teamLab Ruins and Heritage: Rinkan Spa & Tea Ceremony - GC | teamLab

Name: teamLab Ruins and Heritage: Rinkan Spa & Tea Ceremony - GC
Start: 2020-11-10
Location: Mifuneyama

Nov 10, 2020 - PermanentMifuneyama, Takeo Hot Springs, Kyushu

#teamLabRuins

Nov 10, 2020 - PermanentMifuneyama, Takeo Hot Springs, Kyushu

#teamLabRuins

A New Experience of Art and Sauna
within History and the Forest

This is a new art and sauna experience by teamLab and the Mifuneyama Rakuen Hotel Rakan Bath, the winner of SAUNACHELIN in 2019, 2020 and 2021.

Combo tickets for a day trip to the Mifuneyama Rakuen Hotel Rakan Bath and teamLab’s art in the ruins are available, allowing visitors not staying at the Mifuneyama Rakuen Hotel or Onyado Chikurintei to enjoy a new experience of art and sauna. (*1) There are also tickets available that allow visitors to experience the artworks without entry into the sauna.

(*1) The annual exhibition in the forest teamLab: A Forest Where Gods Live is not currently on view. The exhibition runs annually from July to November.

Exhibition Concept
In the forest where the 3,000-year-old sacred Okusu tree resides, is a cave of five hundred Arhats carved 1,300 years ago by the Buddhist monk Gyoki. (* See Gyoki and the Origins of Japanese Baths (Saunas)) The sauna (alternating hot and cold baths) stands nearby this cave within the historic forest. Visitors can clear their minds, feel the ever-expanding space through their bodies, and immerse themselves in the art and the forest dotted with ruins. As we realize that the mind, body, and environment are the wholeness of our being, we become a part of nature and history, and reconnect with the long continuity of time and the world.

Concept behind Artworks in the Ruins: A Place where Varying Space-Times Intersect
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 3,000-year-old sacred Okusu tree of Takeo Shrine, which is Japan’s 7th largest. 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.

Within the forest, there is an enormous megalith, almost supernatural in its formation, known as an iwakura (a dwelling place of a god in ancient Japanese nature worship, or “animism”) that has been preserved as a small shrine. Around the 7th century, a sorcerer named En-no-gyouza-ozunu carved a 23-meter-tall figure over the entire surface of a sheer cliff on Mount Mifuneyama. And 1,300 years ago, the priest Gyoki, who created the Great Buddha in Nara, came to Mifuneyama, carved 500 Arhats and Buddha figures directly onto the rock face of the caves within the forest, which remain to this day. On the edge of the forest, the stone gate of Tsuzaki Castle and other ruins remain within and along the borderline of the forest.

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 can not recognize time longer than their own lives. There is a boundary in our understanding of the continuity of time.

The forest is home to a 3,000-year-old tree, 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 in the garden was constructed in modern times, but after just a short period, it was abandoned, becoming a space where time had stopped completely.

Within the space of the ruins of Mifuneyama Rakuen, we make artworks with their own, separate space-times, thereby creating a place where these varying spaces intersect and overlap, allowing us to transcend the boundary in our understanding of the continuity of time.

Gyoki and the Origins of Japanese Baths (Saunas)
Gyoki (668 - 749), who carved the five hundred Arhats in Mifuneyama, was a monk during the Nara Period. Later, he became the first Buddhist priest of the highest order in Japan and built the Great Buddha in Nara. In Todaiji Temple, where the Great Buddha is housed, there was a bathhouse called Oyuya, which had a steam room (sauna) and a washroom where common people could bathe. It is said to be the first kudokuyu or “hot water alms” (a pious act to provide common people with a bath), and the beginning of bathing in the city. Baths in that era were steam baths (saunas).

Japan at the time sought to stabilize its national government through the teachings of Buddhism and built temples throughout the country. For temples that were responsible for spreading Buddhism throughout Japan, the kudokuyu became an important means of gaining support from the people, and before long, many temples other than Todaiji came to offer it as well.

Empress Komyo (701 - 760) is said to have been the originator of the practice of bathing, and Gyoki, who was born 33 years earlier, is said to have handed down the same bathing legends as Empress Komyo. The Tsukahara no Karafuro, one of the oldest existing saunas in Japan, is said to have been built by Gyoki, an ascetic who traveled all over Japan before building the Great Buddha in Nara, hoping to cure people of their illnesses. From this, it can be inferred that Gyoki was the first person to introduce baths (saunas) to the people. And it could be said that baths (saunas) drew people to the temples, helping to spread Buddhism and establishing the nation of Japan.

Historical Background of Art and Sauna: Rinkan-Chanoyu
The Japanese custom of seyoku (the practice of providing temple baths for the poor, the sick, and prisoners) began during the Nara Period, when Gyoki was active, and reached peak popularity in the Kamakura Period. Even during the Muromachi Period, the practice of seyoku was continued by the shogunate and various temples.
Seyoku also became popular among individuals. Starting at this time, inviting people over and providing baths became known as furo (bathing), and bathing (at the time in steam baths, or saunas) was done in a variety of ways, with tea ceremonies or food and drink served afterward. This was the so-called furo-furumai (bath hospitality).

In the middle of the Muromachi Period (1336 - 1573), a type of tea ceremony in which tea was served to guests after their baths was called rinkan-chanoyu (rinkan sauna and tea ceremony). Much like with shoin-cha (decorative tea time), paintings, incense burners, vases, and hanging scrolls were displayed in the bathing rooms, and it is said that many spectators came to watch toucha (tea-tasting games) after bathing.
Rinkan-chanoyu was a widely-practiced basara (eccentric hobby) in Japan, particularly at the Kofukuji Temple in Nara.

In those days, a bath was a steam bath, or what we would today call a sauna, in which water is poured over heated sauna stones. People in Japan have long enjoyed the acts of viewing art in a sauna and drinking tea as a cultural pastime.

The term basara refers to the social and cultural trends in the middle ages in Japan, mainly during the early Muromachi Period (the Nanboku-cho Period). It was an aesthetic of meritocracy, one that disregarded the status quo, belittled, ridiculed, and rebelled against the authority of those noble in name alone, and instead favored extravagance, flamboyant behavior, and chic clothing. This culture was also the seed of the later revolutions in the Warring States Period.

It is said that Murata Juko (1422 - 1502), the teacher’s teacher of Sen no Rikyu (1522 - 1591) and the inventor of wabi-cha (tea ceremony), was also enamored with rinkan-chanoyu when he was young. He later studied under the Japanese monk Sosun Ikkyu at Daitokuji Temple, reached a state of chazenichimi (the realization that tea ceremony and Zen are one), and created wabi-cha. Then, the brothers Furuichi Tanehide and Furuichi Choin, who were main figures of rinkan-chanoyu, became disciples of Murata Juko, and rinkan-chanoyu became wabi-cha.

#teamLabRuins

View Instagram

WHAT'S NEW

SEASONALUntil Feb 14
Seasonal Color - Snow and Winter Camellia
Forest and Spiral of Resonating Lamps - One Stroke, Snow and Winter Camellia

SEASONALUntil Feb 14

Seasonal Color - Snow and Winter Camellia

Forest and Spiral of Resonating Lamps - One Stroke, Snow and Winter Camellia

ARTWORKS

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 People
This 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.

Flowers Bombing in the Bath House Ruins

* Today's sunset is at 17:17

Visitors drew flowers as part of the Graffiti Nature artwork displayed here when the exhibition teamLab: A Forest Where Gods Live was on view in Mifuneyama Rakuen during the summer and autumn months. These flowers now bloom across the bath house ruins in the forest.
The flowers are born, bloom, scatter, and then die. As the flowers scatter, the trajectory of the petals draws new lines.If people stand still or keep their hands on the walls without moving, more flowers bloom. If they move their hands or walk around, all of the flowers scatter in an instant.

Light Sculpture of Flames

Pointillism is a genre of paintings that expresses the subject matter through a series of points. This interactive sculpture, however, consists of a set of points of light that are used to express three-dimensional objects. For this work, a three-dimensional interactive flame is produced by the points of light.
When people move close to the flames, the flames increase in intensity.
Flames are a phenomenon of light and heat generated by combustion, not a substance, but our sensory experience when we see a chemical reaction called combustion. People perceive the flame, a sensory experience, as if it were an object, and sometimes feel life in it.
Flames often appear to have a hierarchy of colors from their outside to the center: red on the outside, strong bright white on the inside, and dark in the center. In the case of a raw egg, the outer shell is white, the interior is transparent, and the center is yellow, but because it is a three-dimensional object, only the white shell is visible from the outside. Unlike an egg, the flame is a three-dimensional object made of light, and the strong bright white inside is still white when mixed with the red outside. Therefore, the flame, which is a three-dimensional object, appears as if it were a flat painting with a color hierarchy, no matter where you look at it.
By creating a three-dimensional flame with a collection of points of light, the three-dimensional flame sculpture moves back and forth between three and two dimensions.

Universe of Fire Particles in a Decaying Underground Passage

A long-forgotten underground passage has recently been discovered, and the depths of the passage are decaying. In this space that is crumbling and losing its original structure, a fire burns eternally.

The forest above the underground passage is home to 3,000-year-old trees, and it changes daily with the imperceptible, slow flow of time and with each year passing 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 forgotten underground tunnel is a space where time seems to have stopped, and the depths of the passage are a decaying space and time that will not exist for much longer. The fire that eternally burns there also has its own space and time.
Here, various space-times intersect and overlap.

The fire changes shape due to a transparent absolute presence.
Lines are drawn in relation to the flow of combusting gas, and the flames are created by the accumulation of those lines in three-dimensions. The lines are then “flattened” using what teamLab considers to be Ultrasubjective Space to represent the flames.

teamLab is exploring the concept of Distributed Art.
If you launch the Distributed Fire smartphone application and approach this artwork, the flame will ignite and you can take the artwork home with you. When you bring that flame close to another person's smartphone, a flame will alight. As you connect the flame, and they connect that flame with someone else, the flame will spread all over the world. The flames that are spread are displayed on the Map of The Flame.

Distributed Art duplicates itself, or a part of an artwork is distributed among people. Then, once in the hands of the people, the artwork is further actively distributed, and also makes copies of itself. The artworks will be distributed and exist on people's networks and become decentralized. When the artwork exists on the network, it continues to exist even if the original disappears.

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.

Ruptured Outer Wall and Stone Garden

This space in the hotel was originally a banquet hall. It was built during the years of steep modern economic growth, and gradually fell out of use due to changes in the times, becoming a closed space where time stands still.
Various times and spaces exist at Mifuneyama Rakuen. By destroying the outer wall of the building, teamLab reconnects the various times and spaces, and creates a place where they intersect and overlap.
The rubble of the collapsed outer wall creates flickering black shadows and static red shadows.

teamLab: A Forest Where Gods Live struggled through the Covid pandemic and survived with the support of VOLVO. This space was created through the VOLVO project.

EN TEA HOUSE

SEASONALUntil Feb 14

Forest and Spiral of Resonating Lamps - One Stroke, Snow and Winter Camellia

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.

Ruins and Heritage

Iwakura

Location: Inside Mifuneyama Rakuen Garden
Hours: Can be viewed during Mifuneyama Rakuen opening hours

This enormous megalith, almost supernatural in its formation, is an iwakura (an ancient form of nature worship in Japan known as animism), within which a hokora (small shrine) has been preserved.

Gyoki's Three Buddha Figures and Five Hundred Arhats

Location: Inside Mifuneyama Rakuen Garden
Hours: Can be viewed during Mifuneyama Rakuen opening hours

It is said that about 1,300 years ago, the famous Buddhist priest Gyoki came to Mifuneyama and carved a total of three Buddha figures and five hundred Arhats on rocks which he then placed in a cave. After carving these five hundred Arhats, the severely ill Gyoki was believed to have carved the three Buddha figures while praying for his recovery. These figures still remain on the walls of the cave today.

Hagino Ochaya Tea House

Location: Inside Mifuneyama Rakuen Garden
* Only available to guests of Mifuneyama Rakuen Hotel or Onyado Chikurintei

In the late Edo period when Mifuneyama Rakuen was built (1845 CE), the Hagino Ochaya Tea House was constructed with a thatched roof on the shores of a pond as the public villa of Nabeshima Shigeyoshi Nabeshima, the 28th generation lord of Takeo. This venue is open to the public in spring and fall.

300-Year-Old Okusu Tree

Location: Inside Mifuneyama Rakuen Garden
Hours: Can be viewed during Mifuneyama Rakuen opening hours

A 300-year-old Okusu Tree that has existed since before the garden was built.

Mifuneyama

Location: Inside Mifuneyama Rakuen Garden
Hours: Can be viewed during Mifuneyama Rakuen opening hours

It is said that the origin of "Mifuneyama" can be traced to Empress Jingu being named "Mifune" on her journey back from the ancient kingdom of Shilla on the Korean peninsula (around 200 CE).

Mifuneyama Fudoson (Wisdom King) Figure

Location: Outside Mifuneyama Rakuen Garden
* Difficult to access due to poor footing.

This enormous 23m tall figure was carved over the entire surface of a sheer cliff.It was believed to have been carved by a sorcerer from the Asuka period in the 7th century named En-no-gyouza-ozunu, who was thought to be the founder of Shugendo (a unique Japanese religion based on ancient Japanese mountain asceticism that had been syncretized with Buddhism).
Google MAP

The Stone Gate of Tsukazaki Castle

Location: Outside Mifuneyama Rakuen Garden
Hours: On view 24 hours a day

Tsukazaki Castle is also known as Mifuneyama Castle.This castle is said to have been built by the second generation lord of Takeo, Sukeshige Goto, in the period around 1118-1120 CE.In the early Edo period (the first half of the 17th century), the Goto family received the surname of Nabeshima from the lord of Saga, Katsushige Nabeshima, and the Goto family name then became Takeo Nabeshima.Under the "One Castle per Province" law (1615 CE) of the Edo Shogunate, Tsukazaki Castle was eventually abandoned, but it survived to the present as a residence of the Takeo Nabeshima family through the Edo period.
Google MAP

SPA

Mifuneyama Rakuen Communal Bath "Rakan Bath"
Reservation required / fixed capacity

The large communal baths at Mifuneyama Rakuen Hotel have been completely renovated (both men's and women's). The men's bath now has a dry sauna where guests can enjoy löyly (pouring hot water on sauna stones to produce steam, uses natural water from Mt. Mifune and roasted tea from Ureshino, Saga). The men's bath also has a cold water bath with hot spring water cooled to 16 degrees Celcius, and a large open-air bath/bathing space surrounded by the nature of Mt. Mifune.
The women's bath is also now equipped with a dry sauna, allowing guests to enjoy löyly (uses natural water from Mt. Mifune) and Kugel (aroma balls that produce a scent when on top a sauna stove). It also has a cold water bath with hot spring water cooled to 17 degrees Celcius, a steam sauna, a cafe (has homemade pudding, detox water, etc.), and an open-air bath/bathing space surrounded by the nature of Mt. Mifune. We hope you will enjoy a relaxing time in our baths while gazing at Mt. Mifune's beautiful nature.

MAP

Enlarge

A1
Forest and Spiral of Resonating Lamps - One Stroke
A2
Life Survives by the Power of Life II
A3
Light Sculpture of Flames
A4
Ruptured Outer Wall and Stone Garden
B1
Universe of Fire Particles in a Decaying Underground Passage
B2
Megaliths in the Bath House Ruins
B3
Flowers Bombing in the Bath House Ruins
01
Iwakura
02
Gyoki's Three Buddha Figures and Five Hundred Arhats
03
Hagino Ochaya Tea House
04
300-Year-Old Okusu Tree
05
Mifuneyama

A1
Forest and Spiral of Resonating Lamps - One Stroke
A2
Life Survives by the Power of Life II
A3
Light Sculpture of Flames
A4
Ruptured Outer Wall and Stone Garden
B1
Universe of Fire Particles in a Decaying Underground Passage
B2
Megaliths in the Bath House Ruins
B3
Flowers Bombing in the Bath House Ruins
01
Iwakura
02
Gyoki's Three Buddha Figures and Five Hundred Arhats
03
Hagino Ochaya Tea House
04
300-Year-Old Okusu Tree
05
Mifuneyama

Enlarge

06
The Stone Gate of Tsukazaki Castle
07
Mifuneyama Fudoson (Wisdom King) Figure

06
The Stone Gate of Tsukazaki Castle
07
Mifuneyama Fudoson (Wisdom King) Figure

APP

teamLab App

Know

We have prepared a guide app that allows you to read the concepts of the artworks near you.

Understand deeply, and enjoy more.

Download the app for free

Distributed Fire

Light the Flame

When you launch this app and approach Universe of Fire Particles in a Decaying Underground Passage, your flame will ignite and you can take the artwork home with you.

Share the Flame

If you approach other people with the app, you can share your flame with them.

See the Map of the Flame

The flames that are shared and spread, as well as the flames shared and spread by you, are displayed on the map in the app.

VISIT US

Venue Details

teamLab Ruins and Heritage: Rinkan Spa & Tea Ceremony - GC

Term

Nov 10, 2020 - Permanent
* Ticket prices and exhibition content will change during “teamLab: A Forest Where Gods Live - GC”.
* The contents of the exhibition may change.

Hours

teamLab Art Exhibition
11:00 - 22:00
* Last entry is 21:30

Daytime "Rakan Bath"
Reservation Required / Fixed Capacity
Session #1: 8:00 - 10:30 (Up to 15 Men / 10 Women)
Session #2: 15:00 - 17:30 (Up to 15 Men / 10 Women)
Session #3: 17:30 - 20:00 (Up to 15 Men / 10 Women)
Session #4: 19:30 - 22:00 (Up to 15 Men / 10 Women)
Session #5: 21:30 - 24:00 (Up to 15 Men / 10 Women)
* No overnight stay.
* You may enter the art exhibition at any time during 11:00 - 22:00.
* Junior high school students and younger are not allowed.
* Groups of four or more people of the same sex are not allowed.
* Reservation can be made via phone or online.

Mifuneyama Rakuen Park Garden
Varies by season. Please check the Mifuneyama Rakuen Website.

Closed

November 5, 2024
November 6, 2024

Website

Mifuneyama Rakuen

EN TEA HOUSE

Mifuneyama Rakuen Hotel "Rakan Bath"

ACCESS

Address

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 Shin-Omura Station:
15 min by Nishi Kyushu Shinkansen 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 to Mifunayama Rakuen.
15 min by Omura City Kamome Liner or 11 min by Nagasaki Kenei Bus to JR Sin-Omura Station.

From Fukuoka Airport: 
70 min by car to Mifuneyama Rakuen.
6 min by Fukuoka City Subway (Kuko Line) or 10 min by Nishitetsu Bus to JR Hakata Station.

From Saga Airport: 
50 min by car or 1 hour by shared taxi to Mifuneyama Rakuen.

Inquiry on tickets

Contact form

Tel

Mifuneyama Rakuen Hotel
+81 (954) 23-3131

For Media

Press Kit

TICKETS

Admission

teamLab Art Exhibition & Daytime "Rakan Bath" Combo Ticket (Reservation Required / Fixed Capacity)

Reservation can be made via phone or online.
Phone Reservation: Mifuneyama Rakuen Hotel +81 (954) 23-3131 (11:00 - 21:00)

* Admission to teamLab's Exhibition "teamLab Ruins and Heritage: Rinkan Spa & Tea Ceremony", Daytime "Rakan Bath", and EN TEA HOUSE Otoro (includes one free drink) + face towel
* This ticket does not provide access to the Mifuneyama Rakuen Garden. To access the garden, please pay the entrance fee on site.
* Mifuneyama Rakuen Garden admission and hours vary by season. Please check the Mifuneyama Rakuen Website.

Adults

You must be 16 years old or older to access

JPY 4,400

teamLab Art Exhibition

Tickets can be purchased on site.

* Admission to teamLab Art Exhibition
* This ticket does not provide access to the Mifuneyama Rakuen Garden. To access the garden, please pay the entrance fee on site.
* Mifuneyama Rakuen Garden admission and hours vary by season. Please check the Mifuneyama Rakuen Website.

Adults (13 and older)

JPY 700

Ages 6 - 12

JPY 400

Ages 5 and younger

Free

Tickets

Official Ticketing Website

Buy Tickets

Notes

Regarding Entry

Entry may be restricted depending on crowds.

Due to time constraints, if the number of visitors exceeds capacity, entry may not be permitted.

Wheelchair & Stroller Access

The garden has natural trails that may be difficult to access with a wheelchair or stroller. Accessible artworks include;

・"Forest and Spiral of Resonating Lamps - one stroke"

Liability

The organizers will not be held responsible for any injury, loss, or damage to personal items.

Trash Free Park

For environmental preservation, trash cans are not available in this park. Be prepared to take your trash home for disposal and recycling.

No Smoking

All parks and natural areas are strictly smoke and tobacco-free.

Clothing

There are steep slopes and natural trails in this park. Visitors are advised to wear suitable clothing and footwear.

No Pets Allowed

No pets are allowed in the park. Service dogs are welcome.

Exhibition Suspended or Delayed Due to Weather

In case of strong rain and/or wind, the exhibition will be suspended. Please check the park's official website, facebook, or instagram for details.

Photography & Videography

Use of flash, drones and/or tripod inside the park is prohibited.

Other

By entering this exhibition, you consent to having your image captured by official photographers and videographers. The resulting materials, including still photographs, video and audio recordings may be used by the Organizers or local promotional entities without restriction or financial compensation, in news materials, promotional materials, on the web and other properties.

Conditions for usage of Rakan Bath
Please bear in mind that at this facility we reserve the right to refuse service to guests that match the descriptions below.
*Groups of more than 4 same sex guests
*Guests below middle school age (for day trips)
*People who are, or are deemed to be, connected to criminal or antisocial gangs/organisations
*People with tattoos
*People who are excessively drunk
*People being loud & disruptive
*People with skin disorders or other transmissible conditions, and people forbidden from bathing by a doctor
*People experiencing a fever or significant sluggishness, people experience coughs, laboured breathing or other symptoms of a respiratory condition, and people who are otherwise physically unwell
*People engaging in behaviour that is disruptive or dangerous for other guests, and people acting unhygienically
*People deemed inappropriate to use our facilities

ARTIST

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’s works are in the permanent collection of the National Gallery of Victoria, Melbourne; Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide; National Gallery of Australia, Canberra;  Amos Rex, Helsinki; Museum of Contemporary Art, Los Angeles; Asian Art Museum, San Francisco; Borusan Contemporary Art Collection, Istanbul; and Asia Society Museum, New York, among others.

teamlab.art

Biographical Documents

teamLab is represented by Pace Gallery, Martin Browne Contemporary and Ikkan Art.

Organizers

Mifuneyama Rakuen
teamLab

Partner