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Matter(s) for Conversation and Action

Particular Matter(s)

Silent Autumn

From Arachnophobia to Arachnophilia

Inter + Play 2

Ha Chi Ki

we do not all breathe the same air

Nggàm dù

Lignes de possibles: Arachnophilia with Tomás Saraceno at the Festival La Manufacture d’idées

AnarcoAracnoAnacroArcano

Du sol au soleil

Webs of Life

Movement

Museo Aero Solar: for an Aerocene era

Interspecies Conversations

Avec qui venez-vous? Vinciane Despret in conversation with Tomás Saraceno
Prototype of Maratus volans (peacock spider), Web of Life (2020) | for a real Augmented Reality

The Art of Noticing – Louisiana Channel Interviews Tomás Saraceno

Radio Galena

Free the Air: Aerocene – Tomás Saraceno holds keynote speech at Herald Design Forum

Up Close: Tomás Saraceno in conversation with Harriet A. Washington

How to hear the universe in a spider/web: A live concert for/by invertebrate rights

Songs for the Air

Moving Atmospheres

Event Horizon

Aria
Fly with Aerocene Pacha

Invertebrate Rights for “Down to Earth”

Spider/Web Pavilion 7

Arachnomancy Cards

Acqua Alta: en Clave de Sol

On the Disappearance of Clouds

Tomás Saraceno. Aria at Cinema Odeon

Sundial for Spatial Echoes

2-Dimensional Webs Archive/Maps and Traces

Algo-r(h)i(y)thms

Tomás Saraceno at the Venice Biennale 2019
More-than-humans

Arachnophilia Community Meeting with MIT Professor Markus J Buehler

Beyond the Cradle 2019: Space and the Arts

Engadin Art Talks: Grace and Gravity

How to entangle the universe in a spider/web?

Printed Matter(s)

Webs of At-tent(s)ion

Art Basel Miami – Albedo | Hans Ulrich Obrist in conversation with Tomás Saraceno

ON AIR

The Politics of Solar Rhythms: Cosmic Levitation

Living at the bottom of the ocean of air

Sounding the Air

“ON AIR live with…”

Spider/Web Oracle Readings Program

Algo-r(h)i(y)thms

Passages of Time

Particular Matter(s) Jam Session

Solar Rhythms

A Thermodynamic Imaginary

Hybrid Webs

How to Entangle the Universe in a Spider Web
Silent Autumn
Gravitational Waves

Our Interplanetary Bodies

Aerosolar Journeys

Stillness in Motion — Cloud Cities

163,000 Light Years

Tomás Saraceno’s Cloud Cities and Solar Balloon Travel – Interview with The Creators Project

Cosmic Jive: The Spider Sessions

Solar Bell

In Orbit

Ring Bell — Solar Orchestra and the Wind Structures

Moving Beyond Materiality – MIT Visiting Artist Tomás Saraceno

On the Roof: Cloud City

On Space Time Foam

Cloud Cities

14 Billions (Working Title)

Galaxies Forming along Filaments, like Droplets along the Strands of a Spider’s Web

Observatory, Air-Port-City

Poetic Cosmos of the Breath

Flying Garden/Air-Port-City
In Tomás Saraceno’s third solo exhibition at Esther Schipper Gallery, Algo-r(h)i(y)thms transformed the exhibition space into a web-like landscape of nets.
In Spanish, ‘algo’ means ‘something’. ‘Rhythm’ comes from the Greek rhythmos, meaning “movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions.” Though rhythm is both biological and inherent, theorized as evolutionarily instinctual, relating in human history to the speeds of the human heartbeat, gait and emotional affect, our contemporary moment operates at a tempo artificially imposed rather than intuitively felt. Algo-r(h)i(y)thms then presents an urgent invitation to attune to our sym(bio)poetic futures, the radical reciprocity of all things, both living and nonliving, through a vibrational language.
Essentially blind, the web-building spider creates an image of the world through the tremors it sends and receives through the web, which also functions as an organic and specialized instrument for transmitting these seismic signals. The spider/web is thus considered a material extension of the spider’s own senses, and—some argue—of its mind. Accessing this Umwelt, the work actuates participants to see, touch, hear and exist for a moment within this web of linked perceptions, drawing awareness to proximal worlds.

Tomás Saraceno, Algo-r(h)i(y)thms, Solo Show, Esther Schipper, Berlin, Germany, 2019. © Photography by Studio Tomás Saraceno, 2019
Each of the converging nodes within Algo-r(h)i(y)thms refers to the different reverberation frequencies of micro- and macroscopic phenomena. Of the 3.4 kilometers of 1–2.5 millimeter black cord arranged in complex clusters, a 25 centimeter diameter net, 58-178 Hz (Argiope keyserlingi Courtship / Emitted Frequency), borrows its name from the peak frequencies of courtship signals produced by an orb weaving spider. Nets with broader diameters draw upon the vibrational rates of more monumental matter, such as the 140 centimeter diameter net 0.61 GHz (RXCJ2003.5-2323 / Radio Halo)—a halo generated by ultrarelativistic electrons surrounding this distant galaxy cloud.

Tomás Saraceno, Algo-r(h)i(y)thms, Solo Show, Esther Schipper, Berlin, Germany, 2019. © Photography by Andrea Rossetti, 2019

Tomás Saraceno, Algo-r(h)i(y)thms, Solo Show, Esther Schipper, Berlin, Germany, 2019. © Photography by Studio Tomás Saraceno, 2019
“Organisms are not atomistic individuals but hybrid assemblages… each body is a ‘nested ecology’ linked to others in complex ways. By thinking like this, we might notice our interconnectedness with other beings, other elements; how we might cooperate across species boundaries and how we might live and thrive together on a shared planet.”

Tomás Saraceno, Algo-r(h)i(y)thms, Solo Show, Esther Schipper, Berlin, Germany, 2019. © Photography by Studio Tomás Saraceno, 2019
A first iteration of the work under the title Galaxies Forming along Filaments, like Droplets along the Strands of a Spider’s Web was presented in 2009 during the 53rd Biennale di Venezia, Fare Mondi – Making Worlds, Venezia, Italy, curated by Daniel Birnbaum. Bruno Latour described it as, “a potent attempt at shaping today’s political ecology—by extending former natural forces to address the human political problem of forming livable communities.” In 2018, the work was sonified as Algo-r(h)i(y)thms, conceived for the artist’s major solo exhibition, “ON AIR” a carte Blanche à Tomás Saraceno, curated by Rebecca Lamarche-Vadel at the Palais de Tokyo, Paris. This third iteration was an invitation to play the web as a spider might, gently touching, sliding and stridulating within a system of amplified strings: a proposal of practices of attunement to non-human worlds in the context of the Sixth Mass Extinction.
The vibrating world of spiders can be further explored at Arachnophilia.net, a living archive of coexistences developed by Studio Tomás Saraceno and the Arachnophilia team, as well as through an accompanying artwork: the Arachnomancy App.

Tomás Saraceno, Algo-r(h)i(y)thms, Solo Show, Esther Schipper, Berlin, Germany, 2019. © Photography by Andrea Rossetti, 2019

Tomás Saraceno, Algo-r(h)i(y)thms, Solo Show, Esther Schipper, Berlin, Germany, 2019. © Photography by Studio Tomás Saraceno, 2019