An engaging exhibition: “teamLab: continuity”


San Francisco now has of them A major immersive artistic experience. In addition to “Immersive Van Gogh” which opened in March, there is a multi-room “teamLab: Continuity” tour of the Asian Art Museum which opens on Friday, and makes you feel like you are in a dreamlike landscape at night with nature and art. Let me do. Walls, floors and the visitors themselves swirl around them.

Here’s an analogy: remember that scene The Raiders of the Lost Ark Where are Harrison Ford and Karen Allen tied up, emanating from anywhere and enduring the wrath of another world killing many evil characters? “TeamLab: Continuity” is the antithesis. It is a hellish paradise where animated flowers, birds and other elements move around the visitor like waves, revealing the lines of abstract art darts and hovering spectators. And there is music with an atmosphere that excites the experience in “teamLab: Continuity” and the scent of scents that come from here and elsewhere.

And it has the interactive nature of “teamLab: Continuity”. It allows visitors to play with moving elements, to grow, to fall and to take new forms. All this thanks to an algorithm that recognizes where the visitor is walking. Hand on the wall.

Immersive experiences have been trending in the art world for the past few years, for the simple reason that they are so popular. Tokyo-based TeamLab is an arts collective specializing in immersive exhibits, and when it opened teamLab Borderless in Tokyo in 2018, the show drew 2.3 million visitors worldwide. It has become the most visited unique artist’s museum. The number of people who visited the Van Gogh Museum in Amsterdam.

The “Immersive Van Gogh” exhibition, which opened in Paris in 2018 (and attracted over 1.2 million people) and then opened in other iterations around the world, cemented the popularity of these exhibitions. .. But the immersive experience has divided art critics and art lovers. Discussion with them: They are stunned by the art they claim to admire, giving people an exteriorized “spectacle” that reduces Van Gogh paintings. Starry Night For pure entertainment. For art purists, Van Gogh should be evaluated as Van Gogh understands it: As an image! As a 2 × 3 foot canvas with oil that allows viewers to experience it – – Exterior and interior – – In unique conditions!

However, “teamLab: Continuity” is very different from San Francisco’s “Immersive Van Gogh” and is far superior. One is interactive, without an “immersive Van Gogh”. Another thing: for obvious reasons, “teamLab: Continuity” refers to Asian art. – Not an obvious folk work, but historical art like Hasegawa Tohaku, a 16th century Japanese ink painter specializing in natural scenes and cited by TeamLab members as an influence.

Another difference between “teamLab: Continuity” and “Immersive Van Gogh” is that “teamLab: Continuity” is relatively inexpensive and costs only $ 20 for adults. At SVN West in San Francisco, “Immersive Van Gogh” starts at $ 39.99 at the “Basic Timed” exhibit and goes up to $ 99.99. However, since “Immersive Van Gogh” first arrived in San Francisco, art fans may think “teamLab: Continuity” is part of the same genre that produced “Immersive Van Gogh”.

not really. “TeamLab: Continuity” is trying to do something the Van Gogh Show can never do. It disrupts the relationship between art and visitors and turns them into active participants rather than observers. Additionally, according to founder Toshiyuki Inoko, TeamLab’s exhibits will help visitors rethink their relationships with things other than art. “By blurring the line between people and works, the viewers themselves become part of the work and their relationship with ‘others’ begins to change,” Inokuni said in the exhibition catalog. .. “The relationships that we normally maintain in cities, that is to say separating us from ‘others’, are now a step in the continuum. We give people the opportunity to reflect and rethink the boundaries they envisioned. “

It is not yet known if this will happen to visitors to “teamLab: Continuity”. In the media preview I attended, visitors were encouraged to interact with diving crows, flapping butterflies, and flowering plants, but not everyone did. Even if you don’t try to interact with the waves of objects around them, they still react to you. They know you are there. They feel your movement. And that encourages you to be more careful than if you weren’t. You can see how the crows crumble in a pattern. You can see how the paint is collapsing in a room. For example, it looks like the start of a semi-abstract work like this: Chinese artist Chang Dai-dog from the museum’s collection – Appears in another room and throws darts like this to form another type of abstraction.

All of the “teamLab: Continuity” did not work. I was able to manipulate the visuals, but not the music. And if it wants to be aerial, even primitive, in certain pieces the music borders on New Age. Your ears have to adapt to the piano and treble mix that accompanies each movement, but not everyone wants to hear music like this: Kitaro or even Yanny could have written it. It can not be helped.

The Museum of Asia has installed “teamLab: Continuity” in the new Akiko Yamazaki and Jerry Yang pavilion. This is an exhibition space that is part of the museum’s five-year expansion project. The space almost the size of a maze itself is a great place to incorporate “teamLab: Continuity”. The Asian motif of the exhibition cannot be denied. You can notice them with little understanding of Asian art and history.

However, “teamLab: Continuity” is not a Lithomas test for visitors’ knowledge and appreciation of Asian art. As TeamLab states in its catalog, Collective is “created for the masses around the world”. And that means art tries to appeal to as many audiences as possible, like the immersive Van Gogh exhibit.

“TeamLab: continuity”

Tickets: $ 15 to $ 20 and advance reservations required at the Asian Art Museum at Larkin 200, San Francisco from July 23 to February. 415-581-3500; ..

Weems envisions Arbus at the Fraenkel Gallery

Diane Arbus’s photographs have been called into question as they have been exhibited so often since her death in 1971. Arbus’s most iconic work – Child with toy grenade, New York, 1962 Central Park And Identical Twins, Rosell, NJ, 1967 – Became the standard bearer of artist photography for generations. And his photography style (intimate black and white photography that reveals people at the frontiers of society and its existence) gave photography 50 years later a new perspective.

But the Frenkel Gallery’s new exhibition, Diane Arbus Curated by Carey May Weems, is important to respected photographer Weems, who emphasizes neglected photographs and cites Arbus as one of the main ones. By emphasizing the photographs that say so, he essentially reintroduces the influence of Arbus’s work.

The reason is easy to understand. The photos of Weems’ black-American experience, and the experiences of women and others, face the expectations of what the viewer sees. As she said in the 2013 SF Weekly interview, “I think the root of all my work is the idea of ​​this. embrace. I hope human women will be accepted. Colorful people deep down in humanity know who they are. I hope you accept it, and finally, if you’re talking about hugs, you’re talking about love matters. “

In Frenkel, the 1962 photo of a black waitress at Diner by Albus is a way of seeing the waitress as part of a culture that tries to hug people in advertising, rather than being weird and out of place ( “Coca Cola”). Drink ”) and dilute their humanity. The waitress looking to the left of the camera has no name, and the uniform says nothing about her identity and instead promotes the restaurant. A 1968 photo of Coretta Scott King taken by Arbus shows King facing up and holding her hand as he stood on the lawn of his home in Atlanta. This is another image with overlapping meanings. Arbus took the picture Harper’s Bazaar A magazine where Coretta Scott King was supposed to attend her husband’s funeral just days after the assassination of Martin Luther King Jr. At this time, Coretta Scott King is not sad. On the contrary, she seems to have hope – this is a vintage Arbus: to capture a disappointing scene.

Weems, which is currently on display at the Fraenkel Gallery in September, has selected 45 photos. Weems does not comment on any of the images. In addition, the caption of each image is minimal. You are therefore free to interpret the photographs of Arbus and their meaning for Weems. It may be the best. Weems shares Albus ‘preference for highlighting those who are neglected, and it is expressed in Albus’ photographs.

“Diane Arbus organized by Carey May Weems”

Free until August 13. Fraenkel Gallery, 49 Geary, SF 415-981-2661,

To see also

Lauren YS: Eidolon Ship .. Using canvas, wood panels, paper and concrete walls, Lauren YS creates an elaborate fairy tale featuring her distinctive hybrid figure, like a woman with multiple eyes and arms. . Women who are also part of animals and insects. A skeletal person who looks as alive as a human. Lauren YS’s work always incorporates aspects of her Chinese heritage, but “Eidolon Vessel” strengthens that connection and, in honor of her recently deceased grandmother, tells Lauren YS “a clear connection to China.” I told him what he said. The life vessels of the past are evident in much of Heron Arts’ art, ShamanThese vessels are the normal part of the scene – whether they represent death, life, or something in between.

Until August 21. Free by appointment. Heron Arts, 7 Heron Street, San Francisco; ..

Hung Liu: Golden Gate..30 years since its inception Foreign residentAuckland artist Hunrui, her abominable portrayal of how the United States thinks about becoming a citizen, is on two floors and is now docked in the Wilsey Court of the De Young Museum. Foreign resident 2021 While taking all of Liu’s original work and changing the jargon of immigrants classified by the US government (“resident alien” was replaced with “permanent resident”), Liu’s work was against the attacks in San Francisco and in the United States. other major American cities, and political attacks. fueled by the origin of the coronavirus in China, resonate just as much today for Asia. Liu also created a new companion book on Chinese immigrants, which Foreign resident 2021 It dramatically examines every visitor entering De Young for eight months.

Until March 13. free. De Young Museum, 50 Hagiwara Tea Garden Drive (Golden Gate Park), San Francisco; 415-750-3600, ..

Jonathan Client is a contributor. @AuthorJCuriel

An engaging exhibition: ‘teamLab: Continuity’ Source link An engaging exhibition: ‘teamLab: Continuity’

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