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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
Tomás Saraceno to Create Bold Vision for Aerial Urban Living— Cloud City—as Work of Art atop Metropolitan Museum’s Roof Garden
Artist Tomás Saraceno’s Cloud City, a large constellation of 16 interconnected modules composed specifically for The Metropolitan Museum of Art’s Iris and B. Gerald Cantor Roof Garden, will open to the public on May 15, 2012. Measuring 54 feet long by 29 feet wide by 28 feet high, this site-specific work, inspired by multiple phenomena and structures (including clouds, bubbles, bacteria, foam, universes, and social and neural communication networks), showcases the artist’s bold and ambitious vision. Habitat-like, incorporating transparent and reflective materials, the work will also be accessible for visitors—in limited numbers, weather permitting, by timed-ticket entry—to experience its interior realms and exterior vistas via an internal route. Set against Central Park, Manhattan’s skyline, and the expanse of space above and beyond, the installation Tomás Saraceno on the Roof: Cloud City—part of the artist’s series Cloud Cities/Air Port City—suggests a model for living, interaction, and social exchange. This is the 15th consecutive single-artist installation for the Museum’s Cantor Roof Garden. Cloud City is the artist’s first major commission in the United States.
Visitors may enter and walk through these habitat-like, modular structures grouped in a nonlinear configuration. Over the past decade, Saraceno has established a practice of constructing habitable networks based upon complex geometries and interconnectivity that merge art, architecture, and science. The multidisciplinary project “Cloud Cities/Air Port City” is rooted in the artist’s investigation of expanding the ways in which we inhabit and experience our environment.
According to artist Tomás Saraceno: “Upside down, Central Park is a flying garden embedded in a cumulus cloud, mirrored buildings and skies appear under your feet, gravity seems to reorient itself, and people are multiplied in patchworks of cloudscape, forming unexpected interconnected networks…Cloud City is an invitation to perceive simultaneously a multiplicity of realities, making overlapping and multireflective connections between things, affecting and challenging our perceptions. Cloud City is a vehicle for our imagination, ready to transport us beyond social, political, and geographical states of mind.”
Saraceno envisions floating or flying cities that defy traditional notions of space, time, and gravity. He challenges the boundaries of earthly living and explores the possibility of airborne habitation. The multidisciplinary project is rooted in the artist’s inventive exploration of new ways of inhabiting our environment, drawing on principles of architecture and engineering, physics and chemistry, aeronautics, and the social world, inspired by sustainable visions for future communities. His projects construct interdependent spaces that emphasize the ecological character of natural environments and social spaces. Inspired by an interest in changing the way we live and experience reality, each work is an invitation to conceive of alternative ways of understanding and interacting with others. Concurrently, Saraceno appeals to the creative faculty of his viewers, involving them in situations and actions that demand their ingenuity, participation, and responsibility.
Tomás Saraceno on the Roof: Cloud City is organized by Anne L. Strauss, Associate Curator in the Department of Modern and Contemporary Art at The Metropolitan Museum of Art.
The exhibition is made possible by Bloomberg. Additional support is provided by Cynthia Hazen Polsky and Leon B. Polsky, The Daniel and Estrellita Brodsky Foundation, William S. Lieberman Fund, and Eugenio Lopez. Cloud City is lent by Christian Keesee.