CURRENT
CURRENT
WebSDR, 2018, is a live, sonic painting, composed of a projection and sound of the radio frequencies generated by meteoroids impacting the ionosphere, the upper layer of the atmosphere, detected by a modified Yagi Antenna. © Photography by Andrea Rossetti, 2018

WebSDR, 2018, is a live, sonic painting, composed of a projection and sound of the radio frequencies generated by meteoroids impacting the ionosphere, the upper layer of the atmosphere, detected by a modified Yagi Antenna. © Photography by Andrea Rossetti, 2018

 

WebSDR, 2018, is a live, sonic painting, composed of a projection and sound of the radio frequencies generated by meteoroids impacting the ionosphere, the upper layer of the atmosphere, detected by a modified Yagi Antenna. © Photography by Andrea Rossetti, 2018

WebSDR, 2018, is a live, sonic painting, composed of a projection and sound of the radio frequencies generated by meteoroids impacting the ionosphere, the upper layer of the atmosphere, detected by a modified Yagi Antenna. © Photography by Andrea Rossetti, 2018

When a meteoroid enters the Earth’s atmosphere, air molecules are set in motion, rearranging in a new composition along its trail, a score that persists from less than 1 second up to several minutes. Occurring at heights of about 85 to 105 km, this trail is capable of reflecting radio waves—a hidden score written where space meets Earth, revealing the invisible web of radio waves that envelopes the planet. The sprinkled high pitches in the persistent humming of radio signal, the distant pitch of these cosmic fragments interplay and refract, are echoes of the continual micro encounters between this planet and the rest of the universe…

 

Tomás Saraceno will present a series of works during Small Between the Stars, Large Against the Sky, Manif d’art 9 – The Quebec City Biennial from 16 February  – 21 April  2019. Curated by Jonathan Watkins, the Biennial implies a sensitivity towards the environment and a desire to question human nature.

UPCOMING
UPCOMING

 

05.04.2019-

Sundial for Spatial Echoes at Bauhaus Museum Weimar

Permanent Installation · Bauhaus Museum Weimar, Weimar, Germany

Sundial for Spatial Echoes, a dynamic and immersive cloudscape, will be presented in the foyer of Bauhaus Museum Weimar from 5 April, 2019. Bridging the physical interior space with the external environment, Sundial for Spatial Echoes provides a platform for the individual contemplation of the entangled nature of being and becoming, and our immersion in various material and immaterial interdependencies.

PAST
PAST

 

Tomás Saraceno will join the “Space and the Arts” panel on Thursday March 14, 2019 as part of MIT’s Beyond the Cradle 2019 conference, alongside Laurie Anderson, Agnes Meyer-Brandis, and Josh Simpson. The discussion, led by Eva Diaz (author and associate professor of History of Art and Design at the Pratt Institute), takes place during the 50th Anniversary year of the Moon landing and brings together visual artists engaged in critical considerations of the New Space Age.

 

Tomás Saraceno will deliver his lecture Falling upward in an ocean of air during Engadin Art Talks on Saturday 26 January, 2019, alongside talks by Cecilia Bengolea, Francesco Bonami, Arno Brandlhuber, Elizabeth Diller, Ravit Helled, Lena Henke, Thomas Hirschhorn, Isabel Nolan, Smiljan Radic, Heji Shin, Juergen Teller and with panel discussions led by Daniel Baumann (Director of the Kunsthalle Zurich), Bice Curiger (Artistic Director of the Fondation Vincent van Gogh Arles), Hans Ulrich Obrist (Artistic Director of the Serpentine Galleries London) and Philip Ursprung (Professor for the History of Art and Architecture at ETH Zurich).

How to entangle the universe in a spiderweb?, 2018

How to entangle the universe in a spiderweb?, 2018

 

How to entangle the universe in a spiderweb?, 2018

How to entangle the universe in a spiderweb?, 2018

A great deal of the universe is yet to become visible, a concealed web that holds what we can perceive together. How many webs, cosmic, ecological, social are we are still not capable of seeing?

 

Tomás Saraceno presents his first solo exhibition in Los Angeles at Tanya Bonakdar Gallery, from the perspective of the spider/web, telling stories on the impossibility of differentiating the individual being from the web of life in which we are entangled.

 

14.12.2018

ON AIR… Live With Arachnosophy

Public Program · Palais de Tokyo, Paris, France

In the last decades, the word ‘entanglement’ has found itself literally entangled in our vernacular. From the observation of multiple modes of existence of humans and other life forms, to emergent ideas of extended and tentacular thinking, or of rhizomatic multiplicities, it seems that we have entered an age of entanglement.

 

The spider/web presents as a figure of this entanglement—an eight-legged arachnid that has lived on this Earth for more than 380 million years, with more than 45,000 species distributed across a multitude of habitats worldwide. The spider’s senses are extended through their webs: the complex silk architectures that, are both actual material and sensorial systems, and delicate metaphors for entanglement.

 

This symposium will bring together thinkers from various disciplines—arachnologists, biologists, historians and philosophers of science and media, composers— to think with, about and near spiders and their webs. Experimenting with formats and presentation modes, the symposium will consider the actual spiders around us—their bodies, cognitive and perceptive realms—as well as the ways knowledge about these animals has been produced, shared, and how this knowledge has triggered further investigations and inspired other areas of research – such as Tomás Saraceno’s forays into spider web hybridities, or with possibilities for interspecies communication. Simultaneously, the symposium will explore the symbolic and affective dimensions of how we look at spiders, and how, by paying renewed attention to them, we might discover new threads of connectivity.

 

2:00 – 7:00 PM

Conversation

Introduced by Tomás Saraceno and Rebecca Lamarche-Vadel and curated and moderated by FIlipa Ramos. Keynote by Vinciane Despret. With… Jussi Parikka, Mitchell Akiyama, Christine Rollard, Alex Jordan, Gabriele Uhl, Frédérique Ait-Touati.

 

7.30 PM

Jamming with… Spiders

Concerto Pour Arachnides/Concert for Arachnids Eliane Radigue

With… Carol Robinson, Bertrand Gauguet, Julia Eckhardt and Yannick Guedon.

Eliane Radigue proposes a sequel of her Occam Ocean series, a meditative sound exploration that she started in 2011. Using only low frequency instruments or voice tonalities – the ones that spiders are most likely to feel – the musicians perform solos, duets and a quartet, playing very long and continuous notes that might elicit reactions from the spiders.

 

OCCAM XXIII for Bertrand Gauguet – Saxophone (new piece) 

OCCAM RIVER XIX for Julia Eckhardt and Yannick Guédon – Alto – Baryton 

OCCAM RIVER XXII for Carol Robinson and Bertrand Gauguet for Bass Clarinette and Saxophone (new piece) 

OCCAM DELTA XVIII for Carol Robinson, Julia Eckhardt, Yannick Guédon, Bertrand Gauguet (new piece)

 

In co-production with Festival d’Automne

 

Saturday December 15th

Workshop & Tours

 

2.30-5.30 PM

Public workshop in building simple devices to listen to spider vibrational communication with Dr. Roland Mühlethaler, researcher at Studio Tomás Saraceno.

 

5.30-6.30 PM

Public tours to explore the 450 spider/webs already living at the Palais de Tokyo, and the spider/webs in the exhibition space.

 

In French, with Christine Rollard, biologist and arachnologist from the Muséum d’Histoire naturelle in Paris.

 

In English, with Peter Jäger, Head of Arachnology at the Senckenberg Research Institute and Natural History Museum in
Frankfurt, Germany.

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Biographies

 

Lisbon-born Filipa Ramos is a writer and editor based in London, where she works as Editor in Chief of art-agenda. She is a Lecturer in the Experimental Film MA programme of Kingston University and in the MRes Art:Moving Image of Central Saint Martins, both in London, and collaborates with the Master Programme of the Institut Kunst, Basel. Ramos is co-curator of Vdrome, a programme of screenings of films by visual artists and filmmakers. She was Associate Editor of Manifesta Journal and contributed for Documenta 13 (2012) and 14 (2017). She has recently edited Animals (Whitechapel Gallery/MIT Press).

 

Vinciane Despret is a Belgian philosopher of science. She is Associate Professor at the Department of Philosophy of the University of Liège. A foundational thinker for the consolidating field of animal studies, Despret’s transdisciplinary approach is located across philosophy of sciences and practices of knowledge, ethology and anthropology. Her research focuses on the relationship between observers and the observed during the conduct of scientific research. Investigating “the political consequences of our theoretical choices”, she undertakes a critical understanding of how science is fabricated, following scientists doing fieldwork and observing how they actively relate to their objects of study.

 

Frédérique Aït-Touati is a specialist in comparative literature and history of sciences. She is a member of the Centre de recherches sur les arts et le langage (CNRS-EHESS). She is interested in the poetics of the scientific genres and the relationship between fiction and knowledge, from both historical and contemporary perspectives. Her first, award-winning book (Fictions of the Cosmos. Science and Literature in the Seventeenth Century, 2011) offers an account of how astronomers made themselves interpreters of the heavens in the age of telescopic discovery. Her recent publications include Histoires et savoirs (2012, co-edited with Anne Duprat), on science and narrative in the early modern period, and Le Monde en images. Voir, représenter, savoir, de Descartes à Leibniz (2015, with Stephen Gaukroger), on ‘picturability’ and the limits of representation in the 17th century. Her next book explores new representations of the Earth (Terra Forma, B42, 2019). She studied at the Ecole Normale Supérieure and Trinity College, Cambridge. She taught at Paris IV-Sorbonne (2004-2007) and University of Oxford (2007-2014).

 

Mitchell Akiyama is a Toronto-based scholar, composer, and artist. His eclectic body of work includes writings about sound, metaphors, animals, and media technologies; scores for film and dance; and objects and installations that trouble received ideas about history, perception, and sensory experience. Akiyama holds a PhD in communications from McGill University and an MFA from Concordia University. He is Assistant Professor of Visual Studies in the Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto.

 

Alex Jordan is a Principal Investigator (Group Leader) at the Max Planck Institute Department of Collective Behaviour; an Associate Editor of The American Naturalist; and maintains a position as Senior Research Fellow at the University of Texas at Austin. Jordan studies the social and collective systems of various animals, from insects and spiders, to fish, up to humans—the ways single individuals come together to form much larger groups, and the rules of interaction that govern how these groups behave. His research program encompasses in-depth field studies, molecular genetics, and neurobiological approaches to understand both the mechanisms and the outcomes of social interactions.

 

Jussi Parikka is Professor at the Winchester School of Art (University of Southampton) and Docent of Digital Culture Theory at the University of Turku. His research has addressed a wide range of topics contributing to a critical understanding of network culture, aesthetics and media archaeology of contemporary society. His books include the media ecology-trilogy Digital Contagions (2007, 2nd. ed 2016), the award-winning Insect Media (2010) and most recently, A Geology of Media (2015), which addresses the environmental contexts of technical media culture and was continued in the short booklet A Slow, Contemporary Violence: Damaged Environments of Technological Culture (2016).

 

Christine Rollard is a French biologist and arachnologist. She is Professor and Researcher at the National Museum of Natural History in Paris, where she is responsible for the conservation of the spider collections, educational programmes to schools and general audiences. She has authored about fifty publications on spiders. Rollard’s scientific activity has focused bio-ecology, fauna and systematics: identifying and ranking spiders. She has worked in different geographical areas, participating in about fifteen biodiversity study programs, in France (Brenne, Auvergne, Normandy, Mercantour, Corsica), Overseas France (Guadeloupe, Martinique and Réunion), Africa (Guinea and Comoros) and Vanuatu (Santo).

 

Biologist Gabriele Uhl is Professor of General and Systematic Zoology at Greifswald University in Northern Germany. Her research focuses in Zoology, Evolutionary Biology and Animal Communication. The current projects in her lab concern reproductive behaviour and sexual selection, chemical communication, plasticity of behaviour and brain structures, as well as adaptation to new environments, with a focus on spiders. Apart from spider topics, the lab has also explored aspects of genital morphology and mating strategies in beetles, odonates, heel walkers, grasshoppers and flies. Uhl has also researched spider phobia in humans. She is Senior Editor for invertebrates for the Journal of Zoology.

 

Éliane Radigue is a French electronic music composer whose work has had a profound impact on extended technique and minimalism. She began working in the 1950s, studying with musique concrete pioneers Pierre Schaeffer and Pierre Henry, and her first compositions were presented in the late 1960s. Until 2000, her musical works were almost exclusively created on a single synthesizer, the ARP 2500 modular system and tape. Following a deep engagement with Tibetan buddhism that began in 1975, Radigue released some of her best known works, Adnos I, II, III (1975-1979), Jetsun Mila (1987) and Trilogy on Death, Intermediate States (1988-1993). Since 2001 she has composed mainly for acoustic instruments: first Naldjorlak, her grand trio for two basset horns and cello, and now the ever-expanding OCCAM OCEAN series of solo and ensemble pieces, which come together in orchestral formations. In honour of her contributions to electronic music and sound art, Radigue was awarded Prix Ars Electronica’s Golden Nica in 2006.

 

Peter Jäger is a German arachnologist, and current Head of Arachnology at the Senckenberg Research Institute and Natural History Museum in Frankfurt, Germany. He began collaborating with Tomás Saraceno in 2009, assisting the artist in identifying the best spider species (Latrodectus mactans or Black Widow spider) whose web could be used to develop what would later become Saraceno’s Spider Web Scan technique for creating 3d models of complex spider webs. Jäger’s research focuses on the taxonomy of spiders, and he has described more than 330 spider species as new to science – including Heteropoda davidbowie, which he named in honour of the singer David Bowie. In 2001, he received special media attention when he described the world’s largest known spider, Heteropoda maxima, a Laotian spider with a leg span of up to 30 cm. Jäger founded the Asian Society of Arachnology (2012) and hosted congresses in Germany and Laos. He was president of the German speaking Arachnological Society (2004–2010), council member of the International Society of Arachnology (2004–2010), and is associate editor (Zootaxa) and editorial board member (Acta Arachnologica Sinica, Arachnology letters). He is co-editor of the World Spider Catalog, German correspondent of the International Society of Arachnology and expert board member of ‘Spiders of Europe’.

 

Roland Mühlethaler holds a PhD in Zoology with an expertise in vibrational communication in insects and spiders. He works as a research associate at Tomás Saracenos’ studio in Berlin, where he is deeply involved in Saraceno’s research into vibrational signalling in spiders, and in the capacity of the spider/web to propagate vibrational signals. He previously worked as a biotaxonomist at the Natural History Museums in Basel, Cardiff, Paris and Berlin. His other research interests include the phylogeny and taxonomy of Hemiptera (mainly Cicadomorpha), and the functional morphology of Hemiptera.

 

23.11.2018

ON AIR… Live Across Networks

Public Program · Palais de Tokyo, Paris, France

Following up on the thoughts echoed and reverberated during the first day of encounters in October, a new set of voices coming from different disciplines, from network and social theory to art history and anthropology, will come together on November 23rd in Palais de Tokyo. They will open up the discussion towards what it is to be ON AIR, revealing the myriad material and immaterial, visible and invisible architectures we are embedded within, expanding the possibilities for analogical ways of thinking and being in the world. Breathing in and out, air becomes the binding medium through which everything transmits and is shared, from radio-communications networks to viral epidemics. These conversations, introduced by Bruno Latour, will investigate ways of decentralising and decolonising our way of thinking as a species, hoping to overcome human exceptionalism, towards new forms of activism and the building of common worlds that encompass multiscaled ecologies.

 

2:00 – 7:00 PM

Conversations

Introduced by Tomás Saraceno and Rebecca Lamarche-Vadel and curated and moderated by Etienne Turpin and Anna-Sophie Springer. Keynote by Bruno Latour. With… d’bi young Anitafrika, Albert-Laszlo Barabasi, Bronislaw Szerszynski, Fernando Ferroni & Lisa Randall and Estelle Zhong Mengual.

 

 

7.30 PM – Onwards

Jamming with… Spiders

The Spider’s Canvas by Evan Ziporyn

 

Evan Ziporyn, composer and Director of the Center for Art, Science and Technology (CAST) at MIT, imagines a new piece that reads the spider’s complex web as a score: a three-dimensional canvas within which new compositions can emerge. Using both 2D images and a 3D model of a complex web generated using Tomás Saraceno’s Spider Web Scan technique—a method which forms the methodological basis of an ongoing collaboration with Markus Buehler (Head, Civil Engineering MIT)—the performers have created a sonified 3D spider/web instrument, whose music is written in the harmonic language of just intonation. An emergent musical composition translates the geometries of the spider/web into music. In this shared resonance, the sonified spider/web becomes an immersive soundscape through which we can wander.

 

With… Christine Southworth, bagpipes, guitars & eBows, visuals/projections, Isabelle Su, interactive environment design and real-time data processing and Evan Ziporyn, bass clarinet & EWI, real-time audio processing.

 

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Albert-László Barabási is the Robert Gray Dodge Professor of Network Science and a Distinguished University Professor at Northeastern University, where he directs the Center for Complex Network Research, and holds appointments in the Departments of Physics and College of Computer and Information Science, as well as in the Department of Medicine at Harvard Medical School and Brigham and Women’s Hospital in the Channing Division of Network Science, and is a member of the Center for Cancer Systems Biology at Dana Farber Cancer Institute. Barabási’s latest book is Network Science (Cambridge University Press, 2016). His work leads to the discovery of scale-free networks in 1999, and proposed the Barabási-Albert model to explain their widespread emergence in natural, technological, and social systems, from the cellular telephone to the WWW or online communities.

 

 

Fernando Ferroni is Full Professor of Physics at the University of Rome Sapienza and President of the Italian National Institute for Nuclear Physics (INFN) since 2011. Member of the Governing Board of Science Europe. He has focused his scientific studies on experimental particle physics, starting his research at CERN Laboratory at the LEP accelerator. Since 2004 he has been working on neutrino physics, with an experiment at the Gran Sasso Laboratories called CUORE and with an innovative project (Lucifer) on the same subject financed by the European Research Council as an Advanced Grant. He is the author of several hundreds of articles in scientific journals, he has served as member in numerous international scientific boards, and chaired many committees in the field of high energy physics. Being aware of the major role that science communication plays in nowadays society, it’s many years that he is committed to spreading and promoting the dissemination of scientific culture.

 

Rebecca Lamarche-Vadel is the curator of the Palais de Tokyo.

 

 

Bruno Latour is now emeritus professor associated with the médialab and the Experimental Programme in Political Arts (SPEAP) of Sciences Po Paris. Since January 2018, he is a Fellow at the ZKM | Center for Art and Media Karlsruhe for two years as well as professor at the Karlsruhe University of Arts and Design. He is member of several academies and recipient of six honorary doctorates, as well as recipient of the Holberg Prize in 2013. He has written and edited more than twenty books and published more than one hundred and fifty articles.  

 

 

Lisa Randall is the Frank B. Baird, Jr. Professor of Science on the physics faculty and studies theoretical particle physics and cosmology at Harvard University. Her research connects theoretical insights to puzzles in our current understanding of the properties and interactions of matter. Randall’s research also explores ways to experimentally test and verify ideas and her current research focuses in large part on the Large Hadron Collider and dark matter searches and models. Randall has also had a public presence through her writing, lectures, and radio and TV appearances. Randall’s books, Warped Passages: Unraveling the Mysteries of the Universe’s Hidden Dimensions and Knocking on Heaven’s Door: How Physics and Scientific Thinking Illuminate the Universe and the Modern World were both on the New York Times’ list of 100 Notable Books of the Year.

 

Anna-Sophie Springer is an exhibition maker, writer, editor, and publisher. Since 2011, she directs the boutique publishing imprint K. Verlag in Berlin, advancing new forms of the “book-as-exhibition.” In her research-based practice, Anna-Sophie works with cultural and scientific archives and collections to produce postdisciplinary ecologies of attention and care. With Etienne Turpin, she is principal co-investigator of Reassembling the Natural, an exhibition-led inquiry into the natural histories of the Anthropocene, and co-editor of the intercalations: paginated exhibition series, published by K. Verlag and the Haus der Kulturen der Welt.

 

 

Bronislaw Szerszynski is Reader in Sociology at Lancaster University, UK.  His research crosses the social and natural sciences, arts and humanities in order to situate the changing relationship between humans, environment and technology in the longer perspective of human and planetary history.  His current work focuses on the Anthropocene and planetary evolution. As well as interdisciplinary academic publications, outputs also include mixed-media performances, art-science exhibitions and events and experimental participatory workshops.  He was co-organiser of the public art–science events Between Nature: Explorations in Ecology and Performance (Lancaster, 2000), Experimentality (Lancaster/Manchester/London, 2009-10), and Anthropocene Monument (Toulouse, 2014-2015).

 

 

Etienne Turpin is a philosopher, founding director of anexact office, his design research practice based in Jakarta and Berlin, and co-founder and research coordinator of User Group Inc. LLP, a London-based, worker-owned cooperative building open source software for humanitarian coordination, disaster response, and environmental monitoring and advocacy. With Anna-Sophie Springer, he is principal co-investigator of Reassembling the Natural, an exhibition-led inquiry into the natural histories of the Anthropocene, and co-editor of the intercalations: paginated exhibition series, published by K. Verlag and the Haus der Kulturen der Welt.

 

 

d’bi.young anitafrika is a playwright-performer, director-dramaturge, and scholar. Among the many grants she was awarded with, she was one of 200 Canadian artists to receive a New Chapter Grant to produce her critically acclaimed environmental dub-opera entitled Lukumi: A Dub Opera. She is Founding Artistic Director of the Watah Theatre, and instigator of Spolrousie Publishing, a unique micro press which publishes original works by Black and QTIPOC creators. A Toronto Leadership Lab Fellow alumni, she is the originator of the creative leadership praxis and intersectional liberation framework—the Anitafrika Method—which has been utilized by The Stephen Lewis Foundation, The Banff Centre, U of T, MaRS, the Women’s College Hospital, among other institutions globally. She is the published author of seven books, nine plays, and seven dub albums, and she has toured her work internationally. Addressing issues of gender, sexuality, race, class, and the human experience through her vast field of artistic knowledge, she is currently pursuing postgraduate studies in London, UK.

 

Estelle Zhong Mengual is a former student at the ‘Ecole Normale Supérieure de Lyon,’ and possesses a doctorate in the History of Art (Sciences Po Paris). She is a member of the pedagogic commitee of SPEAP, Master in Arts and Politics, created by Bruno Latour at Sciences Po Paris. She is currently working on ways in which contemporary art can enrich our relationships and sensitivity to the world around us, in the context of the ecological crisis. She is the author of L’art en commun. Réinventer les formes du collectif en contexte démocratique (Presses du Réel, 2018) and the co-author of Esthétique de la rencontre. L’énigme de l’art contemporain (Seuil, 2018). She also co-directed the work Reclaiming Art. Reshaping Democracy (Presses du Réel, 2017).

 

On the occasion of his ON AIR carte blanche at Palais de Tokyo, an ongoing experiment with different assemblages, artist Tomás Saraceno and curator Rebecca Lamarche-Vadel introduce the “ON AIR live with…” days, three exceptional events, including dialogues, workshops and musical jams with spiders and other non-human agents. Each event will explore what it means to be on air, through different frameworks: the possibilities of becoming aerosolar; entanglements in multiscaled networks and webs; and encounters between human, arachnid and other non-human voices.

 

Talks and panel discussions with renowned thinkers and practitioners from various disciplinary and geographical horizons will be hosted together with Sasha Engelmann, Etienne Turpin, Anna-Sophie Springer and Filipa Ramos. Each event will be introduced respectively, by Sasha Engelmann for the Aerocene Community, Bruno Latour and Vinciane Despret, and will conclude with a highlight evening concert. These three musical performances are conceived as experiments in opening up channels for communication with spiders/webs, the cosmos and beyond, during which major figures of experimental music – Alvin Lucier, Evan Ziporyn and Eliane Radigue – propose new ways of coming together in a shared process of listening.

 

 

SYMPOSIUM – 3.00-7.30 PM
Introduced by Rebecca Lamarche-Vadel and Tomás Saraceno
Curated and moderated by Sasha Engelmann
English language.

 

With: Primavera de Filippi, Samuel Hertz, Karine Léger, Stavros Katsanevas, Derek McCormack, Tomás Saraceno, Nick Shapiro, Débora Swistun, Marie Thébaud-Sorger, Jol Thomson and Heinz Wismann.

 

Gathering together Aerocene practitioners, contributors and researchers with expertise in environmental justice, distributed autonomous organization, elemental philosophy, aero-acoustics, astrophysics and the histories of the science of air, the Aerocene Symposium will animate and intensify the ongoing experiments and questions of the Aerocene. The public of Paris is invited to join the Aerocene in these discussions as well as for an Aerocene flight (weather permitting) and a hands-on workshop with Museo Aero Solar. The symposium will favor generous dialogical formats that feature encounters with the materials and imaginaries of the Aerocene.

 

An effort in thinking, practicing, breathing, moving and experimenting together, the Aerocene Symposium will collectively unfold On Air at the Palais de Tokyo, Paris.

 

For full programme details, visit Aerocene

 

 

WORKSHOP

2 PM – 7 PM Museo Aero Solar

 

The Museo Aero Solar workshop proposes to construct an aero-solar sculpture by taping together found plastic bags. Museo Aero Solar, both a flying museum and an aero-solar sculpture, is a collective project initiated by Tomás Saraceno in 2007. This workshop is an open invitation for everyone to help re-purpose used plastic bags into a lighter-than-air museum.

Image from the Cosmic Dust Catalogue 1982, Vol 1, n. 2, NASA Johnson Space Center.

Image from the Cosmic Dust Catalogue 1982, Vol 1, n. 2, NASA Johnson Space Center.

 

17.10.2018 - 06.01.2019

ON AIR

Solo Exhibition · Palais de Tokyo, Paris
Image from the Cosmic Dust Catalogue 1982, Vol 1, n. 2, NASA Johnson Space Center.

Image from the Cosmic Dust Catalogue 1982, Vol 1, n. 2, NASA Johnson Space Center.

As in a jam session, (space) time becomes a medium in which the energetic material of the ensemble generates its form, where events extend indefinitely into the past and the future. Voices are reduced into quietude, whilst others, those less heard are magnified.Who is talking now? ON AIR works to build a sensitive infrastructure to extend our cognition on what is lying hidden in plain sight, on what is on air today, physically and virtually, from particular matter to cosmic dust, from radio frequencies to sonic pollution.

 

ON AIR will resound as a not-yet-audible hymn for the illegible ties between beings, the unspeakable togetherness of earthly and cosmic phenomena, happening at the intersection of our sensorial environments, something which is impossible to describe, but maybe can be felt.

 

Tomás Saraceno’s research sits at the crossroads of art, science and architecture. This Carte Blanche will be his largest project to date, bringing a selection of his major works together with ambitious new productions that will transform Palais de Tokyo into a unique sensory experience.