Art Magazine

I N T E R A C T I V E A R T

INTERACTIVE INSTALLATIONS

Art installations act as an immersive expression of artistic creativity that transcend traditional boundaries through the engagement of viewers in a multisensory experience Through their three-dimensional nature, thematic exploration and interactivity, installations create a space designated for contemplation, prompting individuals to reflect on their own perspectives, emotions and connections to the broader human experience. The captivation of installations fosters a direct relationship between the artist, artwork, world and audience, formulating an invitation to explore the significance embedded within the artwork

‘Borderless World’, established in 2001 in Tokyo’s Odaiba district, by the developer, Mori Building and partnered with art collective, TeamLab, combines a fusion of science, art, technology and design through their immersive and interactive digital landscape installations. Through transcending conventional boundaries, “Borderless World” ultimately dissolves distinctions between individual artworks, art and its audience, and additionally among individuals themselves Through its transformative amalgamation, the numerous installations redefine the essence of artistic engagement, inviting participants to bridge the realms of imagination and interaction by walking through digitised computer generated

‘Borderless World’ comprises 77 individual installations that holistically surpass the traditional boundaries of artistic expression, creating a dynamic relationship between the artwork and its audience through the intricacy of digitised environments.

BORDERLESS WORLD

“Influenced by people, the fish move, based on a primitive rule unknown to humankind, which in turn creates a complex and beautiful coloration in the space.” - TeamLab

BORDERSLESS WORLD: ‘THE WAY OF THE SEA: COSMIC VOID’

TeamLab’s 2018, ‘The Way of the Sea: Cosmic Void’, acts as a metaphorical representation for distinguished behaviour and social dynamics, prompting the viewer to confront their thoughts, emotions and perspectives in our society Essentially, the viewer is positioned at the entrance of the installation in which the boundary between the wall and the floor disappears and the lines from the trails of the shoal appear three-dimensional Eventually, the body becomes immersed in the world of the installation where the fish, rendered in light, moves freely through the space ‘The Way of the Sea: Cosmic Void’ serves as a prominent symbolic representation that human societies collectively unite in a formation that resembles the movement of the fish, who are fundamentally guided by neither a leader or mutual consensus, though as a harmonised community The relationship between this computer programmed installation and the audience strategically challenges the traditional prevailing notions of the values in art, highlighting the significance of togetherness and interconnectedness within this materialistic society

‘The Way of the Sea: Cosmic Void’ embodies an advanced fusion of artistic expression and technological progression that is not crafted by a prerecorded image, rather a computer generating program that undergoes realtime rendering Ultimately, the connective interaction between the audience and the installation creates a continuous alteration within the artwork, in which the previous visuals are never repeated or replicated Additionally, the installation visuals are paired with immersive surround sound, elevating the holistic sensory impact and emotional response to the fishes; the soft orchestral music amplifies the depth and unity of the installation, fostering a mesmeric experience for the audience.

TeamLab

“All oceans are connected to each other, and so are all the waves in this world.” - TeamLab

“The waves seem alive because life is like a rising wave. It is a miraculous phenomenon that continuously emerges from a single, continuous ocean.” - TeamLab

BORDERSLESS WORLD: ‘BLACK WAVES: BORN IN THE DARKNESS, RETURN TO THE DARKNESS’

TeamLab’s 2024, ‘Black Waves: Born in the Darkness, Return to the Darkness’, installation intertwines the concept of human togetherness through the recurring symbolic motif lines to depict waves within traditional East Asian expressions of art Utilising this motif of waves, the installation invites the audience to recognise each wave as an integral element of a larger, interconnected flow that ultimately resembles the essence of human life within society Specifically, this installation consists of red and blue digitised waves that rise, mirroring the concept of vitality, and subsequently waves that eventually fall to replicate the fragility of existence. Fundamentally, these waves collectively unite to form an ocean, symbolising the interconnectedness of humans as we are harmonised within a broader shared experience. ‘Black Waves: Born in the Darkness, Return to the Darkness’ prompts the audience to reflect on the connections within humanity, offering a profound metaphor for the continuous emergence of life that resembles a boundless ocean.

‘Black Waves: Born in the Darkness, Return to the Darkness’ employs water particles that formulate a continuous digital medium; through calculating the interactions between particles and simulating water movement within three-dimensional space, lines are drawn onto the surface layer of the waves to create this wave installation Additionally, TeamLab established a concept of advanced technology in 2001 that fragments the boundaries between the audience and the artwork through a plane composed of multiple detailed planes, Ultrasubjective Space Essentially, TeamLab aimed to design a logical construction that could eliminate the space in two dimensions without formulating a boundary between the immersive experience of the installation’s world and the space represented by the surface of the artwork; therefore, Ultrasubjective Space offers a boundary-free sensation that allows the audience to become immersed within a void of digitised waves.

THREE STUDIO

‘Three Studio’, an anonymous trio of artists, merges an artistic fusion of art, history and science to construct symbolic interactive installations Established in 2009, ‘Three Studio’ utilises a range of creative materials to manufacture their installations, including: acrylic wooden boards, transparent water hoses, soy sauce containers and figurines to produce diverse shapes and patterns. This unidentified collection of artistic designers formulate installations that specifically relate to historical, political and religious contexts to ultimately generate curiosity within the audience, developing a relationship between the artist, artwork, world and audience through active advocacy for worldly events and specified concepts ‘Three Studio’ anonymously reveals their interactive installations within galleries and exhibitions in a variety of countries such as: Japan, China, USA, Germany, Thailand, Austria, Belgium, Netherlands, Singapore, Korea and Denmark.

THE ‘EAT ME’ INSTALLATION

The ‘Eat Me’ interactive edible art installation, established in 2012 by ‘Three Studio’, acts as a living and evolving commentary on the cyclical nature of life, destruction and renewal through symbolism of the deteriorating destruction that occurred as a consequence of natural disasters, specifically referencing the earthquake and tsunami that devastated Fukushima, Japan. In 2011, a tsunami was triggered by a magnitude 9 0 earthquake off the Pacific coast, ultimately resulting in widespread evacuations, long-term radiation contamination, and significant economic, environmental and destructive consequences The detrimental impact on citizens and the physical land of Fukushima was severely profound, with enduring ramifications on health, agriculture and the local economy, so drastic ‘Three Studio’ established their interactive edible art installation that referenced symbolic environmentalism The ‘Eat Me’ installation was predominantly comprised of pieces of candy that hung from the ceiling, arranged in a structure that resembled the shape of a house Essentially, visitors would gradually eat from the candy, subsequently disposing of the wrappers in a designated corner of the installation; as the house continued to destroy, the pile of waste built up

“Built to symbolise the destruction from the natural disasters that hit and desolated Japan.” -

Three Studio

The ‘Eat Me’ interactive edible art installation transcends the traditional boundaries of art through the dual fusion of symbolic environmentalism with an ephemeral experience. Through an interactive and perishable nature, it challenges the conventional notions of permanence in art while collectively fostering a dialogue surrounding the impact of natural disasters and humanity’s role in shaping the environment Three Studio’s decision to utilise edible materials serves as a prominent metaphorical representation for the fragility of the human experience and the instability of our environment; as visitors consume the candy, they actively engage in a process that mimics the vulnerability of civilization and the destructive consequences of natural disasters Additionally, the deliberation of disposing of the candy wrappers in a designated corner of the room mirrors the inevitability of waste and demolition due to natural disasters. Moreover, Three Studio’s installation acts as a catalyst for advocacy and awareness, formulating a connection with the audience that invites participants to contemplate the environmental consequences of their actions The growing pile of disposed candy wrappers not only mirrors the destruction of natural disasters, though additionally evolves into a tangible expression of the waste produced by our consumption-driven society, prompting personal reflection within the audience on the broader implications of individual choices

JASON DECAIRES TAYLOR

Jason DeCaires Taylor, born in 1974, is a recognised sculptural artist, environmentalist and professional underwater scuba diver and photographer, ultimately advocating for the devastation of our oceanic biodiversity and aquatic life; submerging his sculptural installations onto the ocean seafloor to create an interactive and immersive experience in which the audience scuba dives or snorkels to view his works Constructed using pH neutral, an environmentally sensitive material, Taylor facilitates reef growth that gradually attracts corals, algae, and fish, encouraging environmental awareness and activism for the restoration and preservation of marine biodiversity and aquatic ecosystems

‘VICISSITUDES’: THE GRENADA UNDERWATER SCULPTURE PARK

Jason DeCaires Taylor

“As the most destructive species on Earth, humans continue to damage coral reefs and marine life through overfishing, oil spills, pollution and countless other practices that are ruining entire ecosystems.” – Jason DeCaires Taylor

Jason DeCaires Taylor crafted the first visual narrative of an underwater interactive installation, ‘Vicissitudes’ in 2006 and 2007 of the ‘Molinere Underwater Sculpture Park’, that advocates the devastation of our oceanic biodiversity and aquatic life. Essentially, studies highlight that 25% of marine inhabitants depend on the livelihood of coral reefs, while 40% of these habitats have experienced destruction and demolition as a result of human activity: climate change, overfishing, pollution, coastal development and tourism Specifically, Molinere Bay, off the West Coast of Grenada, Caribbean, suffered significant storm damage from Hurricane Ivan in 2004; Taylor’s installation promotes activism for conservation and restoration initiatives in safeguarding the health and resilience of our coral reefs through featuring 75 steel and concrete sculptures bolted to 800 metres of seafloor, 5-8 metres deep, immersing visitors in a snorkelling or scuba diving experience ‘Vicissitudes’ seamlessly connects with the audience through a fusion of art and environmental encouragement. The immersive nature of the underwater sculpture formulates an experience in which the viewer transforms into an active participant in the nature of oceanic desolation Taylor immerses visitors in a firsthand interactive experience that forges an interconnected bond between the artwork and the audience, prompting an emotive sense of responsibility and urgency for marine conservation as a consequence to a materialistic and consumer-driven society Through his intricate blend of art and environmental consciousness, ‘Vicissitudes’ effectively communicates the extremity of collective human efforts in preserving and restoring the vitality of oceanic biodiversity and aquatic life

Taylor’s interactive underwater installation, ‘Vicissitudes’, enlightens the audience on oceanic destruction through a range of sculptural displays bolted onto the seafloor This installation features a circular ring of 26 life-size children holding hands, composed of a cement that specifically facilitates reef growth, gradually attracting corals, algae, and fish that eventually evolves into a fluorescent and surreal installation ‘Vicissitudes’ acts as a symbolic representation of a unified and harmonious society This is explicitly evident within his circular formation that withstands the directional movements and currents of the ocean’s seawater, replicating the concept in which humankind’s unity can withstand destruction and demolition within aquatic ecosystems through adopting ecological alternative practices. Additionally, Taylor’s use of casting children serves as a prominent motif that contributes to the significance of protecting and preserving our ocean Essentially, children, by nature, are adaptive to their surroundings, acting in a formative stage of development in which their beliefs, values and behaviours are considerably influenced by the information and experiences they receive Therefore, Taylor’s artistic expression emphasises the role that early education plays in shaping our younger generations' environmental awareness and fostering a sense of responsibility for the conservation of biodiversity within the aquatic environment Fundamentally, this structure visualises the urgency of a likeminded society that collectively strives towards creating a more sustainable and environmentally efficient oceanic biodiversity and sealife, ultimately evoking a sense of strength and a heightened drive for change within the audience

PUBLICATION

2006 and 2007 YEAR

ONIONLAB

OnionLab, an artistic production service based in Barcelona, Spain, utilises 3D video mapping, AV space design and tech support to design interactive installations and audiovisuals for festivals, exhibitions and galleries. OnionLab’s works surround a dual fusion between technological innovation and artistic expression to formulate an immersive experience for the audience through facilitating shared rhythms of fluorescence and light, uniting a bond between the artwork and the audience

DESIGUALINBETA

“Exploring this interactive oasis. as you could create your own art.” - OnionLab

“Using our visuals we enhanced this active meditation experience and brought it to a completely different level.” - OnionLab

OnionLab’s 2019 ‘DesigualinBeta’ interactive installation through the Sonar Festival, formulates an immersive experience that ultimately connects the audience’s inner self through a harmonious blend of lights, music and movement ‘DesigualinBeta’ invites the audience to engage with the artwork, entering a void that primarily focuses on the practice of meditation and personal reflection, replicating a spiritual realm of consciousness that transcends the traditional conventions of artistic expression. Sonar Festival’s installation captivates the audience through facilitating shared rhythms of fluorescence and light that unite a harmonious bond between the artwork and the audience

‘DesigualinBeta’ acts as a metaphorical immersive journey in which the viewer experiences a variation of colours, sounds, forces and feelings that leads to discovering their inner self through the emergence of a meditative state Initially, the installation begins with an interactive tunnel that employs biometric sensors, immersing the audience in an alluring experience conducive to a meditative experience The biometric sensors respond to the participant’s physiological cues of heart rates and breathing patterns that trigger the of coloured lights; this dynamic ween art and technology induces a effect, fostering a tranquil and environment that facilitates a erience Additionally, participants a substantial interactive canvas, ound connection with the artwork ns and movements are collectively ugh the generation of light, colour f the surface areas This immersive nsforms the canvas into a dynamic he audience's self-expression and they are encouraged to walk, run, xplore ‘DesigualinBeta’s’ immersive articipants navigate through the movements directly influence the al and auditory elements of the installation, formulating a relationship between the audience and the artwork through a sense of co-creation

OnionLab

INTERACTIVE ART INSTALLATIONS

The Digital, Relational and Multimodal in Visual Arts

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