Beyond the limits: teamLab digital art exhibition in Paris

Beyond the limits: teamLab digital art exhibition in Paris

Beyond the limits: teamLab digital art exhibition in Paris

The human is a being that often opposes himself to nature. Isolating from the latter, he creates his own world, seeking the security and comfort. Throughout history, he was building his own universe, moving away from nature. But with more significant inventions he was making, the more he missed the natural balance and purity. Thus, he was seeking the restoration of his original relation with nature through art. An infinite number of artists of different epochs tried a various media, returning to primitive creation, refusing the technology and progress in search of art that would allow the spectator to feel himself in the harmony with nature. However, it was finally the technology, an opposition to nature, that allowed some artists to achieve this goal. This is the case of teamLab, a Japanese artistic collective that uses exceptional installations, which can be called, without exaggeration, alive.

Their artworks are immense, not framed and fully immersive. Remaining totally figurative, they represent a diversity of forms and figures of nature, of flora and fauna, and, sometimes, of human individuals too, inviting the spectator to join their vivid world and feel a connection between himself and the nature. Destructing the barrier between the artwork and the spectator, this art envelopes the viewer, makes him a part of its universe of forms and colors, and, furthermore, offers him an opportunity to become its co-creator. teamLab artworks are made by more than 450 people, including artists, programmers, engineers, scientists, architects, and animators, who have been operating together since 2001.



Their principal instrument for the creation is digital technology: their art involves projectors, touch screens, audio speakers, and scanners; and their principal objective is to form a new type of art, open and interactive. teamLab seeks to escape the limits of ‘conventional art’ and to create outstanding installations, that change our understanding and perception of contemporary creation. Being really impressive, their artworks do not shock the spectator, nor are they causing discomfort. On the contrary, they are trying to remain friendly and attractive, despite their scale and dynamism.

The name of the exhibition of teamLab, which opened on the 15th May in La Villette in Paris, is “Au-delà des limites”, which means meaningBeyond the Limits” — beyond the barriers between the visitor and the artwork, and at the same time, beyond the frontiers of ‘conventional art’. The exhibition assembles in the 2,000 square-meter space the most iconic and new artworks of teamLab, among which you can find an enormous 11 meter-height and 26.5 meter-width interactive waterfall, some installations reproducing the whole saison sycle, or entire digital worlds, created by visitors of the exhibition. As all the artworks exhibited are reacting to the public’s actions, people and art are in dialogue, co-existing in one digital universe. The latter changes significantly because of the public, thereby, “Au-delà des limites” turns into a unique symphony of artworks and people, never the same.

The exhibition meets the public with the works “Graffiti Nature – Mountains and Valleys” (2016) and “Graffiti Flowers Bombing” (2018), a whole ecosystem worlds made by people: they offer to color new animals or flowers on paper and to scan it. The software integrates the digital artwork in the composition, and then the visitor suddenly finds his creation among thousands of flowers, plants, lizards, fish, moving, appearing, vanishing, multiplying across the space. That’s how the visitor discovers from the very beginning that the digital universe, created by teamLab, is playing with him and changes dynamically regarding his actions. Whether he is a wind for flowers or a living being for spirits, the human can always become a co-creator or a destroyer of every artwork, seeking for harmony or chaos.

But sometimes, playing with this astounding universe, the spectator does not notice that he himself becomes a part of an artwork. If you stand apart from the crowd, you can see how people in the light of projectors become an organic piece of several artworks. For an instance, the hall, where the installation “Impermanent Life: People Create Space and Time, at the Confluence of their Spacetime New Space and Time is Born” (2018) is shown, allows the visitor to transform the surface of walls around him and to create his own worlds, that are borning, burgeoning and dying. But it also transforms the creator himself into a part of the artwork, making him to dissolve against the background of the walls. That’s how a human, an omnipresent forceful being, is shown as an indispensable part of this universe he changes and considers to rule.

The exhibition “Au-delà des limites” will be opened in the Grande Halle de La Villette in Paris until the 9th September 2018.

South Africa under the spotlight at the Venice Biennial

South Africa under the spotlight at the Venice Biennial

South Africa - The 57th International Art Exhibition_La Biennale di VeneziaSouth Africa –  The 57th International Art Exhibition_La Biennale di Venezia


Two major artists, Candice Breitz and Mohau Modisakeng, are representing South Africa at the 57th edition of the Venice Biennale. Under the direction of Christine Macel, Viva Arte Viva is a celebratory venue highlighting art and artist’s power in our society. 

Nevertheless, rather than praising art and the people making it, the two young creators decided to give the opportunity to immigrants and other minorities to speak about their conditions and the encountered difficulties experienced throughout their journey. Candice Breitz’s short film Love Story is a raw statement where she questions the dehumanisation within our world. Marked by famine, displacement and humanitarian crisis, the 21st century is increasingly obsessed with show business, relegating or even denying to see alarming issues. By using Hollywood actors – Julianne Moore and Alec Baldwin -, Breitz reroutes the public’s attention to this field giving a voice to millions of unknown refugees.

On the other hand, Mohau Modisakeng explores South African “male” identity during the post apartheid era. His work delves on the meaning of nation, gender and postcolonialism in the country.

Regardless of Mrs. Macel intention, Breitz and Modisakeng believe in art not so much as a narcissist way of expression but as a political outlet.  


SOUTH AFRICA (Republic of), Candice Breitz and Mohau Modisakeng
57. Esposizione Internazionale d’Arte – La Biennale di Venezia, Viva Arte Viva
Photo by: Italo Rondinella
Courtesy: La Biennale di Venezia

Venice Biennial: Viva Arte Viva

The 57th Venice Biennale is about to open its doors in May 13th. With the title, Viva Art Viva curator Christine Macel intends to celebrate artists, their work and life in this year’s edition.

The Islamic Treasures of Africa

L’Institut du monde Arabe is currently exhibiting The Islamic Treasures of Africa, a show gathering both contemporary and ancient creations from African creators, influenced by islam.

Artist to Watch: Kathy Lovas

In the manner of vernacular photography, artist photographer and major in Biology, Kathy Lovas analyzes images’ repercussion and role in our lives.
Art in Motion with Technology

Art in Motion with Technology

For two generations, our global environment has been transformed through data sharing via the Internet. Galleries and museums are no longer the exclusive space to exhibit works of art; and yet, screens are not the only medium for display. Therefore, we are required to travel back in time to capture the various images where the transformation takes its source in objects that are at the same time physical and immaterial. Art in Motion in the age of Web 2.0. 


MAT #1: Back to the Future

MAT #1: Back to the Future

On 18 and 19 June, inside a renovated 250m2 studio on 19 Côté Cour in the 18th arrondissement, artist-theoretician and expert commissioner Franck Ancel will showcase an array of digital artworks that extends through 6 decades. In fact, MAT #1 does not have the bragging rights to be the first auction on digital art. A few years ago, there was a sale exclusively on video art held in France and again, another one in England on a much larger scale. So, what makes this auction special? MAT #1 is, indeed, most unique in its format. It is, at the same time, an auction and an exhibition open to the public, hence the compound noun “exhibit-auction”. The auction is most appropriately located for the occasion as the atelier is situated in a famous artistic neighbourhood, right behind popular art lover dwelling, 104. The space, christened by promising young designer Agathe Occhipinti with her scenography, will display a panorama of artists and creators who look to the expressive function of technology to communicate the social issues raised from modern industrialisation.



Léa Maleh (1983) – « alpha omega » – 2016 – Clé USB – 4 cm x 2 cm – Estimation :   1 600 € – 1 800 €

The exhibit-auction takes the participants in retrospective journey throughout 60 years of digital art. For the first stop of the voyage, we travel back in time with artist Nicolas Schöffer’s robot named Cysp 1 The work, realised in 1956, is a machine assembled by spinning metal plates where light is reflected into uncountable amount of rainbows. The robot will be presented in the format of a photographic triptych at this weekend’s MAT.

Structure gonflables. Another example of these exciting reeditions is the 2008 reproduction of kinetic sculpture Contact Is The Only Love by the collective USCO (The Company of Us).



Nicolas Schöffer (1912-1992) « cysp 1 » – 1956 Photographie H : 60 cm – L : 21 cm Estimation :   4 500 € – 5 500 €

This weekend’s exhibit-auction offers digital art in all its glory, diversity beyond our imagination, ranging from Léa Maleh’s 3D printed sculpture of a USB in the material of Corian to video art. Take the examples of the three-channel projection of Nicolas Tourte’s Passage (2016), Nicolas Schöffer experimentation Variations luminodynamiques 1 at the Office de Radiodiffusion Télévision Française (ORTF) in 1961, which is considered to be the first television clip, Régine Cirotteau’s experimental docu-fiction on the passage to the New Millennium, Zéro (2000), and the four-channel video Four Cardinal Point (2015) by Richard Garet.

MAT #1 is the regarded as a solution to polemic on the conservation of and the construction of a market for digital art since in nature, this genre of art does not strictly follow its business-savvy cousin, contemporary art. On top of that, the range of the starting price is rather reasonable, calculating from the hundreds to around the thousands in Euros. This first edition of MAT exhibit-auction offers diversity in artist and its spectrum of digital art pieces on sale. It aims to be a meeting place for collectors and creators of art of today. MAT will be an annual auction with its next edition already announced for the year 2017, where MAT #2 will focus on the timeline from 1947 to 2017. Ancel reaffirms that the exhibit-auction Mouvement Art Technologie takes the objectives to create a dialogue between generations, techniques, formats, and aesthetics; between geometric art, kinetic, optical, and digital; between the past, the present and the future.

Featured Image: Franck Ancel (1970) – « She Loves Control » – 2014
Néon -Edition of 23 – H : 12 cm – L : 180 cm -Estimation :   1 000 € – 1 300 €