teamLab Phenomena Abu Dhabi | teamLab

Even if individual elements are separated in space and time, when a structural order appears among them, the elements transcend space and time and form a single entity. Despite significant changes in shape or size on the surface, or even if all of the elements are replaced, the single existence will be maintained. This spatiotemporal existence is part of the whole, it appears from the whole, and is returned to it. It is a living universe - a biocosmos.
Sculptural existence is born in space. It takes form on the ground as a mass and rises from the ground. Existence is born in the air, transcending the very concept of mass, and continues to exist mid-air, maintained in place. The boundaries of these existences are ambiguous, and the glowing spheres that compose them are continuously changing. Even when people fully immerse themselves in this sculpture, its existence remains intact. If broken by people, it naturally restores itself. Even if people try to move or push this floating entity, they cannot do so. Physical human actions cannot move the sculpture. 
Rather than a solid object, this sculptural entity is created by the order of energy generated by the phenomena of a unique environment. Let us call this existence High Order Sculpture. The artwork is inseparable from the environment and changes along with the environment. It transcends the conventional notions of physical objects—it sustains its existence mid-air, having ambiguous boundaries, and it is able to maintain its shape even when people immerse themselves physically into the sculpture, naturally restoring itself even if the sculpture breaks.

The strokes of color in this artwork do not have an overall focus; there is no guidance and no external influence. Through simple, localized interactions between color strokes and people, spontaneous order continuously emerges on its own, even as everything moves toward disorder.
Even if individual strokes are distant in space and time, when spontaneous orders appear, individual elements transcend space and time and form a single entity. Despite significant changes in shape or size on the surface, or even if the individual elements are replaced, the single existence will be maintained.This spatiotemporal existence is a part of the sea of disorder, it is swallowed by the sea, and yet continues to emerge from the disorder.Order and disorder, existence and the whole, continuously flow into one another without boundaries, as they rise and fall, collide and merge.
Images created by camera lenses and perspective represent the illusion of space, depicting a three-dimensional space on a two-dimensional plane. In this illusion, the three-dimensional space appears beyond the two-dimensional surface, and the viewers are in a different space from the three-dimensional space, making the two-dimensional plane a boundary. With this, the viewpoint is fixed, and the viewer’s body is absent. In contrast, this artwork does not create an illusion of space. Instead, the space of the artwork directly exists in the same space as the viewer's body. Walls and floors do not act as a boundary between the person and the space of the artwork, but rather, the space of the artwork integrates with the space in which the viewer's body exists. The viewpoint is not fixed, and their body remains free.

“The existence of an ocean vortex is made up of the same water, both inside and outside. There is no material difference. Despite this, why do we feel a sense of existence in the vortices of the ocean?”
The difference between the inside and outside of an entity such as a vortex lies in the order, not the material.Even if the elements of an artwork are separated in space and time, when an order is formed in the parts, the individual elements may be recognized as a single entity that transcends space and time.
A group of sculptures composed of an order formed by a collection of light that flows continuously from the outside to the inside and from the inside to the outside.

This torus always faces the front, whether observed from the side or from below. The torus that you're looking at facing forward is simultaneously facing forward to another viewer standing elsewhere.
This torus exists as a torus within the viewer's cognitive world. We refer to such artworks that exist in the perceived world as Cognitive Sculpture. When it exists within perception, it is considered to exist.

Artwork of waves.This work is not an illusion of space; the artwork space exists as it is in the space where people's bodies are, and the space becomes enveloped by waves.
Images created by camera lenses and perspective represent the illusion of space, depicting a three-dimensional space on a two-dimensional plane. In this illusion, the three-dimensional space appears beyond the two-dimensional surface, and the viewers are in a different space from the three-dimensional space, making the two-dimensional plane a boundary. With this, the viewpoint is fixed, and the viewer’s body is absent. In contrast, this artwork does not create an illusion of space. Instead, the space of the artwork directly exists in the same space as the viewer's body. Walls and floors do not act as a boundary between the person and the space of the artwork, but rather, the space of the artwork integrates with the space in which the viewer's body exists. The viewpoint is not fixed, and their body remains free.

The flow is influenced by the shape of the space and the presence of people, and it continuously interacts with and transforms with all the other flows in the artwork space. The flow is considered as a continuum of countless interacting particles, and lines are drawn by the trajectories of these particles. 
This artwork is not an illusion of space; the artwork space exists as it is in the space where people's bodies are, and the space is covered by the flow.
Images created by camera lenses and perspective represent the illusion of space, depicting a three-dimensional space on a two-dimensional plane. In this illusion, the three-dimensional space appears beyond the two-dimensional surface, and the viewers are in a different space from the three-dimensional space, making the two-dimensional plane a boundary. With this, the viewpoint is fixed, and the viewer’s body is absent. In contrast, this artwork does not create an illusion of space. Instead, the space of the artwork directly exists in the same space as the viewer's body. Walls and floors do not act as a boundary between the person and the space of the artwork, but rather, the space of the artwork integrates with the space in which the viewer's body exists. The viewpoint is not fixed, and their body remains free.

Graffiti Nature is an ecosystem of creatures drawn by people.
Color in a creature on the paper provided, and see the picture you have drawn come to life and move in front of you.Living things eat and and are eaten by other living things in one shared ecosystem. The creatures you draw will multiply if they eat other living things, but they will die and disappear if they do not eat enough, or if they are eaten by other creatures.
The crocodiles eat the snakes, the snakes eat the lizards, the lizards eat the frogs, and the frogs eat the butterflies, each one propagating as a result. Likewise, the butterflies multiply in places where flowers grow. Although flowers will bloom if people stay still, their petals will scatter if people walk around and step on them. The crocodiles will die if people step on them too much. Living creatures spread throughout the world, increasing and decreasing in number. The creatures you have drawn may be increasing somewhere.
Beating Earth is this artwork space. In a complex, three-dimensional space, perception based on common sense is separated from perception based on the body, and the space appears to move.
At times, the waterfall that flows down becomes Sketch Waterfall Droplets. This waterfall is made up of the droplets that everyone has drawn.Freely color in a droplet on the paper provided. Your drawing will then turn into droplets that flow along the terrain. Eventually, they will mix with droplets drawn by other people in the waterfall.A single droplet bounces off like a ball, but when there are many of them together, they behave like water. When the droplets break apart, they start behaving like balls again.A single water molecule does not become liquid. In order to become liquid water, many water molecules need to gather together.Water molecules act like magnets, so they connect with each other and form clusters of water molecules (water clusters). Water clusters have an extremely short lifespan and are thought to be constantly being created and destroyed. In other words, they have a very dynamic structure. This allows water to change into various shapes.Most objects and living things in this world have properties as a whole that are more than the simple sum of the properties of their parts.

The only material substances present in this space are ordinary soap, water, and air. The bubbles are soap bubbles.
This floating, immense sculpture emerges from a sea of bubbles, transcending the very concept of mass. It neither sinks to the ground nor rises completely to the ceiling, but instead drifts in the middle of the space. The contours of its existence are ambiguous—it fragments into smaller pieces, but merges into a larger mass. Even when people fully immerse themselves in this sculpture, its existence remains intact. If broken by people, it naturally restores itself. However, when the sculpture is destroyed beyond what it can repair, it collapses, unable to recover. Even if people try to move or push this floating sculpture, they cannot do so, and if they stir up wind, the sculpture disperses entirely. Physical human actions cannot move the sculpture.
Objects such as stones and man-made creations maintain a stable structure independently. A stone, for instance, will remain unchanged even if placed in a sealed box, isolated from the outside world.In contrast, a vortex in the ocean will vanish in an instant if removed from its environment. Unlike a stone, a vortex does not sustain itself; it evolves with the surrounding currents, formed by water flowing continuously from the outside to the inside and from the inside to the outside of the vortex, changing along with the flow. Moreover, the boundaries of its existence are ambiguous, and there is no material distinction between the vortex and its surroundings.
Rather than a solid object, this sculpture is created by the order of energy generated by the phenomena of a unique environment. Let us call this existence created by the order of energy, a High Order Sculpture. The artwork is inseparable from the environment and changes along with the environment. It transcends the conventional notions of physical objects—it sustains its existence mid-air, having ambiguous boundaries, and it is able to maintain its shape even when people immerse themselves physically into the sculpture, naturally restoring itself even if the sculpture breaks.
By filling the space with soap bubbles, a distinct environment is created in which an order of energy is born. By doing so, a massive form emerges from this sea of bubbles that floats steadily in mid-air.

This is a series from teamLabBall (2009-) featuring soft and flexible sculptures that relate to people’s bodies, sculptures that change the relationship between people and the space through the influence of people's behavior, and spatial sculptures with ambiguous boundaries.
When an Ovoid is pushed by a person, or swayed by the waves, the Ovoid falls back and then rises, releasing a resonating tone. The Ovoids around it also respond one after another, emitting color, and a sound tone that continues to resonate.
The space of the artwork is interactively transformed under the influence of the behavior of the people in the space, making the environment and the people a part of the work. This allows the artwork and people, the self and others, to continue without boundaries.
The Ovoids can change into a total of 32 newly-defined Solidified Light Colors.

These megaliths appear in various locations around the world, their spacetime is interconnected. 
The roots of the trees growing in the surrounding area continue directly down to the bottom floor. The floor below is an environment where roots are able to grow even in the air.
Research has shown that forests connect through a network of mycorrhizal fungi, allowing trees to recognize and share nutrients with each other. While the roots in this unique environment can grow without soil, they cannot form mycorrhizal networks. Because there is no soil the space appears visually open, but for the roots, they are in a closed state. Trees in urban areas are similarly in a closed state. Additionally, long-lived pines such as bonsai and those commonly seen in gardens are absent from natural forests, as they cannot thrive within the rich mycorrhizal networks of natural forests. Long-lived pines in gardens and bonsai coexist with humans. Similarly, trees selected for urban areas also coexist within the city's network with humans.

Each Floating Lamp on the water glows with its own rhythm. Over time they mutually influence nearby lamps and Tea in Spontaneous Order, starting a spontaneous order phenomenon, and the rhythms of their flickering become closer to each other. When people push the lamps, their rhythm changes. Then, again a spontaneous order occurs with nearby lamps and Tea in Spontaneous Order.
Each time the lamp glows, it emits a tone. The only sound that resonates in the space is the sequence of sounds, and the overall tone of the space is formed by the sequence of the tones of the flickering.
The lamps take on various rhythms depending on people's behavior, but a time structure is created by the simple localized interaction between the lamps and Tea in Spontaneous Order, and order continues to be created throughout the work.
The spontaneous order phenomenon is when different rhythms influence each other and become aligned. The pendulums of two pendulum clocks hanging on a wall gradually become aligned. When many fireflies gather in a tree, they gradually begin to flash at the same time, creating a larger accumulated light. The cells that make up the heart pulsate in unison, synchronizing with each other to produce heartbeats. This is seen in a wide variety of systems, including physical phenomena, neurophysiology, life systems, and ecosystems.

This is a factory where the creatures that you draw can be made into an original item.
The creatures you draw in Graffiti Nature and Beating Earth will be made into an original product such as a badge, hand towel, T-shirt, tote bag or papercraft, to be taken home.

A ceiling made of darkness.
Its existence is not the reason we can see it. The focus of our eyes produces the perception of existence which we see. In other words, you are not seeing the ceiling of darkness. The continuous focus of the viewer creates the ceiling of darkness in the cognitive world, and that is what you are seeing.The recognition of existence is created from the viewer’s ability to continuously maintain their focus.
The ceiling of darkness exists in the viewer's cognitive world. We call artworks that exist in the cognitive world, but not in the physical world, Cognitive Sculptures. Existence in the cognitive world makes the artwork come into existence.