teamlab, that elusive and mysterious art collective from Japan, is back with yet another immersive installation … make that a whole set of installations. Amos Rex, the Amos Anderson Art Museum in Helsinki, is a new underground space designed by Finnish firm JKMM. The construction of the museum also included the renovation of the landmark 1930s Lasipalatsi building and public square, which opened to the public along with teamlab’s latest collection of work on August 30 to run through January 2019. This custom work for Amos Rex is called Massless, and the various installations included continue to distill the group’s approach to artistic digital communication and its unique ability to capture dynamic change.
“The digital has liberated human expression from the physical,” teamlab said. “Expression no longer requires an irreversible bond to the material in order to exist, thus dissolving the notion of mass. Expression freed from physical constraints also makes our experience of artworks and space ‘Massless.’”
The largest of these new installations is entitled Vortex of Light Particles, and it uses more than 50 projectors to create an inverted drain of sorts in which water appears to be free of gravity and floating upward into a black hole in the domed roof.
Graffiti Nature: Lost, Immersed and Reborn is another installation made just for Amos Rex as it makes use of a series of mirrors to express a sort of psychedelic forest in which neon-colored plants and animals are continually popping in and out of existence.
Transcending Space, Black Waves and the whimsically named Crows are Chased and the Chasing Crows are Destined to be Chased as well round out the exhibit with more computer-generated 3D imagery that channels ancient culture and its symbiotic relationship with nature.
One of the most interesting and seemingly simplistic installations is actually in the museum lobby, and therefore the introduction to Massless’ magic. Enso allows visitors to try their hand at the Zen practice of drawing a circle in a single, unbroken brush stroke through spatial calligraphy, and it’s perhaps one of the first interactive experiences we’ve seen that potentially adds layers of spiritual meaning to the concept of digital interactivity.