Tomás Saraceno at the Venice Biennale 2019
Acqua Alta: en Clave de Sol
Spider/Web Oracle Readings Program
“ON AIR live with…”
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)
Avec qui venez-vous? Vinciane Despret in conversation with Tomás Saraceno
Up Close: Tomás Saraceno in conversation with Harriet A. Washington
Tomás Saraceno. Aria at Cinema Odeon
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?
Arachnophilia Community Meeting with MIT Professor Markus J Buehler
Fly with Aerocene Pacha
Songs for the Air
Invertebrate Rights for “Down to Earth”
The Art of Noticing – Louisiana Channel Interviews Tomás Saraceno
How to hear the universe in a spider/web: A live concert for/by invertebrate rights
Spider/Web Pavilion 7
Art Basel Miami – Albedo | Hans Ulrich Obrist in conversation with Tomás Saraceno
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
Moving Beyond Materiality – MIT Visiting Artist Tomás Saraceno
A Thermodynamic Imaginary
Our Interplanetary Bodies
163,000 Light Years
Free the Air: Aerocene – Tomás Saraceno holds keynote speech at Herald Design Forum
Cosmic Jive: The Spider Sessions
Ring Bell — Solar Orchestra and the Wind Structures
Poetic Cosmos of the Breath
Artist Tomás Saraceno and medical writer Harriet A. Washington have a conversation around air quality and environmental racism in relation to the pandemic, followed by a panel discussion moderated by Bronx-based urban designer Oscar Oliver-Didier that includes the voices of New York City activists Mychal Johnson, a co-founding member of South Bronx Unite, and Leslie Velasquez, an environmental justice coordinator for El Puente.
The COVID-19 pandemic has further exacerbated connections between racial inequality, public health, and environmental health in the United States, as cases and deaths in communities of color significantly exceed those in white communities. As a respiratory illness, COVID-19 more severely affects those whose lungs and immune systems have already been compromised by pre-existing conditions resulting from systemic racism in the forms of exposure to toxic air pollution, blocked access to healthcare, and geographic segregation, among other inequities. In two conversations about the long-term, disproportionate effects of pollution on communities of color, artist Tomás Saraceno first invites science journalist Harriet A. Washington to join him in discussion before convening a group of activists to reflect on the severity of COVID-19’s unequal impact in the US.
For more than a decade, Saraceno has been imagining more equitable modes of existence with the environment, creating floating sculptures, community projects, and interactive installations that propose a sensory solidarity with the planet and nonhuman beings. In 2018, Saraceno exhibited Calendrier Lun-Air de Paris, a work consisting of filter paper strips—collected from Airparif, an organization responsible for monitoring air quality in the Paris region—that capture hourly samples of the toxic particles we breathe in, resulting in a series of dots ranging from gray (indicating light pollution) to black (heavy pollution).
Inspired by Harriet A. Washington’s reporting on environmental justice issues in her book A Terrible Thing to Waste: Environmental Racism and Its Assault on the American Mind (2019), Saraceno created his next iteration, titled We Do Not All Breathe the Same Air (2020). The work—which will appear in Particular Matter(s), his upcoming exhibition at The Shed that was postponed by the pandemic—presents a visualization of air quality data from across the United States to demonstrate the uneven distribution of particulate matter, or microscopic air pollution.
In a first conversation, Saraceno and Washington will discuss this artwork, its historical context and causes, and what can be done to effect change in our communities and environment. A follow-up panel discussion—moderated by Bronx-based urban designer Oscar Oliver-Didier and including the voices of New York City activists Mychal Johnson, a co-founding member of South Bronx Unite, and Leslie Velasquez, an environmental justice coordinator for El Puente—takes these questions further.