Inter + Play 2
Lignes de possibles: Arachnophilia with Tomás Saraceno at the Festival La Manufacture d’idées
we do not all breathe the same air
Du sol au soleil
Webs of Life
Avec qui venez-vous? Vinciane Despret in conversation with Tomás Saraceno
Museo Aero Solar: for an Aerocene era
Tomás Saraceno at the Venice Biennale 2019
Acqua Alta: en Clave de Sol
Free the Air: Aerocene – Tomás Saraceno holds keynote speech at Herald Design Forum
How to Entangle the Universe in a Spider Web
Stillness in Motion — Cloud Cities
On Space Time Foam
On the Roof: Cloud City
14 Billions (Working Title)
Up Close: Tomás Saraceno in conversation with Harriet A. Washington
Tomás Saraceno. Aria at Cinema Odeon
The Art of Noticing – Louisiana Channel Interviews Tomás Saraceno
Beyond the Cradle 2019: Space and the Arts
Engadin Art Talks: Grace and Gravity
Galaxies Forming along Filaments, like Droplets along the Strands of a Spider’s Web
How to entangle the universe in a spider/web?
Spider/Web Oracle Readings Program
Fly with Aerocene Pacha
Songs for the Air
Invertebrate Rights for “Down to Earth”
Arachnophilia Community Meeting with MIT Professor Markus J Buehler
Art Basel Miami – Albedo | Hans Ulrich Obrist in conversation with Tomás Saraceno
How to hear the universe in a spider/web: A live concert for/by invertebrate rights
Spider/Web Pavilion 7
“ON AIR live with…”
On the Disappearance of Clouds
Sundial for Spatial Echoes
Webs of At-tent(s)ion
The Politics of Solar Rhythms: Cosmic Levitation
Living at the bottom of the ocean of air
Sounding the Air
Particular Matter(s) Jam Session
Tomás Saraceno’s Cloud Cities and Solar Balloon Travel – Interview with The Creators Project
A Thermodynamic Imaginary
Our Interplanetary Bodies
163,000 Light Years
Moving Beyond Materiality – MIT Visiting Artist Tomás Saraceno
Cosmic Jive: The Spider Sessions
Ring Bell — Solar Orchestra and the Wind Structures
Poetic Cosmos of the Breath
“The subliminal depths of radio are charged with the resonating echoes of tribal horns and antique drums. This is inherent in the very nature of this medium, with its power to turn the psyche and society into a single echo chamber.” —Marshall McLuhan.
Radio Galena is a mineral sonic sculpture. It comprises a stone wrapped in wire, which is not connected to the electrical grid. It uses neither batteries nor solar panels, and yet, it can function as a radio in certain parts of the atmosphere, entering into reverberation and receiving radio waves. It acts like a traditional crystal receptor, one of the first radio receptors ever invented. This “talking stone” focuses our attention on early and neglected forms of sound technology and tunes us into ecological frequencies. In the recent past, crystal radios were used as clandestine receivers in times of war, when regular radios were confiscated from civilians. Radio Galena can receive signals from the Mapuche radio station, which is used by a group of indigenous inhabitants in southern Argentina who advocate for their legal claim to land autonomy.
The concept of this stone reflects the multiplicity of our existence on Earth, and its signals can sometimes sound like a murmured warning against its undermining temporariness. One can imagine that geological strata are forming the book of Earth’s history. Each stone then becomes one sentence telling the history of its deep time. This radio stone questions us: How could the Earth reverberate differently if we attuned to “geological broadcasting” in a post–fossil fuel regime?
Galena Stone, copper wire, epoxy resin, high impedance headphones, AM Transmitter.
Tomás Saraceno thanks Rafael Railaf and Mapuche Foundation FOUL.
Courtesy of the artist and Radio Mapuche at Multicultural Amsterdam Radio and Television,
Andersen’s, Copenhagen; Ruth Benzacar, Buenos Aires; Tanya Bonakdar Gallery, New York/Los Angeles; Pinksummer Contemporary Art, Genoa; Esther Schipper, Berlin.
© Tomás Saraceno
With Radio Galena, Tomás Saraceno was the 2017 recipient of the OGR Award, the sound art prize awarded by Artissima.