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Matter(s) for Conversation and Action

Particular Matter(s)

Silent Autumn

From Arachnophobia to Arachnophilia

Inter + Play 2

Ha Chi Ki

we do not all breathe the same air

Nggàm dù

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

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
“[Plants] have transformed for good the face of our planet (…). It is through them and with their help that our planet produced its atmosphere and makes breath possible”—Emanuele Coccia
We are entangled in a world created by plants, bound to them materially, culturally and emotionally. They decorate human celebrations of birth, union, or departure; they populate our shared homes, exhaling the oxygen we inhale. Silent Autumn turns to the world of plants to reflect on the chemical threads that bind the web of life, as well as their continuous transformation. The colors of foliage and flowers that compose these artworks place them within the temporality of Earthly seasons. Yet, how might the hues of our world altered in the Anthropocene, carrying the traces of the Earth’s increasing toxification?
Studio Tomás Saraceno occupies the factory building on the former site of photographic film and dye manufacturer Actien-Gesellschaft für Anilin-Fabrication (AGFA). In its years as a manufacturer of dyestuffs, AGFA attempted to faithfully reproduce pigments of nature, most notably in 1878 when it first invented the dye Malachitgrün (Malachite green), named after the mineral that bore a similarly intense hue. As other pigments were likewise derived, nature was inadvertently woven into the processes of patenting and commodification of color, its fuchsin and gentian violet dyes named after flowering plants, for example. However, Agfa’s quest for natural truths was already tainted by industrial falsehood: residual chemicals from each pigment’s production would be deposited into the factory’s nearby river Spree, contaminating adjacent soils and all those who fed off of them.
Silent Autumn confronts us with the chemical histories embedded in pigments, a poetic trace of debris. Visitors are invited to observe and re-observe the artwork across its own autonomous narration of nature’s overlooked mutability. Choosing not to halt that process of exposure, the leaves and flowers will continue to transform throughout their presentation. In a globalized world where the earth has been altered at rhythms of extinction, where habits of consumption have reached unbearable levels, the artwork asks: can a poetics of (im)mutability offer a means to remedy history’s divergent quest for natural truth?