Songs for the Air
Invertebrate Rights for “Down to Earth”
Fly with Aerocene Pacha
Acqua Alta: en Clave de Sol
Spider/Web Pavilion 7
Tomás Saraceno at the Venice Biennale 2019
Arachnophilia Community Meeting with MIT Professor Markus J Buehler
On the Disappearance of Clouds
Spider/Web Oracle Readings Program
Sundial for Spatial Echoes
Webs of At-tent(s)ion
Beyond the Cradle 2019: Space and the Arts
Engadin Art Talks: Grace and Gravity
A Thermodynamic Imaginary
The Politics of Solar Rhythms: Cosmic Levitation
Living at the bottom of the ocean of air
Sounding the Air
Particular Matter(s) Jam Session
How to entangle the universe in a spider/web?
Art Basel Miami – Hans Ulrich Obrist in conversation with Tomás Saraceno
“ON AIR live with…”
Our Interplanetary Bodies
Stillness in Motion — Cloud Cities
How to Entangle the Universe in a Spider Web
163,000 Light Years
Cosmic Jive: The Spider Sessions
Ring Bell — Solar Orchestra and the Wind Structures
14 Billions (Working Title)
On Space Time Foam
Poetic Cosmos of the Breath
Galaxies Forming along Filaments, like Droplets along the Strands of a Spider’s Web
Tomás Saraceno was commissioned to create a floating cloud structure by the Bauhaus-Museum Weimar, after winning first place in the “Kunst am Bau” competition. In this piece, Saraceno cultivates a tradition that Walter Gropius had found so fascinating in Goethe – the harmony of art and science, of culture and nature. The installation provides an aerial invitation into the interdisciplinary practice Saraceno has cultivated along with his studio, which echoes the critical ideas and undertakings of the Bauhaus school.
Entangling disciplines from physics and biology to sociology and architecture, sensitive to our political milieu, Saraceno’s cloudlike landscape of interwoven, web-like fibres creates a dynamic, reflective atmosphere. His artistic research and endeavours are driven by his desire to develop new modes of interaction and perception, in response to socio-political and environmental realities of our time.
These concerns find expressions through Saraceno’s initiation of the Aerocene Foundation and the Arachnid Research Laboratory, two independent research entities seeking to open up potential ways of reconnecting and recalibrating our attention and senses, building new ecologies of practice in the globalising age of the Anthropocene.
Contextually, ‘Sundial for Spacial Echoes’ refers to Saraceno’s many years of research and projects. Inspired by the study of complex, net-like configurations and structures characterized by clouds, bubbles and other geometries found in the natural world. The systems of interwoven ropes and cloud-like cluster modules arranged in the nets reclaim Saraceno’s artistic research on the potentials of spider webs and how they can be transferred and correlated to other phenomena.
The artwork is interactive in that visitors can touch a rope of the installation reflecting both the daylight and artificial light. The network then generates its own room echo. This constant change of perception turns the aesthetic experience into a synaesthetic event for the visitor. He is stimulated in this very sensuous way to discover his individual limits of perception. The surreal, almost virtual environment lets forget the real world for a moment and creates a dynamic as well as a reflective atmosphere.