’s more of a public element of education here, where people are just coming to look at things.” (Steven Sacks, founder of bitforms gallery, however, put it more bluntly: “It’s pretty slow.”) The energy Goff describes, even in tandem with a handful of blue-chip galleries—Zwirner, Gagosian, Pace, and Paul Kasmin—did not result in any record-breaking opening night. In Seattle, arguably the tech world’s second city, the wealth of Microsoft, Amazon, and Google employees abound, yet exactly how to translate that money into a thriving art market continues to mystify dealers.&nbsp; “People are excited, and they say thank you for coming, but I am answering questions that are unusual for the first day of an art fair,” said L.A. gallerist Harmony Murphy, including: “What does a gallery do?”; if one of her pieces, G.T. Pellizzi’s 2014 steel-pipe and ceramic-basin Before Completion – Template (Figure 1), was in fact a sculpture; and whether someone could wash one’s hands in it. “I’ve met a lot of local artists and people from the neighborhood, who, based on the kinds of fairs that happen in New York, usually come on the last day of the fair.”&nbsp; Many dealers came with the hypothesis that throwing a few pieces that incorporated a tech component into the mix would attract the ever-elusive tech-world art collector. Edward Cella of Los Angeles brought two pieces by Laurie Frick, who transforms GPS data into paper collages and wall-mounted aluminum cut-outs. A 3-D printer stood on each end of fellow L.A. gallery 101/exhibit’s booth, extruding away to draw attention to Micah Ganske’s Ocular EVA Pod (2015), a 3D printed spaceship console complete with a set of Oculus Rift virtual reality goggles, priced together at $35,000.&nbsp; Everywhere, there were screens. In addition to “Thinking Currents,” an exhibition of video art focusing on subjects related to the Pacific Rim, beautifully curated by Leeza Ahmady, there were digital portraits that would continuously shift in posture by Susie J. Lee at Portland’s PDX Contemporary. For Hong Kong’s Osage, the piece that garnered the most visitor attention in their booth was Maurice Benayoun’s Emotion Winds (2014), an animated illustration of both the world’s wind patterns and levels of happiness on a digital map. Pace, alongside works by Sol LeWitt and Tara Donovan, brought three pieces by teamLab, a Japanese collective of programmers and engineers. Their Zen-inducing images of flowers and waterfalls drifting across panels of digital screens “generated a lot of interest,” according to Pace director Elizabeth&nbsp;Sullivan.&nbsp;<div> Yet for the most part, these conceptual pieces did not seem to resonate with fairgoers as items for purchase. “It doesn’t feel like I’ve hit a stride yet in terms of reaching a deeper base,” Sacks, whose bitforms gallery focuses entirely on new media, told Artsy, although by day one he had moved a few works by artist Addie Wagenknecht. She was present at the fair to perform inside the gallery’s auxiliary plexiglass enclosure, employing drones to spread colored pigments over canvases and create new editions of her “Black Hawk Paint” series, one of which sold for $8,000.&nbsp; Faring better was the more traditional media of Greg Kucera Gallery, which sold two works by Seattle artists—Margie Livingston’s Tacky Grid (2015) for $10,000 and Sherry Markovitz’s beaded 2014 Poodle Head for $28,000, in addition to a 2012 William Kentridge print, Self-Portrait as a Coffee Pot for $9,800. Native American specialist Donald Ellis sold the frontlet of a Haisla chief’s headdress dating 1840-1860 to the forthcoming Audain Art Museum of Whistler, Canada, for $250,000. And neon seemed to be a hit. On opening night, Paul Kasmin sold Iván Navarro’s Revolution #2 (2015), glowing words encased in a set of drums, for $100,000, and Nancy Hoffman sold a Michele Pred piece for $1,200.&nbsp; Despite wan sales in the fair’s first hours the gallerists continued to be uncannily cheerful. Perhaps it was the low stakes, with exhibitors’ fees here much smaller in comparison to other, more established fairs. Or perhaps it was the enthusiasm of the audience, which is exactly what founder Paul Allen had wanted. His mission statement included nothing of making sales. “I’ve always had a passion for art, and believe it should be accessible to everyone,” he told Artsy. “It is my hope that the fair will continue to ignite a passion for art and culture in our community.” But is passion enough to bring the dealers back next year? “Too early to comment,” Paul Kasmin director Eric Gleason told us. Like a Magic 8 Ball, he advised that we ask again later. (Gleason subsequently contacted Artsy to confirm that the gallery would, indeed, be participating in the fair’s next addition.) —Janelle Zara</div>

At the Inaugural Seattle Art Fair, Tech Execs Favor Local Artists Over LeWitt and Kusama

SEATTLE, Wash – The Paul Allen backed Seattle Art Fair opened last night at the Century Link Events Center in a grand gala attended by more than 4,000 guests. This first of its kind event gives the people of Seattle the opportunity to view works of art from some of the top artists and galleries in the world. There are performances, lectures, demonstrations, tours, shuttles to satellite exhibits and events, and free ice cream sandwiches celebrating the summer sunset from artist Spencer Finch’s outdoor ice cream truck.Kelly Freeman, Director of the Seattle Art Fair talked about what makes this event so special.“This is the first year of the Seattle Art Fair and we’ve brought 62 of the world’s best galleries to the Century Link Events Center. We have some of the best of the best, and when you come to the Seattle Art Fair you have the opportunity to engage with artwork that perhaps you wouldn’t be able to see anywhere else in the world.” We asked Executive Director Max Fishko to give us some insight on what works shouldn’t be missed:<ul><li>The Pace Gallery and Gagosian Gallery are regarded as two of the most important art dealers in the world. Each have international presence and represent a wide range of artists of contemporary and historical significance. Both are exhibiting in the Fair.</li><li>The teamLab video work at the Pace Gallery booth. “The installation from teamLab is incredible, this is a collection of video works by probably the most prominent video and digital artists’ collaboration in the world.”</li><li>Black Hawk Powder, a performance by Addie Wagenknecht is a series of “mechanically assisted” paintings being created on site with a drone helicopter. These are scheduled demonstrations throughout the weekend, so if you want to see it in person to be there Fri Jul 31st 1-1:30p, Sat Aug 1st 5-5:30p, or Sun Aug 2nd 2:30-3:00.</li><li>Artist Al Farrow’s solo exhibitat the Forum Gallery Booth. “There’s an incredible installation of Al Farrow’s work. He’s making cathedral’s mosques and synagogues out of guns and ammunition. The pieces and the machinery of war are being re-crafted into these incredible, cherished objects.”</li><li>The Dustin Yellin solo exhibition of artwork at the Winston Wächter Fine Art booth. “Those pieces are stunning, they are a number of glass panels, each one has inlaid objects in a sort of collage fashion and they all come together to form one gigantic figure. You should definitely see them.”</li><li>The Seattle Art Fair runs through 6pm Sunday Aug 2nd at the Century Link Events Center. There are shuttles available from Century Link to several satellite exhibitions including one at the Living Computer Museum.</li><li>Public Fair Hours are Friday and Saturday 11a-7p and Sunday 12p-6p. Paid parking is available in the South Parking lot off of South Royal Brougham Way, adjacent to the CenturyLink Field Event Center (WaMu Theater).</li></ul>Visit the Site: <a target="_blank" rel="nofollow" href="http://seattleartfair.com/">http://seattleartfair.com/</a>

Don't miss the first Seattle Art Fair this weekend

BLOUINARTINFO

SINGAPORE — Following its exhibition of artworks by finalists of the Prudential Eye Awards in January, the&nbsp;<a target="_blank" rel="nofollow" href="http://www.marinabaysands.com/museum.html">ArtScience Museum</a>&nbsp;opened “Prudential Eye Zone,” a showcase of 17 works by Asian artists co-curated by Korean pop celebrity T.O.P., on April 3.（Excerpt from the&nbsp;text）

Prudential Eye Zone Opens at ArtScience Museum

Public Art Monthly art magazine

At a conference last year at the Mori Art Museum on the subject of internationalism in contemporary art, scholar Michio Hayashi theorized that the popular perception of “Japanese-ness” in the West was cemented in the 1980s by triangulating “kitsch hybridity,” “primordial nature” and “technological sophistication.” 1) Today, popular (especially commercially) contemporary art from East Asia can largely be placed somewhere inside that triangle. Recent exhibitions in Europe and the United States featuring Asian artists certainly fit the triangulation formula, exhibiting themes of technological futures. 1) Ryan Wong “Kitsch, Myth, and Technology: Japanese Art in the West” 『Hyperallergic』 2014. 8. 5teamLab has become quite a prominent group in both the East and the West, via the technological sophistication and the presentation of works that condense characteristics associated with contemporary art in Asia. Presented in Chelsea at the “Duality of Existence” exhibition last year, Crows are Chased and the Chasing Crows are Destined to be Chased as Well – Light in Dark (2014) was one such example. The seven-projector, seven-screen digital animation installation tailed the swerving flight of a succession of crows that left floral trails in their wake. Despite the colorful splashes, the panel screens presented a spectacle without story, a fantastic display of prismatic fireworks without emotional or narrative engagement. Animated with elements of epic films yet dense with a kitsch undertone, teamLab continues to put forth some of the most original contemporary art in recent years. The Revolutionary Warping of an Analogue Motif Setting sail on the tradition of 17th-century Japanese art and contemporary forms of anime, teamLab navigates the confluence of art, technology and design. Founded by Toshiyuki Inoko and a group of his university friends in 2001, teamLab works as a collective creative force to celebrate the vitality of nature and strive to expand our understanding of human perception. It is an interdisciplinary creative group that brings together professionals from various fields in the information age: artists, editors, programmers, engineers, mathematicians, architects, web and print graphic designers, and CG animators. They attempt to achieve a balance between technology, art, commerce and creativity, working within a broad creative range that encompasses animation, sound, performance, the Internet, fashion, design and even medical science. An even higher superlative of technological sophistication is found in their 12-panel digital screen installation Flower and Corpse Glitch Set of 12 (2012). Like a parchment opening, the panels suggest a comprehensive narrative, yet there is no discernible logic of a unilateral direction of perception, be it horizontal or vertical. Each panel conveys a short chapter from what appears to be a tale of legends: dragons, samurais and beautiful mountains. Outlines and forms crumble, turning into digital grids, gold leafing assembling itself into a succession of subsequent scenes. Traditional Japanese painting motifs in dazzlingly high-definition digital are animated, the loop clocking in just shy of two minutes. Despite the short runtime and lack of an apparent narrative, the immersive display never fails to capture an audience. Such were the reasons behind teamLab’s presentation garnering such praise at Art Basel Hong Kong in 2013, the inaugural edition following the Swiss exhibition’s acquisition of a majority stake in the Hong Kong fair. Peace Can Be Realized Even Without Order (2013) is an interactive digital installation composed of holographic numbers. As the self-evident title states, the presentation tells the story of how despite disorder caused by external events, peace is gradually restored with time. Existing independently from the others surrounding it, holographic figures play instruments and dance, affected by the sounds coming from neighboring holograms. When a visitor steps across the threshold of the installation, the holographic figures respond by pausing their performance. As the first figure stills, the signal to ‘cease’ is relayed and spread to each other figure. After the visitor passes through the installation, the holographic figures return to playing music and dancing. It is the visitor’s entrance that causes the disruption of harmony. teamLab stated that “…the speed at which people can connect with other people has accelerated, and the influence of connections to other people has become more important…and perhaps in these unordered connections there is a way to find peace.” Homogenizing and Transforming World is another installation in the same vein. Individual balls floating in space communicate wirelessly with each other. They change color and emit different sounds when touched by visitors or bumped by other objects. The first affected ball sends the new color information to others around it, the spread broadening until all the balls are once again the same color. We now live in a world that has ubiquitous connectivity to the Internet. Each individual is connected to other associates, and information is freely exchanged through that connection. Any single person becomes a voluntary information corridor, sending out new data that ultimately unifies the world. That world, created almost by an instantaneous transference, is what the installation by teamLab addresses. Verification of Logic through Technique teamLab’s interests reach beyond humanity, to nature and the great outdoors, and into outer space. Universe of Water Particles Under Satellite’s Gravity (2014) is an installation composed of a giant model of the ALOS-2 satellite, and a virtual representation of the satellite in digital space, meticulously recreated down to its gravitational mass. To prepare the installation, the group&nbsp;first created a simulation of absolute zero gravity and threw in an abundant supply of water. The algorithm they developed based on the simulation calculates the gravitational pull of the satellite and computes its effect on liquid, demonstrating how water would cascade toward the ALOS-2. The results are projected onto the physical model, the computer-generated water molecules interacting dynamically according to the preprogrammed algorithm. Once a particle strikes the surface of the satellite, it bounces off and orbits until it evaporates. Only 0.1% of the water particles from the actual simulation are selected and rendered, with lines drawn between the particles and satellite to delineate the paths of movement. The breathtaking waterfall is the culmination of those rendered lines. The creators compare the waterfall effect to traditional Japanese painting methods and an understanding of space as a curvilinear series of lines. The most recent aesthetic interest of teamLab is evident in Flowers and People – Dark (2015), which is neither a pre-recorded animation nor on loop, but a real-time rendering by a computer program. Flowers grow, bud and blossom, bursting forth in full before withering and wilting away. It is a perpetual cycle of growth and decay. The installation responds to the proximity of visitors, physical interactions prompting flowers to suddenly wilt, or at times blossom with ever more colorful tones. Each person’s action directly results in in a succession of changes in the installation. Inspired by the premise that nature cannot be controlled, teamLab created a work that asks philosophical questions about what constitutes manmade behaviors in nature, and what those behaviors might say about our future. A rather cynical perspective might place teamLab’s combination of kitsch, legend and technology into the territory of Orientalism, because of the considerable temptation to hang the burden of reworking Americana or to glaze over their imagined future dystopias and epic pasts in tasteful techno-glitter. Whether cynical or indulgent, it is clear that the group has the ability to create unique art through the peaks and valleys of technology, further expanding that unknown world of possibility. Through their particular approach in their installations, teamLab reestablishes a connection to a world most visitors have lost and seek unpredictable “interactions” through perfected technologies. teamLab installations perceive art through the clear lens of Hayashi’s triangle, and for that, have been brought into the spotlight. ■ with ARTINPOST About teamLab The Japanese digital artist collective teamLab has made a huge splash in Asia, Europe and the United States. Their work explores new values that govern individual behaviors in the information era, while also revealing possible futures for societal development. The audience is led to explore the extremes of creativity as technology and art are combined and brought into play. teamLab fosters a collective ingenuity and reveals diverse possibilities for a new era of artistic development. The multidisciplinary group has been the subject of numerous exhibitions in Asia and abroad. In 2011, teamLab presented LIVE! at Takashi Murakami’s Kaikai Kiki Gallery in Taipei. Solo exhibitions include “teamLab: We are the Future” in 2012 at the National Taiwan Museum of Fine Arts, “Taichung; and teamLab and Saga Merry-go-round Exhibition” in 2014 at the Saga Prefectural Art Museum in Japan, “The Experience Machine” in 2012 at the Ikkan Art Gallery in Singapore, and “Ultra Subjective Space” in 2014 at Pace Gallery, New York.

ART & TECHNOLOGY #4: teamLab

BLOU1INARTINFO

The organizers of the&nbsp;Prudential Eye Awards&nbsp;have announced the shortlist of 18 artists for the 2015 edition with the winners to be on January 20 in Singapore.（Excerpt from the&nbsp;text）

Flowers and People – Dark

Flowers and People – Dark

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Notícias

ART DUBAI 2017 - THE 11TH EDITION OF THE LEADING FAIR

Art Dubai: Artist Focus, teamLab

ArtScience Museum just became Singapore's best Instagram scene yet

SERIES