teamLab: Born From the Darkness a Loving, and Beautiful World | teamLab

Name: teamLab: Born From the Darkness a Loving, and Beautiful World
Start: 2019-04-20
End: 2019-06-16
Location: Himeji City Museum of Art

EXPOSICIÓN ANTERIOR

2019.04.20(Sat) - 06.16(Sun)Himeji City Museum of Art, Hyogo

EXPOSICIÓN ANTERIOR

2019.04.20(Sat) - 06.16(Sun)Himeji City Museum of Art, Hyogo

OBRAS

Black Waves: Lost, Immersed and Reborn

This is an installation made of one continuous wave. The waves projected are all connected and form a single, unbroken body of water. As we immerse and meld ourselves into the waves, we explore a continuity among people, as well as a new relationship that transcends the boundaries between people and the world. 
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.

Continuous Life and Death at the Now of Eternity, Cannot be Controlled but Live Together

The world of the artwork changes with the real flow of time of its location. The artwork grows brighter as the sun rises and darker when the sun sets, and the flowers change. 
Flowers are eternally repeating the process of life and death. When people touch the flowers, their petals scatter. But if people hold their hands still against the work, more flowers will be born than usual.
The time in which the viewer exists, the time of the location, and the time of the flower's repeating the cycle of life and death, all intersect and overlap, whilst remaining connected to the body, the place, and the world of the artwork. In the artwork space different times and spaces overlap.
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.

United, Fragmented, Repeated and Impermanent World

Itō Jakuchū (1716–1800) was an early modern Japanese painter who was active in Kyoto in the mid-Edo period. Jakuchū has left us with a unique style of painting in which the surface is made up of a grid of tens of thousands of squares that are individually colored. This work was inspired by the screen paintings Birds, Animals, and Flowering Plants and Trees, Flowers, Birds and Animals.
Jakuchū’s square paintings remind us of computer-generated pixel art. It has been proposed that Jakuchū’s squares pictures were inspired by industrial production constraints in the designs of Nishijin (traditional high-quality silk fabric that is woven in Nishijin, Kyoto). Pixel art was also born from functional limitations. Those functional limitations no longer exist but pixel art is still a very popular form of expression. This is perhaps why we feel an intuitive digital sense to Jakuchū's square works. The colors of Jakuchū’s work are the result of the optical phenomena of visual mixing of color combinations within the squares. It appears as if Jakuchū understood optical mixing of colors at a time before Impressionism and Pointillism. 
This artwork was created in a virtual 3-D space in which 3-D animals move. The space was then converted into what teamLab calls ultrasubjective space. Then,  the color in the 3-D space is split by the color pattern of the squares. For example, if the pattern of a square is colored in red and blue, that part corresponds to purple in the three dimensional space. 
The squares of the screen are fixed while the space continues to move, and thus the color inside the squares is on a different time axis to the space. Seen as a whole from a distance, brilliantly shining  colors occur, and the world of plants and animals in the space will move at a slow time axis. When viewed up close, the colors divided by the finely drawn patterns of each square will change on a rapid time axis. Two time axes co-exist in this work.
In addition, parts of the image squares are filled in with the most frequent color in the squares, forming an abstract world. Furthermore, when a visitor stands in front of the work, the squares near them are similarly painted. The plants and animals move in space, but are abstracted by the fixed squares on-screen, creating a new visual expression through pixel art.

VISITE

Información del Lugar

teamLab: Born From the Darkness a Loving, and Beautiful World

Duración

2019.04.20(Sat) - 06.16(Sun)

Horario

10:00 – 17:00 (Last Entry 16:30)

*From April 27 to May 6
10:00 – 18:00 (Last Entry 17:30)

Cerrado

Mondays
*Open April 29 and May 6

Entrada

Adult JPY 1,400 (1,200)
High School / University Student JPY 1,000 (800)
Elementary / Junior High School Student JPY 600 (400)
Free for Preschool Children
*Price inside the brackets ( ) applies to Early Bird Tickets.
*Early Bird Tickets are available from Friday, March 8 - Friday, April 19.
*Early Bird Ticket pricing applies to groups of more than 20 people.

Tickets are available at:
- Himeji City Museum of Art
*Only General Tickets (not Early Bird Tickets) are available onsite.

- Ticket Pia (P code : 992－130)
- Lawson Ticket (L code: 53564)
- Seven Eleven
- e+
- Major Play Guide (e.g. CN Play Guide)
- Convenience Stores
*Early Bird Tickets are available from Friday, March 8 - Friday, April 19.
*Both General Tickets and Early Bird Tickets are available.

Acceso

Lugar

Himeji City Museum of Art
Special Exhibition Gallery
68-25 Honmachi, Himeji City, Hyogo, Japan 670-0012

Map

From JR Sanyo Electric Railway Himeji Station

Take Shinki bus [No. 3, 4, 5, 61, 62, 64, 81, 82, 84, 86] from platform 7 or 8

After approx. 8 minutes, get off at [Himeyama Park South, Medical Center, Himeji City Museum of Art] station.

20 minute walk from JR Sanyo Electric Railway Himeji Station.

For more information, please see here.

CONTACTO

A los Medios

kits de Prensa

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’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.

Organizadores

Himeji City Museum of Art
THE KOBE SHIMBUN
SUN TELEVISION CO .,LTD.
TAKEDA PRINTING CO.,LTD.

Patrocinadores

Kajima Corporation

Apoyo

RADIO KANSAI LTD.