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
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
Cloud Cities Barcelona: Rotating Selection of Books
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
OCEANS OF AIR
Museum of Old and New Art, Tasmania
MONA presents Oceans of Air…
Tomás Saraceno’s contagious curiosity will be on full display at Mona in a major new exhibition, opening 17 December 2022. Oceans of Air is a multi-sensory show, featuring a series of artworks spreading throughout the deepest floor of the museum’s subterranean galleries.
In this exhibition Saraceno presents artworks and community projects, from tiny dust particles to large-scale installations inspired by knowledge systems that are rooted in their location, ecology, communication between species, the fight for climate justice, and more. Oceans of Air includes a selection of existing works and new commissions created specially for Mona, and is a call for environmental action on the Earth, its atmosphere and beyond.
At Mona, Saraceno interweaves many scientific and artistic disciplines in search of shared understanding among the threads and tangles of our world. With air—invisible yet all around us—as a central theme, this exhibition draws from his interdisciplinary approach, revealing the interconnectedness of art, our environment and contemporary life.
Curated by Emma Pike & Olivier Varenne. Exhibition texts by Jane Clark and Luke Hortle.
“First and foremost, Tomás is a collector of perspectives, looking at the world through many eyes. He is as invested in the conversations which form the foundation of his works as he is in their astonishing outcomes. As a recovering arachnophobe, I have Tomás’s gentle and beautiful interspecies collaborations to thank for reminding me of my own connectedness, from pollution particles to sound waves to the cosmos..”
– Emma Pike, Mona Senior Curator
Leaf, Leaves, Life, Lives
A new lutruwita / Tasmania-specific commission has been created from plant specimens gathered from sites around nipaluna / Hobart, including cultural burning locations, places that have been burnt by bushfires and hazard-reduction efforts, and Mona’s grounds. These herbarium diptych works are the focus of a new publication from Mona and Saraceno, featuring a collection of perspectives from writers, scientists and thinkers about plant life and the relationships that different cultures have built with nature throughout history.
When Tomás Saraceno first came to lutruwita/Tasmania, he was struck by how clearly its plant life reflects the intersecting of colonial with Aboriginal histories. Native and introduced plants are now entangled with one another, he says, their relationship reflecting an almost 250-year-old story of conquest, displacement and disruption. Aboriginal people had lived for some 40,000 years in lutruwita before Europeans settled, built and farmed on their land.
In Tasmania, there is only one native deciduous tree or shrub, Nothofagus gunnii, also known as the tanglefoot beech or ‘The Fagus’, and it’s restricted to mountainous wilderness. As botanist Greg Jordan explains, extinct relatives of this Fagus once grew across the supercontinent Gondwana and it has survived to evolve in the ancient, wet, open, fire-free mountains of western Tasmania through tens of millions of years, while the areas around have become drier and more fire-prone. In preparing this new work, as he learned more about the Australian environment, Saraceno moved from his previous European focus on seasonal cycles to an interest in the effects on different vegetations of sunlight and heat and of fire or its absence. How do shapes and textures change, as well as colouring? How, he asks, might we perceive the chemical threads that silently bind the web of life? He is especially interested in the different effects between out-of-control bushfires, intensified by drought, and carefully orchestrated cultural burning by Pakana custodians of Country.
Unfolding across six panels of foliage, you can see delicate crinkle-cut leaves from Nothofagus gunnii, alongside those of both native and introduced plants collected in the grounds of Mona and further afield in lutruwita. There are leaves burned by intense fires and by slow fires. Leaves pressed like botanists’ specimens, others picked and dried, still others fallen naturally from the plant.
How do natural vegetal pigments behave under varying conditions—sometimes catastrophic—and now inside a museum? How will the leaves you see here alter over time? What do living organisms tell us when we pay them close attention? Emma Pike, curator of Saraceno’s exhibition at Mona, believes that being here in Tasmania took his ongoing projects with leaves and flowers down unexpected pathways and may be just the start of a new body of work.
Works exhibited as part of Oceans of Air are made from
an array of materials including lighter-than-air Aerocene sculptures, fine particle pollution from the skies of Mumbai, air quality samples from across Australia, dust from the museum, radio waves streamed from First Nations Argentina, radio frequencies generated by meteoroids penetrating the earth’s outer atmosphere and recorded from the roof of Saraceno’s Berlin studio, and the leaves of Tasmania’s only deciduous native tree.
In a call for environmental justice, Saraceno collaborates with and contributes to communities and species that have been impacted by the Capitalocene in solidarity with Earth, the air, and the cosmos, particularly as part of the open-source community projects Aerocene and Arachnophilia.
“We live entangled lives, and as Torricelli, a student of Galileo once said, we are all always ‘living submerged at the bottom of an ocean of air’. The air itself is restless, constantly in motion. The humans of the Capitalocene, caught in the undertow of extractivist ethics and the rhythms of capitalism, have toxified the air, rendering it unbreathable for many and forcing new regimes of inequality upon us all. Oceans of Air flows towards shared responsibilities with the worlds we inhabit, knowing that not all have the right to breathe, and that not all breathe the same air.”