Matter(s) for Conversation and Action
From Arachnophobia to Arachnophilia
Inter + Play 2
Ha Chi Ki
we do not all breathe the same air
Lignes de possibles: Arachnophilia with Tomás Saraceno at the Festival La Manufacture d’idées
Du sol au soleil
Webs of Life
Museo Aero Solar: for an Aerocene era
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
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
Fly with Aerocene Pacha
Invertebrate Rights for “Down to Earth”
Spider/Web Pavilion 7
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
Tomás Saraceno at the Venice Biennale 2019
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?
Webs of At-tent(s)ion
Art Basel Miami – Albedo | Hans Ulrich Obrist in conversation with Tomás Saraceno
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
Passages of Time
Particular Matter(s) Jam Session
A Thermodynamic Imaginary
How to Entangle the Universe in a Spider Web
Our Interplanetary Bodies
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
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
14 Billions (Working Title)
Galaxies Forming along Filaments, like Droplets along the Strands of a Spider’s Web
Poetic Cosmos of the Breath
During Art Basel Miami 2018 Tomás Saraceno presented “Albedo” for Aerocene, in collaboration with Audemars Piguet. Throughout the duration of the art fair, several talks took place, activating the major themes that make up Saraceno’s practice with a special focus on Aerocene.
The large-scale temporal open-air pavilion, “Albedo”, was comprised of 40 reflective, out-turned umbrellas of various sizes, creating a hemispheric sundial on the oceanfront. The experimental structure, which is a continuation of the artist’s work with the Aerocene Foundation, harnessed solar energy to lift an Aerocene Explorer sculpture into the air whilst keeping it suspended.
On December 7th of 2018, a conversation was held between Tomás Saraceno and international curator and Serpentine Gallery artistic director Hans Ulrich Obrist. The talk created an arch that connected Saraceno’s work to the tangible, “cosmic” connections that drive him in his practice.
The two exchanged a lively and engaging conversation revealing the mutual admiration that has grown since they met, years ago, in Venice; Obrist was taking his first steps as a teacher, and Saraceno his student.
Saraceno then went on to explain the concept behind Albedo, bringing on stage the everyday version of the umbrellas to demonstrate their utility. In fact, the repurposed umbrellas were meant to be used as cooking stations, where local chefs were invited to use them, facilitating up to two-hundred meals each day throughout the course of the fair.
For Saraceno, the concept of community, appropriation and sharing is as important as the spontaneity on which they can occur. Albedo aimed to further this spirit of collaboration through cooking and eating together, adding to the community projects already upheld by Aerocene and Museo Aerosolar. Participants were welcome to join in the food being cooked or to bring their own food and experiment with the sun cookers/aero reflectors.
Given that Saraceno was working in a public space, the idea of appropriation, that passersby confronted with the sculptures, could take the idea as if it were their own, is very important to him; “this is how you connect and enlarge the community”, Saraceno explains during the talk.
For the artist, anytime a public intervention takes place, part of the process is to build awareness of the human, non-human and non-living actors that already inhabit the space. By connecting fairgoers and residents of Miami, exploring their relationship with the sun and what it would feel like to breathe in a post fossil-fuels era.
“How can we really engage in new languages?… and try to become sensitive to each other, to be able to perceive beyond our (own) world.”