teamLab Islands Dance! Art Museum and Learn & Play! Future Park | teamLab

Flowers bud, bloom, and in the course of time, wither and die. While eternally repeating the process of life and death, the places where they grow change gradually. When people stand still, the flowers surrounding them grow and bloom abundantly, but when people touch the flowers or walk around, they scatter and die all at once.The artwork is not a pre-recorded image that is played back; it continues to be rendered in real time under the influence of people's behavior. 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 many of these flowers were planted by people and how many of them were native to the environment. It was a place overflowing with flowers, a place of great serenity and contentment. This nature is an ecosystem influenced by human activity, making us feel that nature and humanity are not in conflict. Perhaps a truly comforting nature is one that encompasses human presence as part of the ecosystem. Based on the premise that nature cannot be completely controlled, this artwork explores human activity that lives closely aligned to the rules of nature.
This artwork is an ecological pictorial space drawn through Ultrasubjective Space, which continues to be generated along with the body, others, time, and the environment. Viewers physically walk around and touch inside the world of the artwork, transforming it together with others in the same space.
This pictorial space differs from images or paintings flattened by a lens or single-point perspective. In such images or paintings, space appears behind the picture plane; the space that opens there and the space the viewer inhabits are split, and the picture plane becomes a boundary surface. The viewpoint is fixed at a single point, and bodily freedom is lost.On the other hand, a picture plane formed by Ultrasubjective Space is not a boundary that separates where we are from the world of the artwork. The world of the artwork is not outside a window; it appears as a single field that is continuously connected, without boundary, to the space in which the viewer’s body exists. Moreover, any position — front, back, left, or right — can become a viewpoint, so viewpoints exist in infinite number, and the viewer is physically free to move.Not bound to a single point, the viewer moves their body and lets their eyes roam freely, continually re-composing the world of the artwork as it changes over time, and building the pictorial space within themselves. In that moment, the artwork becomes a centerless, subjective, and embodied pictorial space in which the viewer walks and touches.
In this space, the boundaries between the viewer and the artwork become ambiguous. The artwork transforms simply by the presence of a body there, and the behavior of others also changes the world of the artwork. In conventional art, other people were often considered an obstacle that interferes with a one-on-one relationship with the artwork. However, here, the presence of others enriches and creates new changes in the artwork.
This artwork is an attempt to expand painting from a world on the other side of the screen into a space continuous with the body, others, time, and the environment. The artwork continues to be generated within the relationships among the behavior of people, the life and death of flowers, the passage of time, and the entire space. Here, the painting does not exist on its own as a completed entity; it relates to people's bodies and includes the presence of others, existing as an ecological field without boundaries.

被细腻的线条描绘出的方块画的世界，与被抽象化后每一个方块的世界，受到观赏者的影响不断变化的互动作品。
伊藤若冲(Jakuchu Ito，1716-1800)是日本早期现代画家，江户中期活跃于京都。他的绘画风格独特，作品表面由成千上万个色彩各异的方块组成。《涅槃》(Nirvana)的创作灵感源于屏画《鸟》、《动物》、《开花植物和树》、《花》以及《鸟和动物》。    看到若冲的方块绘画，我们便想到电脑生成的像素艺术。据说若冲创作方块绘画的灵感源于工业化大生产背景下无法批量生产设计的西阵织（产于京都西阵的传统优质丝绸织物）。而像素艺术也同样是功能缺陷的产物。现在像素艺术的功能缺陷已经克服，且其作为广受欢迎的表达形式也得以保留。这也许能够解释为什么看到若冲的方块作品，我们便会本能地想到数字艺术。在他的作品中，色彩也是在方块内混合了不同颜色的光学现象的产物。在印象派和点彩派出现之前，若冲似乎就懂得运用光学混彩了。    这件艺术作品是在三维虚拟空间中创作的，三维动物在空间中活动。teamLab将三维空间转化为超主观空间。用方块色谱对三维空间中的颜色进行分割。例如，如果一个方块中填充的是红色和蓝色，那么在三维空间中，这个方块便会以紫色呈现。

    虽然空间不断移动，屏幕上的方块却是固定的，所以相对于空间，方块内的颜色在不同的时刻是不断变化的。远观整个画面，混合后的颜色光彩鲜亮，空间中的动植物世界也会随着时间的推移缓慢变动。近观画面，会发现每个方块内的颜色都在飞快地变化着。在这件作品中，同时存在两套时间轴。
    局部的方块被方块中含量最多的颜色涂满，形成了抽象的世界。而当观赏者站在作品面前时，最近的方块也会被颜色涂满。动植物在空间上变化，但在画面内被固定的方块抽象化。形成与像素艺术不同的全新视觉体验。    而且作品把在空间上变化的立体动植物，用被固定的三维方块抽象化后表现出来全新视觉体验，融入到立体方块画的动画之中。

这件作品在七个屏幕上以三维形式呈现。
    作品探索了的空间认知，存在于超主观空间中的三维空间里。光线之下的八咫鸟在空中飞翔，身后明亮的尾巴形成了“空间书法”。八咫鸟在相互追逐中化作花朵，散落空中。
    创意动画家板野一郎(Itano Ichiro)首创了独特的板野马戏(Itano Circus)技法。teamLab运用这种技法以完全扭曲的视角将屏幕上填满了簇簇飞行的火箭。这种扭曲给观众带来强烈的动感和冲击。通过超高速摄像和完全包围观赏者视角的舞台布置，这种技法打造出超级震撼的美景。
    这件艺术作品向板野马戏技法表达了敬意。teamLab在三维空间中再现了原本用二维动画呈现的扭曲空间。作品探索了两个问题：1.什么样的视角逻辑结构构成了这种由动画家首创的空间扭曲；2.这种空间扭曲是对传统空间概念传承的假想。teamLab在三维空间中再现扭曲的同时，也拓宽了透视视角。作品不仅切分了观赏者的视角，还在三维空间中呈现了切分后的视角，因而也是一次视觉体验的实验。

这个水族馆能够让大家所创造的鱼儿尽情地遨游。

在纸上随意描绘鱼的图案，随之被描绘的图案，会像被注入了生命一样，游入眼前巨大的水族馆中。
当你触碰到游泳的鱼时，被触碰的鱼儿会马上逃跑。当触碰到饵食的袋子时，袋子里的饵食会让鱼儿们饱餐一顿。

这个城镇是由大家的图画构建而来的城镇。
在纸上画好建筑、汽车、不明飞行物和宇宙飞船等等有关城镇的图画后，图画就会立体地出现，在你眼前巨大的城镇中移动起来。
城镇来自于每个人画的图画，也会随着每个人画的不同图画而改变。
人可以触碰城镇，比如触碰汽车就会改变汽车的速度。 此外，构成城市的每一件东西都有自己的作用，比如消防车和起重机就是负责保卫城镇的。

《创造！天才跳房子》是数字版本的儿童游戏跳房子。孩子们可以自己制定跳房子的路径，包括投影○△□形状的符号。每个孩子都可以选择合适的难度等级，同时充分发挥想象力和创造力。连续跳落在相同形状或相同颜色的符号上便会产生不同的声音效果和美丽的图像。
※《天才跳房子》将○△□的符号投影在地面上。孩子们跳落在○△□ 形状的符号上时就会发出声音，并出现不同的颜色。连续跳落在同样形状或同样颜色的符号上会产生更加美妙的颜色和声音。孩子们可以用全身去体验，更厉害的孩子还能通过发现形状和颜色之间的关系瞬间改变整个空间。所以，这件作品有助于启发孩子的身心潜能。

这张桌子是小人儿们居住的桌子。
小人儿在桌子里边跑来跑去，不会注意到您的存在。但当您将手或其他东西放在桌子上时，小人儿就会注意到它，并跳到它上面。根据物体的形状，小人儿可以滑行、跳跃和攀爬。放置很多东西就能让小人儿玩得很开心。