Fly with Aerocene Pacha
Acqua Alta: en Clave de Sol
Spider/Web Pavilion 7
Tomás Saraceno at the Venice Biennale 2019
Arachnophilia Community Meeting with MIT Professor Markus J Buehler
On the Disappearance of Clouds
Spider/Web Oracle Readings Program
Sundial for Spatial Echoes
Webs of At-tent(s)ion
Beyond the Cradle 2019: Space and the Arts
Engadin Art Talks: Grace and Gravity
A Thermodynamic Imaginary
The Politics of Solar Rhythms: Cosmic Levitation
Living at the bottom of the ocean of air
Sounding the Air
Particular Matter(s) Jam Session
How to entangle the universe in a spider/web?
Art Basel Miami – Hans Ulrich Obrist in conversation with Tomás Saraceno
“ON AIR live with…”
Our Interplanetary Bodies
Stillness in Motion — Cloud Cities
How to Entangle the Universe in a Spider Web
163,000 Light Years
Cosmic Jive: The Spider Sessions
Ring Bell — Solar Orchestra and the Wind Structures
14 Billions (Working Title)
On Space Time Foam
Poetic Cosmos of the Breath
Galaxies Forming along Filaments, like Droplets along the Strands of a Spider’s Web
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-fuel 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.”