Tomás Saraceno’s practice moves toward the entanglement of diverse threads of thought, including art, life science and the social sciences. Enmeshed at the junction of these worlds, his floating sculptures, community projects and interactive installations propose and explore new, sustainable ways of inhabiting and sensing the environment.


In 2007 Saraceno activated projects aimed towards an ethical collaboration with the atmosphere, including Museo Aero Solar. These projects grew into the international, interdisciplinary artistic community Aerocene, which seeks to create an environment free from borders, free from fossil fuels. As part of this community in 2015, Saraceno achieved the world record for the first and longest certified fully-solar manned flight. His profound interest in spiders and their webs led to the formation of the Arachnophilia team at Studio Tomás Saraceno, engendering the creation of and the Arachnomancy App. Through these platforms Saraceno invites people from around the globe to weave the web of interspecies understanding and take part in the challenge of Mapping Against Extinction.


In the past decade he has collaborated with the Massachusetts Institute of Technology, Max Planck Institute, the Nanyang Technological University, the Imperial College London and the Natural History Museum London. With an emphasis on collaborative interaction he also became the first person to scan, reconstruct and reimagine spiders’ weaved spatial habitats, and possesses the only three-dimensional spider web collection in existence. Saraceno lectures in institutions worldwide, and directed the Institute of Architecture-related Art (IAK) at Braunschweig University of Technology, Germany (2014–2016).  He has held residencies at Centre National d’Études Spatiales (2014–2015), MIT Center for Art, Science & Technology (2012–ongoing) and Atelier Calder (2010), among others.


His work has most recently been exhibited at the 58th International Art Exhibition - La Biennale di Venezia, May You Live In Interesting Times, curated by Ralph Rugoff; the Carte Blanche exhibition ON AIR at Palais de Tokyo, Paris (2018), curated by Rebecca Lamarche-Vadel; A Thermodynamic Imaginary, at Museum of Art, Architecture and Technology, Lisbon (2018), curated by Pedro Gadanho; How to Entangle the Universe in a Spider’s Web, Museo de Arte Moderno, Buenos Aires (2017), curated by Victoria Noorthoorn; Stillness in Motion – Cloud Cities, San Francisco Museum of Modern Art (2016), curated by Joseph Becker; and Aerocene, at Solutions COP21, Grand Palais, Paris (2015). His work is housed in international collections including the Bauhaus Museum, Weimar; The Museum of Modern Art, New York; SFMOMA, San Francisco; Walker Art Center, Minneapolis; Nationalgalerie, and Staatliche Museen zu Berlin, Berlin.


Saraceno lives and works in and beyond the planet Earth.




After studying art and architecture in Buenos Aires, Frankfurt am Main, and Venice, Tomás Saraceno established his studio in Frankfurt am Main in 2005. The studio relocated to Berlin in 2012 and, after a brief interim, moved into the former administrative building of Actien-Gesellschaft für Anilin-Fabrication (AGFA) in Berlin-Rummelsburg. The studio gradually activated and renovated the previously unoccupied building, which was constructed in 1916, and the neighbouring multi-story factory. Studio members from multidisciplinary backgrounds, including designers, architects, anthropologists, biologists, engineers, art historians, curators, and musicians work in the hybrid environment of workshop, office, workshop, the Arachnophilia Research Laboratory and Aerocene community-enthusiasts.


The system of signs stemming from Saraceno’s artistic practice engenders connections throughout the departments; the variegated roles of each studio member at times personifying the complex structures of the artworks surrounding them. An attunement to the disappearance of clouds and rising tides emerges through the cloud-like structures evocative of the Weaire-Phelan geometry of aggregating foam and soap bubbles. In the context of the current ecological crisis, the rights of non-humans and the non-living are investigated through a lens focused on moving past the hierarchical ethos of the tree of life metaphor to one that recognizes the entangled relationships between phenomena. In acknowledging the symbiotic threads linking all things, the hybrid webs spun in collaboration with the studio’s arachnid friends affirm how even our smallest movements send out vibrations along the web of life.


The Arachnophilia Research Laboratory’s undertakings open up potential ways of reconnecting and recalibrating our attention and senses to our nonhuman kin, often unnoticed. Through expanding its artistic networks, the Arachnophilia seeks to invent innovative, playful and engaging platforms for bringing research discourse into the public sphere. Over the past years, this has led to an opening up of the research at Studio Tomás Saraceno into the fields of biomateriomics, bioacoustics, ethology and cognitive science, among others, as a way of engaging speculatively, but also sensitively, with the forms of life that exist all around us. Visit, a living archive of coexistences, to engage in the Lab’s endeavours.


The Aerocene Foundation furthermore houses a core team within Studio Tomás Saraceno. Aerocene is an interdisciplinary artistic community that seeks to devise new modes of sensitivity, reactivating a common imaginary towards an ethical collaboration with the atmosphere and the environment, free from borders, free from fossil fuels. By collectively developing tools and applications in, on for and with the air, Aerocene un-tethers a new epoch, an emergent cloudscape for a post fossil fuel era.


In an era of ecological upheaval, there is a perceived imperative for anthropocentric worlds to re-attune to other species and more-than-human ways of inhabiting our shared planet. These artistic and scientific enquiries can enable new hybrid encounters and relationships, involving multiple entities: from spiders to humans, from gravitational waves to particles of dust.


Studio Tomás Saraceno is comprised of Paloma Aguirre del Rio, Ricardo Alarcón, Giulia Albarello, Valentina Aliaga, Miriam Aller, Giulia Ambrosini, Duncan Anderson, Mateo Argerich, Enrico Bardin, Scott Barnes, Xavier Barragan, Lars Behrendt, Fabiola Bierhoff, Ally Bisshop, Timothy Blake, Francesca Boenzi, Irina Bogdan, Sascha Boldt, Elaine Bonavia, Dayan Brady, Stefan Brüning, Viola Cafuli, Sebastian Canales, Saverio Cantoni, Thomas Charil, Tatiana Chaves, Connie Chester, Giovanni Civardi, Ben Clark, Filippo Corato, Sonia d’Agrain, Carola Dietrich, Manie Du Plessis,  Sebastian Ducros, Andrea Familari, Sara Ferrer, Bruno Festa, Meike Fischer, Luca Girardini, Charles Gonzalez, Samantha Grob, Alice Hall, Martin Heller, Marina Höxter, Adam Hudec, Jennifer Jordan, Georgi Kazlachev, Sarah Kisner, Christos Kollias, Nemanja Kordic, Dario Lagana, Alice Lamperti, Rosalie Laurin, Vicente Macellari, Roxanne Mackie, Sarah Martinus, Lucas Mateluna, Manuela Mazure Azcona, Claudia Melendez, Pepe Menéndez-Conde, Jillian Meyer, Veronika Miskovicova, Chabo Molefe, Olivia Moore, Roland Muehlethaler, Jörg Niemann, Lea Nikou, Jaime Norambuena, Aurelia Nowak, Lugh O’Neill, Catarina Palma, Tania Patritti, Martina Pelacchi, Marco Pittaluga, Hugo du Plessix, Soledad Pons, Diego Puerto, Alfredo Ramos, Matthew Raven, Patrick Reddy, Jekaterina Saveljeva, Gustavo Alonso Serafin, Jazmin Scherone, Hans-Martin Schlesier, Anna Sophie Schmidt, Aysegul Seyhan, Grace Sparapani, Sebastian Steinboeck, Judith Strassenberger, Felix Strassenberger, Ilka Tödt, Desirée Valdes, Alberto Vallejo, Joaquin Villarroel, Zaida Violan, Erik Vogler, Filippo Vogliazzo, Philipp Weber, Julius Weiland and Davide Zucco.


I am most grateful for the support by Natalija Miodragovic in the development of the conceptual background of works and ideas developed until 2015.


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