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Tomás Saraceno in collaboration: Web(s) of Life
Oceans of Air
Silent Autumn
Drift: A cosmic web of thermodynamic rhythms
Aerocene: Free the Air. “Orbit-s” For a Post-Fossil Fuel Era
Cloud Cities Barcelona
Matter(s) for Conversation and Action
Particular Matter(s)
From Arachnophobia to Arachnophilia
Inter + Play 2
Ha Chi Ki
we do not all breathe the same air
Nggamdu.org
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
Cloud Cities Barcelona: Rotating Selection of Books
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
Cloud Cities is an aerial exploration of the entanglement between human beings and their environment in its entirety as a move toward a mental, social and environmental ecology. As a metaphor of the cloud performing as cell flying cities and imaginary floating gardens, the artistic intention stands for the meaning of territory and national, racial and political boundaries in today’s urban society in an attempt to reject them and propose a utopian theory of boundlessness architecture. An opposing dichotomy appears, then, to be a symbiotic relationship: the static isolation of architectural realities adapts itself to the organic movement of the natural biology. One is not enough, Tomás Saraceno incentive to break down the barriers between the two disciplines to give a physical reality to the concept of urban ecology.
Featuring approximately 20 models in various heights, this collection of geometric, inflated shapes suspended in the air challenges the notions of place, space and future and thus, disregarding the normal restrictions of gravity in favor of translucent weightlessness and an attempt to reach into outer space. As an alternative to the heavily constructed urban landscape, the giant balloon-like objects refer to pseudo-micro biospheres, where some of them perform as spaces containing life and others sitting and floating like soap bubbles accessible to the public offering living space. By entering them, one experiences the interaction with each of these spheres and space. The others, either dotted with succulents or lined with symmetrical string patterning draw inspiration from the incredible strength and flexibility of spider webs.
Here the chord between the spheres themselves and the interaction between the viewer and the collection is a crucial aspect of the installation.
The spheres “act as an analogy for the wider way in which society’s networks function; if one sphere wobbles, it reverberates through the others in a ripple of stress that mimics the way we react as social groups”. [1]
“The idea when somebody moves always embodies the physical possibility that one might be affected by it. There is coordination between people with the environment where they are standing. It is a kind of dialogue between people, space and objects. The unstable position and relationship that you establish with the environment might be transmitted to someone else”. [2]
In this enabling architectonic living space in direct reference to Buckminster Fuller’s project, the viewer plays a part in his impact on a particular space and its environment, as he reaches up to the sky and down to the ground, fulfilling a dream by all humankind. These cloud city-pods and spider web-like gardens arising from communal ground aid the viewer to re-orientate his physical representation of environmental influence. Our perception of space is no longer rigid, but extents itself indefinitely to the social ecology which already exists around us.
[1] Belmondo
[2] Tomás Saraceno
“Perhaps I decided to learn to fly because I can’t swim. I have been repeating this exercise for the past three years. It’s entirely possible that I will never reach my goal. But if I can convince my sons to continue this exercise, and my sons’ sons as well, then one day, perhaps, one of my descendants will discover that he knows how to fly.”
Gino de Dominicis, 1970