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Una publicación compartida por @nkmann5

New York City has long been a bustling city—a characteristic that transcends its financial hubs and runs through all of its neighborhoods. In a tribute to its robust history, multimedia artist Adrian Sas partnered with the New York City Department of Parks and Recreation for Broadway: Now & Then, a new piece of public art that offers a look into the past. When looking it at it from different angles, the lenticular photo installation shifts between a photograph taken in 1910 and an image snapped in the present day, both captured at the same location—the corner of 157th Street and Broadway.

Broadway: Now & Then builds a bridge between old and new in architecture, urban planning, design, culture, technology, and photography. The 1910 image was taken by photographer Thaddeus Wilkerson, and depicts a horse and buggy, which have been replaced by cars and e-bikes. Most notably, the building in the foreground still stands and maintains its architectural style, having evolved from the distribution hub among the first to supply New Yorkers with pasteurized, bottled milk, to a gym and a fast food locale. The subway, which opened six years before the picture was taken, had its entrance moved to the sidewalk.

“It's a time machine, of sorts, that I built to transport passersby from a contemporary moment to one more than a century ago,” Sas explains on Instagram. “Flipping between an archival image from 1910 (courtesy of [the Museum of the City of New York]) and a photograph I took earlier this year, of the very same street corner where it is installed, this 4-foot-wide lenticular composition provides a unique perspective on the ever-evolving city I love.”

The installation, which was funded by the Upper Manhattan Empowerment Zone, will be on view at Ilka Tanya Payán Park for the next six months. To stay up to date with the artist, follow Sas on Instagram.

Broadway: Now & Then is a new lenticular installation by multimedia artist Adrian Sas that offers a look into the past of a New York City street corner.

 

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Una publicación compartida por Adrian Sas (@pixsas)

Adrian Sas: Website | Instagram
h/t: [Laughing Squid]

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Wild Indian (Photo: Jason deCaires Taylor / @jasondecairestaylor)

In 2006, British artist Jason deCaires Taylor founded The Molinere Underwater Sculpture Park, a unique display of art that is submerged off the coast of Grenada. Recently, the underwater garden welcomed 27 new sculptures by Taylor and four by local artists, all of which are inspired by Grenada's annual Spicemas carnival. This new collection is titled The Coral Carnival, and features an array of figurative works embodying characters from the carnival, some of which are even rendered in color.

Taylor is known for using his artistic practice to help conserve the environment. All of the sculptural works are made with high-grade stainless steel and pH-neutral marine cement, ensuring that they are not only safe for sea creatures, but also beneficial. Additionally, the bases of the sculptures are rendered as lifelike rock formations with crevices and holes for marine life like octopi and lobsters to find protection and refuge. For the first time, there is even colorful details painted onto some of the works, which is made from a environmentally safe calcium carbonate base and natural pigments.

The newest additions are located in a linear procession along the sea floor at a depth of about 3 meters (just under 10 feet), so snorkelers can easily explore the gallery. Twenty-five of the sculptures from The Coral Carnival are life-cast from people of the local community. Some of the most iconic masqueraders from the carnival are depicted, including Jab Jab, a main character unique to Grenada, who wears a chain that symbolizes emancipation. Others include Short Knee, dressed in a 3/4 jumpsuit and ankle bells; and Vieux Corps, who can be identified by tall pointed hats and full-length cloaks. Also featured is the Wild Indian character, which originates “from the Amerindian heritage of immigrants from South America,” and costumed dancers of Fancy Mas, who are decorated in painted jewels, sequins, and feathers. Eventually, the painted color will be replaced by vibrant marine life as it grows over the sculptures, so this art remains ever-evolving.

Scroll down to see more amazing pieces from the collection, and be sure to follow Taylor on Instagram to keep up to date with his latest projects.

In 2006, British artist Jason deCaires Taylor founded The Molinere Underwater Sculpture Park, a unique display of art that is submerged off the coast of Grenada.

Fancy Mas dancer (Photo: Jason deCaires Taylor | @jasondecairestaylor)

Fancy Mas dancer (Photo: Jason deCaires Taylor | @jasondecairestaylor)

Recently, the underwater garden welcomed a new collection titled The Coral Carnival.

“The Coral Carnival” Collection (Photo: Jason deCaires Taylor | @jasondecairestaylor)

Jab Jab, right; and Fancy Mas dancer, left (Photo: Jason deCaires Taylor | @jasondecairestaylor)

Photo: Jason deCaires Taylor | @jasondecairestaylor

Wild Indian, front; and Fancy Mas dancer, back (Photo: Jason deCaires Taylor | @jasondecairestaylor)

It includes 27 new sculptures by Taylor and 4 by local artists, all of which are inspired by Grenada's annual Spicemas carnival.

Short Knee (Photo: Jason deCaires Taylor | @jasondecairestaylor)

Short Knee (Photo: Jason deCaires Taylor | @jasondecairestaylor)

Wild Indian (Photo: Jason deCaires Taylor | @jasondecairestaylor)

Wild Indian (Photo: Jason deCaires Taylor / @jasondecairestaylor)

The collection features an array of figurative works embodying characters from the carnival, some of which are even rendered in color (a first for the underwater exhibit).

Wild Indian (Photo: Jason deCaires Taylor | @jasondecairestaylor)

Fancy Mas dancer (Photo: Jason deCaires Taylor | @jasondecairestaylor)

The new sculptures are located along the sea bed at a depth of 3 meters (just under 10 feet), making them easily visible to snorkelers.

Short Knee (Photo: Jason deCaires Taylor | @jasondecairestaylor)

Photo: Jason deCaires Taylor | @jasondecairestaylor

25 of the sculptures from The Coral Carnival are life-cast from people of the local community.

Short Knee (Photo: Jason deCaires Taylor | @jasondecairestaylor)

Vieux Corps (Photo: Jason deCaires Taylor | @jasondecairestaylor)

Vieux Corps (Photo: Jason deCaires Taylor | @jasondecairestaylor)

Some of the most iconic masqueraders from the carnival are depicted, including Jab Jab, Short Knee, and Vieux Corps.

Vieux Corps (Photo: Jason deCaires Taylor | @jasondecairestaylor)

Vieux Corps (Photo: Jason deCaires Taylor | @jasondecairestaylor)

Jab Jab (Photo: Jason deCaires Taylor | @jasondecairestaylor)

Jab Jab (Photo: Jason deCaires Taylor | @jasondecairestaylor)

Jason deCaires Taylor: Website | Instagram | Facebook

My Modern Met granted permission to feature photos by Jason deCaires Taylor.

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American artist Jim Denevan has created one of his most ambitious installations to date as part of Abu Dhabi's public art initiative, Manar Abu Dhabi. The vast, yet ephemeral, land art is made from 448 hand-formed pyramids and mounds laid out in 19 concentric circles. Together, they form a mesmerizing mandala pattern that invites the public inside to experience the design's effects.

Self-Similar began with a single circle drawn with a stick in the sand and progressed thanks to the help of local volunteers, as per Denevan's artistic practice. Situated on the city's Fahid Island, visitors approach the installation from an Iron Bridge that stretches across the Arabian Sea. From there, they are invited into the mandala, where they can marvel at the symmetry of the work and even observe it in its entirety from two observation mounds.

At night, Self-Similar takes on a different appearance thanks to more than a thousand solar lights that slowly turn on at dusk. These lights cast shadows off each pyramid and give the installation a warm, spectral feeling.

The piece is one of 35 site-specific artworks by local and international artists that will remain on display in Abu Dhabi until January 30, 2024. Inherently, Denevan's installation will transform through the period, as the elements exact their will on the earthen pyramids. The artistic choice to create ephemeral work that evolves overtime is deeply felt by Denevan. He says, “As I draw and shape these forms, an invitation is made, it emerges. An ‘entering into’ takes place. A centering. Scale, presence, human, and otherwise. External is internal and internal is external. That which expires and that which is eternal, a simultaneity, within and without.”

Self-Similar is one of land artist Jim Denevan's most ambitious installations to date.

The work features 448 hand-formed pyramids and mounds laid out in 19 concentric circles.

The installation is part of Manar Abu Dhabi, a new public art initiative that will last until January 2024.

At dusk, the illumination of over a thousand solar lamps changes the look and feel of Self-Similar.

Local volunteers helped produce the ephemeral work, which takes on a mandala-like pattern.

Jim Denevan: Website | Facebook | Instagram

All images by Lance Gerber. My Modern Met granted permission to feature photos by Jim Denevan.

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Japanese-American artist Jacob Hashimoto unveiled an immersive installation at the Miles McEnery Gallery in New York City. Titled The Disappointment Engine, it featured numerous paper and bamboo kites, arranged in layers, and suspended from the wall and ceilings. Ranging in color and design, these hand-crafted pieces reference the digital age and our place in it, while also exploring the artist's East Asian identity.

The exhibition consisted of 11 works, 10 of which were displayed on the walls of the gallery, while the largest piece, all in white, cascaded in front of the entrance. Since each work was made up of numerous pieces, the sculptures shifted slightly, like they were alive. It was also easy for viewers to see the handmade aspect of these artworks. “I'm half Japanese and half European-American, and having grown up Asian-American—or at least, half Asian-American—in a rural part of the United States definitely helped shape who I am as a person in ways that I think can't help affect the way that I make my artwork,” he explains. “So my relationship with traditional materials and traditional Japanese handicraft, you know, a lot of that stuff is a product of my relationship to Asian culture through the lens of being an American.”

Although these works are made with a traditional approach, they reference the current age we are living in. Many of the circular kites possess a pixelated appearance, like computer screens glitching out. This inspiration is merged with other influences, including stained-glass windows and circuit-board patterns. “It’s about creating spaces for questions and thought and, when successful, it also reminds us of some fundamental things—the size and power of nature, smallness, Sisyphean efforts, the kind [of] cumulative experience of a lifetime,” Hashimoto expounds. “All of those things are built into the work and I think that we experience those things as a community, oftentimes through artwork, and through the discussion of those artworks. So, if [at] any point my work happens to do that, I think it’s been very successful.”

Scroll down to see more works from The Disappointment Engine, and be sure to follow Hashimoto on Instagram to keep up to date with his latest projects and upcoming exhibitions.

Japanese-American artist Jacob Hashimoto unveiled an immersive installation at the Miles McEnery Gallery in New York City.

Titled The Disappointment Engine, it consisted of numerous paper and bamboo kites that were suspended from the wall.

In the installations, the circular works are arranged in six layers.

Hashimoto uses East Asian craft traditions to produce these pieces.

The installations explore our place in the digital age, and Hashimoto's identity as a Japanese-American artist.

Jacob Hashimoto: Website | Instagram

My Modern Met granted permission to feature photos by Jacob Hashimoto.

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From incredible, immersive videos to thought-provoking sculptures, the year in art installations was certainly thrilling. In fact, 2023 proved that we've moved upward and onward, with several important installations finally emerging after long delays caused by the pandemic. With exciting openings like the Las Vegas Sphere, the contemporary art world had plenty to be excited about, and as our list of the top art installations of the year proves, many artists are ready to lead the way forward.

My Modern Met has been tracking the top 10 art installations of the year since 2013, and we're always amazed to see the new, innovative artwork that the world's leading artists come up with. On this year's list, we have KAWS' oversized bunny integrated with a UNESCO World Heritage Site and Anish Kapoor's sequel to a world-famous public sculpture. Alongside these big names, there are also intimate works by up-and-coming artists that touch on themes of ephemerality and displacement.

One thing is for certain: whether using digital displays or simple materials, each of the installations on this year's list has left a lasting impression. Scroll down to see the artists and artwork that made this year's “best of” list and click on the links within each description to learn even more about them.

Here are the top 10 art installations of 2023.

Las Vegas Sphere Installations by Various Artists

Top: Es Devlin for the  U2:UV Achtung Baby Live residency. (Photo: Rich Fury courtesy of MSG Sphere) | Bottom: “Machine Hallucinations: Sphere” by Refik Anadol Studio (Photo: courtesy of Refik Anadol Studio)

The art world was buzzing when the Las Vegas Sphere finally opened to the public. The 18,000-seat auditorium has revolutionized how people experience art and entertainment thanks to 580,000 square feet of exterior LED displays, a 16K interior wraparound interior screen, and 4D technology. Refik Anadol Studio was the first to step up to the creative plate by using the exterior to its fullest. Machine Hallucinations Sphere featured a mesmerizing animation using publicly sourced images and a computer algorithm.

Then, once legendary music group U2 started their residency, a host of artists collaborated for heart-stopping visuals to accompany the concert. As the band performed tracks from their seminal Achtung Baby album, they were surrounded by work by Marco Brambilla, Es Devlin, and John Gerrard. Their incredible work showed the way forward for other artists who will inevitably create art for the space. They also energetically stimulated the world,  making people excited to see the other creative possibilities that await us.

KAWS: Holiday by KAWS

Photo: RK courtesy of AllRightsReserved

As part of his KAWS:HOLIDAY tour, American artist KAWS took over a UNESCO World Heritage Site in Indonesia. The historic Prambanan Temple was temporarily home to his largest sculptures ever—a 150-foot pink rabbit. Any fan of KAWS will recognize the rabbit at ACCOMPLICE, a character who first debuted in 2002. The work sat on the lawn in front of the 9th-century Hindu temple for just under two weeks in August.

“Mini Bean” by Anish Kapoor

 

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Nearly 20 years after the debut of  Cloud Gate, colloquially referred to as “The Bean,” in Chicago, British-Indian sculptor Anish Kapoor unveiled its twin in New York City. The new reflective sculpture is smaller than its predecessor, and tucked into a corner of the Tribeca neighborhood of Manhattan, underneath a condo called Jenga. Nicknamed the “Mini Bean,” it's Kapoor's first permanent installation in New York and has divided the public just as much as the original “Bean.” Located at 56 Leonard Street, people either love it or hate it.

Rising Up by JR

Photo: courtesy of Harbour City

After being delayed for two years due to the pandemic, French artist JR installed Rising Up at the Hong Kong's Ocean Terminal Deck during Hong Kong Art Month. Part of the artist's Giants series, which started at the 2016 Rio Olympics, it shows an enormous 40-foot high jumper moving across a mass of bamboo scaffolding. “As an athletic gesture, ‘rising up' embodies taking the risk to separate oneself from solid earth, to resist the pull of gravity and feel the brief freedom of flight,” he explained. The installation stayed in place until April 2023 and caused a stir in the city, with some loving it and others complaining that it did not respect feng shui.

The Way of the Bird King by Thomas Dambo

Photo: courtesy of Thomas Dambo

Artist Thomas Dambo spent the summer traveling the United States for The Way of the Bird King. This massive tour saw him setting up 10 monumental sculptures made from upcycled materials in numerous states. The entire series took him 100 days to complete with the help of his crew and local community volunteers. Now, Dambo's friendly trolls will stay on site for three years, after which time each location will decide if they'd like to keep the sculpture. We have a feeling there will be a lot of votes to keep them permanently.

Evanscent by Atelier Sisu

Photo: courtesy of Atelier Sisu

Sydney-based studio Atelier Sisu has brought its whimsical Evanscent installation to numerous countries on four different continents. These giant, colorful bubbles inhabiting varied environments sit at the intersection of art and architecture. The immersive light and sound environments are meant to “capture the concept of ephemerality and transience in a visual form: the bubble.” The studio took inspiration from the pandemic when many of the world's familiar comforts suddenly disappeared.  Now, when these bubbles pop up in different spaces around the globe, people are encouraged to engage with the installation in a childlike way.

Folies (Galeria) by Eva Jospin

Photo: Alum Gálve courtesy of Mariane Ibrahim

French artist Eva Jospin creatively used cardboard to build a cave-like structure filled with architectural detail in an installation called Folies. Particularly stunning is her piece, Galeria, where the hallway of a gallery has been transformed into an immersive experience. The gallery's outer walls greet us with tree-like forms punctuated with the classical structure of a coffered ceiling. Cardboard frames with ornate inlaid elements display more of Jospin's work as you walk down the hall. Some of the framed compositions are also made of cardboard while others are created with thread or drawings. Together, the experience is a rich look into Jospin’s creative mind and makes a transitional space one that feels like a destination.

HOME by Matthew Mazzotta

Photo: courtesy of Matthew Mazzotta

Anyone who has traveled through the Tampa International Airport will recognize Matthew Mazzotta‘s giant flamingo, which is nicknamed Phoebe, that comes crashing through the transit hub. “Flights arrive and depart from Tampa International Airport, full of travelers leaving their homes, returning back home, going to a new home, or simply to a place that feels like home,” Mazzotta shared with My Modern Met. “The concept of ‘home' is not only for people—Florida is also home to an abundance of wildlife.” HOME is also a winner of a 2023 CODA Award in the Transport category.

Uprooted by Doris Salcedo

Photo: Juan Castro courtesy of the Sharjah Art Foundation

Colombian artist Doris Salcedo explores the concept of home and displacement in her installation Uprooted. This monumental installation, which saw her create an uninhabitable house from 804 dead trees and steel, was on view at the Sharjah Biennial in the United Arab Emirates. A powerful meditation on irreparable loss, the work speaks to many issues, from Russia's invasion of Ukraine to the devastating effects of climate change.

Frozen Flowers by Azuma Makoto

Photo: courtesy of Azuma Makoto

This is the second time that Japanese botanical artist Azuma Makoto has created a towering sculpture made of frozen blooms. The aptly titled Frozen Flowers was set up at Notsuke peninsula in Hokkaido right when the climate was at its coldest. Makoto brought dozens of botanicals to a snowy clearing and assembled them atop a steel pole structure. After weaving the flowers into a cohesive form—all during the night and early hours of the morning—he poured water on top. Due to the freezing temperature, the water quickly froze over, preserving the plants and creating dozens of icicles hanging off each bloom and leaf. The visual power of the installation in the barren landscape is quite incredible. Check out this video to see the creation process and the final result.

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Photo courtesy of Palais Garnier

In September, when JR transformed the façade of the Paris Opera House into a Platonic cave, it was only the first sign of what was to come. As promised, the French street artist continued his work, with Act II occurring in November. For this moment, the architecture of Act I dissolved, leaving behind a cavern filled with human handprints.

The handprints, a nod to pre-historic cave paintings, were gathered during two months of workshops run by embroidery house Atelier Montex. During the workshops, participants learned how to embroider their own handprints and then placed them inside the cavern for all to see.

During the first phase of JR's installation, he encouraged the public to reflect on the classical origins of opera and ballet. With Act II, he asked us to reach back even further in time. “The cavern becomes a protective place, sheltering its residents from the violence of the world. Darkness reveals light,” shared Palais Garnier in a press release. “The walls become prehistoric, and the discovery of the cave becomes speleological.”

In mid-November, the secrets of the cavern were revealed during a special performance. Upon JR's invitation, choreographer Damien Jalet presented CHIROPTERA, a performance for 153 dancers from all over Europe wearing costumes designed by Chanel. During the 20-minute performance, set to a musical creation by Thomas Bangalter, the cavern became the backdrop for the electrifying performance, which was open to the public.

Though the installation has now concluded, JR's installations have shown how institutions like Palais Garnier can take advantage of situations like a restoration and transform them into meaningful cultural moments for the public.

As the second part of his project with the Paris Opera, JR transformed the façade into a cavern.

 

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To cap things off, JR invited choreographer Damien Jalet to present CHIROPTERA, which involved over 150 dancers.

 

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Watch the full CHIROPTERA performance.

JR: Website | Facebook | Instagram

My Modern Met granted permission to feature photos by Palais Garnier.

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Artist Benjamin Von Wong is known for his innovative installations that spotlight important social and environmental issues. For his latest immersive installation, he focused on the serious issue of e-waste by transforming a space in Arcadia Earth’s Toronto Exhibit into an environment championing the Right to Repair movement.

This movement calls on big tech companies to make parts more affordable and stop shutting down independent repair shops in an effort to keep consumers purchasing new electronics. It's a critical issue, particularly when one realizes that 800 laptops’ worth of electronic waste are thrown away every second.

It took Von Wong and a dedicated team six months of planning, three weeks of fabrication, and 5,000 pounds of electronic waste to make their vision come to life. After breaking down keyboards, motherboards, computers, cables, and household appliances, the team crafted what appears to be a large electronics throne.

Visitors are invited to climb the stairs and take a seat, which not only gives them the perfect photo opp but also allows them to contemplate the destiny of our technology. But it's not all visual; the experience is enhanced by musical and spoken word soundtracks, as well as augmented reality QR codes that give further information about getting involved with the movement.

Von Wong's installation at Arcadia Earth will be on view for one year. We had the pleasure of speaking with the artist about this installation and why he focused on the Right to Repair movement on this occasion. Read on for My Modern Met's exclusive interview.

Why is it so important for you to use your creativity to help raise awareness about issues like Right to Repair?

I've dedicated my entire career to raising awareness for different environmental issues. Over the last decade, the goal has been to try and connect big global issues with small actions that point people towards tackling the root cause of different issues.

What I like about the right-to-repair movement is that it can help reduce the amount of electronic waste created by focusing on better design. Of course, that alone doesn't resolve the issue, but it's more motivating and inspiring than just telling each and every person to monitor their own consumption habits.

Obviously, creating an installation of this magnitude is a team effort. Can you share a bit about the team that works with you on these projects?

So far, most of my projects are built with unique teams that are assembled from scratch. It's a combination of friends, family, volunteers, and folks that I manage to hire who are willing and interested in contributing to the cause.

What was the most challenging part of putting this together?

The greatest challenge this time around was definitely building a team that could pull the project together with a limited budget. You can't really cut corners on build safety and security, especially since the installation had to be up for an entire year—so finding the right fabricators/builders, followed by the right lighting support was what was particularly challenging.

I always like to think that if I had more money, it would be easier—but I'm sure our creative ambitions would have grown proportionally!

Where did the electronics for the project come from, and what will happen to them at the end of the installation?

All the electronics were sponsored and delivered by a small non-profit called Uni-Recycle. They're a small social enterprise that really wanted to help support us in championing the right to repair. Our agreement is that when the installation gets taken down, we return the e-waste back to them. Prior to giving us all the material, they already went through and made sure none were repairable.

Can you explain a bit more about the “right to repair” movement and why it's so important?

70% of the world’s toxic waste in landfills comes from discarded electronics, and although some of that could be resolved by better recycling, we need more sustainable and repairable products. The Right to Repair movement demands that companies provide affordable parts, tools, and documentation to independent shops and product owners, allowing us to hold on to our products longer.

What can people do if they want to get involved?

It kinda depends on where people live, but if you’re in Canada, read more about Equiterre’s fantastic Right to Repair report and sign the petition calling for Right to Repair at the federal level. If you’re in the U.S., find your state on Repair.org and see how you can take action.

Otherwise, I think the best course of action is to search “right to repair” followed by “where you live.”

What do you hope that people take away from the work?

I see the role of my art as an attempt to ignite conversations. It helps those within the movement engage the public in a unique and different way, and it helps draw those who wouldn't normally be interested to potentially learn more.

As long as people see it, share it, and maybe start getting curious, I think my job here is done.

What's next?

I'm actually in Thailand right now, preparing a giant installation out of Bamboo Biochar. Biochar is responsible for 89% of verified carbon removal credits… and yet barely anyone knows about it. I can't wait to share it with you when it's ready.

Benjamin Von Wong: Website | Instagram | Facebook | YouTube

My Modern Met granted permission to feature photos by Benjamin Von Wong.

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Photo: White, “Bubble Universe: Physical Light, Bubbles of Light, Wobbling Light, and Environmental Light,” 2023, © teamLab

Walking into one of teamLab‘s exhibitions is like entering another world. The international art collective recently unveiled three new installations, all of which explore the mesmerizing effects of light and color. Titled Bubble Universe: Physical Light, Bubbles of Light, Wobbling light, and Environmental Light; Flowers and People – Megalith Crystal Formation; and Black Waves – Megalith Crystal Formation, these seemingly boundless artworks are hosted at the teamLab Borderless museum in Azabudai Hills, Tokyo, Japan.

Bubble Universe takes place in a room with hundreds of glowing spheres. Each of these orbs contains unique changing lights which interact with guests and the environment itself, making for an interactive and dynamic exhibit. “When a person stops and stands still near a sphere, the nearest sphere shines brightly and resonates a tone, and the light spreads from that sphere to its nearest sphere,” teamLab explains in a statement. “The light from that sphere continues to spread only to the nearest sphere, passing through each sphere only once and becoming a single trajectory of light. The light born from an individual person and the light born from others intersect.”

While these spheres seem to go on forever due to the mirrored walls, and seemingly with no organizational pattern, their arrangement is actually mathematically determined. “When drawing a line between spheres that are closest to each other, the distribution in height, direction of the sphere, and the smoothness of the three-dimensional trajectory create a unicursal line with the same starting and ending point,” teamLab says. As a result, a person's presence will trigger light in the sphere only once before moving onto the next sphere, expressing the continuity of light.

Megalith Crystal Formation is a work in progress which also features interactive displays. When visitors enter the Flowers and People version, a computer program will produce images of growing flowers, simulating their life cycle from beginning to end. The pace at which guests tour the space will also effect the images, as standing still will cause blooms to grow more abundantly. On the other hand, Black Waves takes inspiration from East Asian art's relationship with waves. Here, the computer program creates images of never-ending waves that ebb and flow continuously like the real ocean.

These installations will open at teamLab Borderless in February 2024. To learn more about this otherworldly art experience, visit teamLab’s website.

International art collective teamLab's latest three installations explore the mesmerizing effects of lights.

Photo: 29 colors, “Bubble Universe: Physical Light, Bubbles of Light, Wobbling Light, and Environmental Light,” 2023, © teamLab

Photo: Bubbles of Light, “Bubble Universe: Physical Light, Bubbles of Light, Wobbling Light, and Environmental Light,” 2023, © teamLab

The installation titled Bubble Universe: Physical Light, Bubbles of Light, Wobbling Light, and Environmental Light features countless glowing orbs.

Photo: Wobbling Light, “Bubble Universe: Physical Light, Bubbles of Light, Wobbling Light, and Environmental Light,” 2023, © teamLab

These orbs react to a visitor’s presence by emanating a light.

Photo: Environmental Light, “Bubble Universe: Physical Light, Bubbles of Light, Wobbling Light, and Environmental Light,” 2023, © teamLab

Photo: “Bubble Universe: Physical Light, Bubbles of Light, Wobbling Light, and Environmental Light,” 2023, © teamLab

Photo: Fire, “Bubble Universe: Physical Light, Bubbles of Light, Wobbling Light, and Environmental Light,” 2023, © teamLab

Megalith Crystal Formation has two variations (Flowers and People and Black Waves) and features dramatic planes of color.

Photo: “Flowers and People – Megalith Crystal Formation,” 2023, © teamLab

Black Waves uses a computer program to produce endless waves that ebb and flow continuously.

Photo: “Black Waves – Megalith Crystal Formation,” 2023, © teamLab

Watch this video to learn more about these installations:

teamLab: Website | Instagram | Facebook | YouTube

My Modern Met granted permission to feature photos by teamLab.

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READ: Hundreds of Glowing Spheres Light Up Immersive Installation in Japan

From now until February 2024, the Ashikaga Flower Park in Japan will be a spectacular display of lights. Over 5 million LED bulbs have been used to create a garden of glowing wisteria, cherry blossoms, and other flora. Visitors can wander the grounds and immerse themselves in a nighttime exhibition that changes theme three times over the duration of its installation.

Between October and mid-November, the Flower Garden of Lights ~Flower Fantasy 2023~ installation follows the Lights and Amethyst Sage theme. Some of the must-see sections of this transformed space include curtains of glowing ofuji, or great wisteria which are animated through their life cycle, and an LED water lily pond. Additionally, a new exhibit called Hometown of the Heart includes a projection of cherry blossoms floating over a tranquil rock garden. There is also the Flower Castle, featuring an array of LED fireworks and a garden of rainbow blooms.

Throughout December, the installation shifts into the Christmas Fantasy theme. While many exhibits remain the same, additional festive displays are added to the site, including Christmas trees and reindeer. There are will also be visits from Santa Claus, and special gifts for children. Lastly, from New Year's Day to Valentine's Day, the installation transforms into the Lights and Winter Peonies theme. During this time, visitors can witness colorful winter plum blossoms and wintersweet flower lights.

Scroll down to see more photos from this incredible installation, and be sure to follow Ashikaga Flower Park's Instagram for more updates.

Ashikaga Flower Park opened its Flower Garden of Lights ~Flower Fantasy 2023~ installation in October.

The immersive display features over 5 million LED bulbs.

There are several settings including a projection of cherry blossoms, and an animation of the cycle of wisteria flowers.

From October to mid-November, the installation will follow an Amethyst Sage theme.

The Flower Castle includes a vibrant garden and LED fireworks in the sky.

Throughout December the installation will change into a Christmas Fantasy theme.

Finally, between New Year’s Day and Valentine's Day, the installation will transform into the Lights and Winter Peonies theme.

Ashikaga Flower Park: Website | Instagram

My Modern Met granted permission to feature photos by Ashikaga Flower Park.

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Photo: Rich Fury

On the heels of U2's premiere performance at Las Vegas' Sphere, the world has been buzzing about the impressive visuals that surrounded the legendary band during the concert. Taking full advantage of the full immersive experience that the Sphere's 4D technology provides, the band commissioned special artwork to accompany their U2:UV Achtung Baby Live residency.

As the band performed tracks from their seminal Achtung Baby album, they were surrounded by work by Marco Brambilla, Es Devlin, and John Gerrard. Devlin, who was also involved in the stage design, expanded on a concept that she first worked on during her Come Home collaboration with Cartier. For the Sphere, she produced a digital sculpture of Nevada's most endangered species.

For Nevada Ark, Devlin carefully selected 26 of Nevada's 152 endangered species and created sculptures that were then magnified across Sphere's interior.

“There's immense power generated by 18,000 people singing together songs that have been woven through their bones and sinews over the past three decades,” shares the English artist. “It's a potent way to inaugurate this new piece of architectural geometry and to graft it to its particular place in Nevada.

“Every time we learn the name of a species, we make a room for it in the memory palace of our minds, and 18,000 people will emerge each night knowing the names of more species than they did before they arrived at the Sphere.”

Photo: Kevin Mazur/Getty Images for Live Nation

Artist Marco Brambilla also seized the opportunity and created a kinetic mural that pays homage to the king of Las Vegas. King Size pays homage to Elvis Presley and the legacy he left behind in the city. The video montage looks back at Presley's life while also showing how his persona has been amplified into something larger than he could have ever dreamed. Taking full advantage of new technology, Brambilla’s video sequence for Even Better Than the Real Thing features AI-generated Elvises.

“King Size is a meditation on the intertwined narratives of Elvis and the rise of Las Vegas. Elvis’ transformation into myth and Vegas into the epicenter of the American consumer-entertainment complex,” explains Brambilla.

U2 turned to their countryman John Gerrard for another portion of the show. As the band played Where the Streets Have No Name, a projection of a white flag waving in the Nevada desert appeared. The flag, made from plumes of water vapor, is a play on previous work Gerrard has made to address the effects of climate change. In his second piece for the show, Flare (for u2) 2023, a gas flare in the form of a flag burns in the South Pacific Ocean and is a meditation on the existential threat that heating oceans pose to low-lying lands as well as the economic and geopolitical factors contributing to the climate crisis.

Even when it was still under construction, Sphere promised to change the way that the public experienced entertainment. And after only a few nights in use, it certainly appears to have lived up to its promise. U2:UV Achtung Baby Live is set to run through December 16, 2023, at Las Vegas' Sphere.

For their residency at the Sphere in Las Vegas, U2 commissioned artwork by several contemporary artists.

Photo: Rich Fury

Photo: Kevin Mazur/Getty Images for Live Nation

ES Devlin, who also helped design the set, created Nevada Ark.

Photo: Kevin Mazur/Getty Images for Live Nation

Devlin's piece contains 26 sculptures from the Nevada endangered species list.

Photo: Kevin Mazur/Getty Images for Live Nation

Photo: Kevin Mazur/Getty Images for Live Nation

Marco Brambilla's King Size pays homage to Elvis Presley and the excess of Las Vegas.

Photo: Kevin Mazur/Getty Images for Live Nation

Photo: Kevin Mazur/Getty Images for Live Nation

His video sequence for Even Better Than the Real Thing includes AI-generated Elvises.

Photo: Kevin Mazur/Getty Images for Live Nation

John Gerrard's Surrender and Flare use smoking flags to comment on the climate crisis.

Photo: Stufish Entertainment Architects

Photo: Rich Fury

Photo: Stufish Entertainment Architects

My Modern Met granted permission to feature photos by the MSG Sphere.

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