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Access Porte de Pantin:
Metro: Line 5
Bus: Line 75,151
Tram: Line T3b
Car Park "Cité des Sciences" - PML please call 01 40 03 75 75
From May 15th to September 9th
Originally from Japan and formed in 2001, the protean group teamLab has made digital its credo. Its first monographic exhibition in France will take place at La Villette, moving beyond the frontiers of art, science, technology, and creativity.
In this 360° immersive and interactive installation, visitors are surrounded on all sides by images straight out of the imaginations of the teamLab crew. Both electronic and organic in inspiration, the installations change as visitors amble from one spot to another. The exhibition itself becomes a living digital organism constantly churning out new images that make a sharp break with our daily lives, thus whisking us off to a dreamlike world.
The exhibition has been organized as part of the “Japonism 2018: Souls in Harmony” cultural events.
Graffiti Nature is created by the visitors. The more animals and flowers drawn and colored, the more this nature world expands throughout the space. Animals are eaten by other animals, but if they do not eat they will die and disappear. When the animals that a visitor draws eat other animals, their numbers increase. Butterflies increase in places where there are flowers. All are part of one ecosystem. If visitors step on Crocodiles too much they will die. If they stand still flowers will blossom around them, and if they walk around, the flowers will scatter.
The flowers drawn by people grow in clusters.
People bring flowers into life when they draw them, they are born, they bloom, scatter and die. As the flowers scatter, the trajectory of the petals themselves draw new lines.
This is an interactive digital installation with countless translucent figures. Each character inside the work is autonomous. They play instruments and dance, and each individual is influenced by the sounds from the figures close to them. There is no lead figure that oversees or influences all the other dancers, and there is no center or order enforced on the crowd. External events can cause disorder, but in time, peace will gradually be restored.
When a person enters the installation and a figure senses the viewer, that figure responds to the person and stops playing music. After a short period of time, the figure will start playing music and dance again, but this disturbance will have disrupted the harmony. If, however, the viewer stays still or leaves, the dancers will begin to form back into one harmonious group and the feeling of peace will return.
The figures inside the work at some point escape the space, go out and walk. Once they return, each will start playing musical instruments and dancing again.
The anonymous characters in the work represents no one but express someone.
This space is made of a group of anonymous and diverse figures.
The figures keep walking and as they do the artwork moves. When visitors touch the figures, they react, sometimes stop, sometimes change the direction and choose a different path. Visitors make decisions and choices as they keep walking . If visitors physically stop, the figures in front of them continue to move and interchange.
The Zen expression “ Hoho kore dojo ” says every step is the place to learn. The figures of the work continue walking endlessly while confronting new situations. Walking after the figures or confronting new figures one after another the visitors also make choices along their own path.
This is an interactive digital installation in which viewers can walk around freely in a space that completely surrounds them with projections on all sides.
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.
When you stand near a certain designated space within the artwork the boundary between the wall and the floor disappears, the real space dissolves, eventually we become immersed in the artwork world and the lines drawn by the trails of the crows appears to be drawn in three dimensions in the space.
An enormous waterfall cascades down throughout the space of Au-delà des limites as it transcends the boundaries and sometimes affects other works.
Water is represented by calculating the interactions between a continuous flow of hundreds of thousands of water particles. Then, lines are drawn in relation to the behavior of the water particles. The accumulation of these lines expresses the waterfall.
When people stand on or touch the waterfall, they obstruct the flow of water like a rock, and the flow of water changes. The flow of water continues to transform due to the interaction of people. Previous visual states can never be replicated, and will never reoccur.
The flow of the waterfall influences other artworks.
This artwork is in continuous change, over a period of one hour a seasonal year of flowers blossoms and scatters.
Flowers are born, grow, bloom, and eventually scatter and die. The cycle of birth and death repeats itself in perpetuity. If people stay still more flowers are born, if people touch the flowers and walk around the flowers scatter all at once.
Neither a prerecorded animation nor on loop, the work is rendered in real time by a computer program. 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.
The artwork influences other works and flowers scatter due to the influence of other works.
In spring in the Kunisaki Peninsula, there are many cherry blossoms in the mountains and rapeseed blossoms at their base. The abundance of flowers caused teamLab to wonder how many of these flowers were planted by people and how many were native to the environment. It is a place of great serenity and contentment, but this expansive body of flowers is an ecosystem influenced by human intervention. The boundary between the work of nature and the work of humans is extremely vague. Rather than nature and humans being in conflict, a healthy ecosystem is one that includes people. Unlike people of today, people in the past understood that humans cannot grasp nature in its entirety, and that it is not possible to control nature. Perhaps these people, who lived more closely aligned to the rules of nature, created this comfortable natural environment.
Throughout the year, the giant flowers of the four seasons bloom, scatter, and transform.
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. The flowers are interactive; depending on the proximity of the viewer to the work, or if the viewer touches the flowers, they simultaneously come to life or shed their petals, wither, and die all at once.
Neither a prerecorded animation nor on loop, the work is rendered in real time by a computer program.
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.
When you touch a character, the world that that character embodies will appear and a new world will be created. The objects that are released from the characters go on to influence one another in the new world.
Behind the projected world, there is a 360-degree computer-generated space. The objects that are born from the characters are placed at various positions within that space, and the physical influences and connections between the objects are calculated in real time, producing a complex and natural world. For example, if the wind blows, the objects are subjected to its physical influence. Butterflies are frightened by fire, but attracted to flowers. Just as in nature, no two moments are repeated. The passing moments of
the world are never the same and new visual worlds are constantly being created.
Chinese characters were first carved in turtle shells and ox or deer bones, and were engraved in bronze ware. It can be said that at that time, each character contained its own world that was conjured up by it’s meaning. Through the characters, the world that you call up and the worlds that those around you call up connect and influence each other to create a new world.
In the background, cherry blossoms bloom and scatter, the cycle of life and death repeats itself.
As people come in contact with the space, a circle is born and grows to radiate at a certain rhythm and a specific interval. The circle born transforms only the light and darkness of the background world.
Interactive digital installation where all sides and the floor are covered with imagery.
The school of fish illuminated by the light move freely through space, and their trails of light become spatial calligraphy. The fish sense people in the space and try to avoid colliding with them.
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.
If you stand in a designated area in the space, the boundary between the walls and floor disappears, the real space dissolves, you become drawn into the installation, the trails of the fish begin to appear drawn in three dimensional space, and the boundaries between the human body and the work begin to break down.
Tens of thousands of fish swim under the influence of people's movement. Each person has a colour, and the nearby fish receive that colour.
The movement 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 moves on the simple basis of; if my neighbour moves, then I move too. The biological mechanism that causes hundreds of fish to move at the same time is enigmatic. It seems there is a universal principle that humans do not understand. Likewise, the coloring of the fish is not predetermined. Influenced by the presence of people, the surface becomes an unintentional, complex and beautiful coloration. This coloration is created by the movement of each fish obeying some kind of primitive rule.
The work is rendered in real time by a computer program, it is neither a prerecorded animation nor imagery on loop.The work as a whole is in constant change; previous states will never be repeated and can never be seen again.