Du sol au soleil
Webs of Life
Museo Aero Solar: for an Aerocene era
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
Composed of works in diverse media, the exhibition at neugerriemschneider, Berlin surveys the artist’s social, scientific and philosophical enquiries into breath, spirit and regeneration. Sensing cosmic forces, inanimate particles and living beings, Saraceno’s exhibition portrays environmental concerns while celebrating the complexity of existence and looking for ways to live together differently.
The entire exhibition is powered by renewable energy via six solar panels that have been installed on the roof of the gallery. neugerriemschneider’s opening hours will also shift with daylight, from 11 am – 6 pm through September to 10 am – 5 pm through October, optimizing solar radiation to illuminate certain parts of the exhibition with direct sunlight.
As part of the exhibition a special screening of Pacha, from the film and photography series Fly with Aerocene Pacha, will take place at Kino International (Karl-Marx-Allee 33, 10178 Berlin) at 10:30am Sunday, September 19, during Gallery Week Berlin. The screening will be followed by a discussion with the artist, Antonia Alampi and Ute Meta Bauer.
For more than two decades, Saraceno has activated projects aimed towards an ethical collaboration with the atmosphere, including Museo Aero Solar (2007–) and the Aerocene Foundation (2015–), a non-profit organization devoted to community building, scientific research, artistic experience, and education. In Pacha, by Tomás Saraceno and Maximiliano Laina, members of the 33 communities of Salinas Grandes share their transgenerational testimonies of climate change, and their protest against the ‘green rush’ to mine lithium. This community project and flight set thirty-two world records, ratified by the Fédération Aeronautique Internations (FAI), with Aerocene pilot Leticia Noemi Marques.
Entering the exhibition from the gallery’s usual exit is a symbolic gesture by the artist to suggest that ‘point-of-no return’ discourses about our fragile world can be overcome.
We do not all breathe the same air (2018-ongoing), the continuing artwork from which the exhibition earns its title, has been carried out in numerous cities around the world. Visualizing air quality, the spectrum of dots in varying hues are samples of what we breathe. These dots reveal the spatial, racial, social, and political factors that determine whether one can exercise their right to clean air.
This unequal distribution is more important than ever, as environmental racism has proven once again to have disastrous, deathly consequences during the COVID-19 crisis.
Though inherently a virus cannot discriminate, the social systems in place can, and they guarantee that some will be infected while others will not and some will recover while others will not.
Bringing together the tiny particles of daily life with distant dust of the greater cosmos is Printed Matter(s) (2018), a series of photo giclée prints using special ink made of pollution extracted from the air in Mumbai. These prints depict images of cosmic dust from an issue of the NASA Cosmic Dust Catalog, April 1982. Combining the celestial and terrestrial, this series brings together vast spans of time and scale, from the depths of space to our current world.
The hidden particles of our atmosphere are brought to life and into the present moment by a single beam of light for Saraceno’s new installation Particular Matter(s) (2021). Within that beam PM2.5, PM10, NOx gas, earthly and cosmic dust particles – almost invisible or at least ignored in the everyday – are illuminated like millions of suspended galaxies and are stirred by visitors’ movements and breath.
Move from darkness into light in the final space for this gallery tour. Here, traces of breath are held in molten glass turned solid shaped by exhaled air. A method of glass blowing that has been used since the 1st century BC, Pneuma, Aeolus, Aeroscale, Aerosolar Serpens (2018-2021) seek to heighten our consciousness of breath and its layered meaning across cultures.
For Saraceno, this entanglement of breath and spirit filling and forming these glass shapes also helps to construct the question: who has the right to breathe?
Saraceno’s works Hybrid Spider/Webs (2019-2020) and Spider/Web Maps (2018-2020) tell stories of layered relationships, entangling not only different arachnid webbed ecosystems, but also human and non-human worlds. Black carbon can cling to a spider’s web, altering and damaging it and the spider over time. The blackened spider/webs then demonstrate how all endure the effects of human caused air pollution. In the context of Saraceno’s research community Arachnophilia (2017–), these works furthermore aim to change people’s perceptions of spiders and webs within the context of the current ecological crisis.
Completing the show, Radio Galena (2020) sits before a barred window. It is a stone wrapped in wire that can function as a radio in certain parts of the atmosphere, using neither electricity, batteries or solar panels. This radio stone earth enters into reverberation and receives radio waves, attuning to “geological broadcasting”. For Saraceno, this work recalls clandestine radios used in times of political strife, and reminds us of human power to overcome structures of control using the simple, nonharmful materials and natural energies of our planet.
We do not all breathe the same air poses questions surrounding a heightened consciousness of breath, air, and atmosphere, with its many injustices but also possibilities for transformation in the future.
Moving forward will require both the realization and recognition that, not only do we not all breathe the same air, but that not all have the right to breathe.