#tomas saraceno

[loeilareaction]

Tomás Saraceno,   Biosphere 06 [detail], 2009                                                     acrylic, rope, nylon monofilament, plants, air pressure regulator system, hydration system

[searchsystem]

North / Barbican / Barbican Art Gallery / Tomas Saraceno / Printed Matter / 2005

[katiedrago]

[jordi-gali]

32SW Stay Green/Flying Garden/Air-Port-City - Tomás Saraceno https://www.pinterest.es/pin/490892428144514768/

[angryframe]

Artist: Tomas Saraceno

Palais de Tokyo

Paris, France

[documentary-surrealist]

by Tomás Saraceno

[gdbot]

North / Barbican / Barbican Art Gallery / Tomas Saraceno /... https://ift.tt/BFCH4wu Telegram: https://t.me/gdesignbot

[grabsomeironmeat]

Tomas Saraceno

[maurosouza2024]

Galaxies Forming along Filaments, like Droplets along the Strands of a Spider’s Web

The word “network” has become a ubiquitous designation for technical infrastructures, social relations, geopolitics, mafias, and, of course, our new life online. [footnote Bruno Latour, Reassembling the Social. An Introduction to Actor-Network Theory (Oxford: Oxford University Press, 2005).] But networks, in the way they are usually drawn, have the great visual defect of being “anemic” and “anorexic,” in the words of philosopher Peter Sloterdijk, who has devised a philosophy of spheres and envelopes.[footnote Peter Sloterdijk, Sphären III – Schäume (Frankfurt: Suhrkamp, 2004) [partial translation: Peter Sloterdijk, Terror from the Air, trans. Amy Patton & Steve Corcoran (Los Angeles: Semiotext(e), 2009)]]; see also Peter Sloterdijk, “Foreword to the Theory of Spheres,” in Cosmograms, ed. Melik Ohanian and Jean-Christophe Royoux (New York and Berlin: Lukas and Sternberg, 2005) 223–241, see →.] Unlike networks, spheres are not anemic, not just points and links, but complex ecosystems in which forms of life define their “immunity” by devising protective walls and inventing elaborate systems of air conditioning. Inside those artificial spheres of existence, through a process Sloterdijk calls “anthropotechnics,” humans are born and raised. The two concepts of networks and spheres are clearly in contradistinction to one another: while networks are good at describing long-distance and unexpected connections starting from local points, spheres are useful for describing local, fragile, and complex “atmospheric conditions”—another of Sloterdijk’s terms. Networks are good at stressing edges and movements; spheres at highlighting envelopes and wombs.

Of course, both notions are indispensable for registering the originality of what is called “globalization,” an empty term that is unable to define from which localities, and through which connections, the “global” is assumed to act. Most people who enjoy speaking of the “global world” live in narrow, provincial confines with few connections to other equally provincial abodes in far away places. Academia is one case. So is Wall Street. One thing is certain: the globalized world has no “globe” inside which it could reside. As for Gaia, the goddess of the Earth, we seem to have great difficulty housing her inside our global view, and even more difficulty housing ourselves inside her complex cybernetic feedbacks. It is the globe that is most absent in the era of globalization. Bad luck: when we had a globe during the classical age of discoveries and empire, there was no globalization; and now that we have to absorb truly global problems…

Excerpt from Bruno Latour, Some Experiments in Art and Politics. Eflux, March 2011.

https://studiotomassaraceno.org/

Tomas Saraceno

[mynoo]

MID

Aerocene – 2015

"Would you live in a floating city in the sky ?"

Aerocene est un projet crée par l’artiste Argentin, Tomas Saraceno, qui consiste à nous imaginer la possibilité d’exploiter les airs au moyen de « formes de structures aériennes mobiles » indépendamment des énergies non renouvelables. Ce projet a également pour objectif de nous questionner sur notre rapport à l’utilisation de l’espace aérien.

Mais alors comment apprendre à flotter dans les nuages ?

C’est la différence de température entre l’intérieur et l’extérieur du ballon qui lui permet de s’élever. L’emploi de moyens technologiques comme des capteurs sont utilisés pour percevoir et s’adapter au climat, à la température et à l’environnement. Un programme a également été développé pour définir les courant aériens et pour se déplacer. 

"Parce que, dans ces excursions vers l’atmosphère, on n’est pas seuls. (…) Nous vivons au fond d’un océan d’air."

Ce projet innovant et engagé m’a tout de suite interpellé et questionné sur l’utilisation des ressources qui nous sont offerts. Dans ce cas-ci, l’emploi de technologies, a pour objectif d’imaginer une nouvelle ère, éco-consciente. C’est un pacte que l’on fait avec la Terre et un compromis éthique avec l’atmosphère.

[kvb222-spatialartblog]

WEEK 2 - Artist Research

'Ponderosa Whirlpool' by Chris Drury (2018)

Drury's work mimics a natural form, the whirlpool, lending formal qualities of flux and movement. This is similar to my approach in the week 2 task, as I've attempted to imitate this state of flux with my use of intersecting planes/panels. In contrast to my work, the piece works in conjunction with the singular plane of the ground. This provides it with a weight that anchors the work and increases the affect of being drawn into its lower centre, as is characteristic of whirlpools. This work primarily makes use of natural materials consisting of raw wood and gravel. Though it appears that the area had to be cleared in order to make space for the work, the work's transience and ability to eventually biodegrade lend the work a semi-permanence that will not have a lasting impact upon the ecosystem that supports it.

'Cloud Cities: Species of Spaces and Other Pieces' by Tomas Saraceno (2024)

'Cloud Cities: Species of Spaces and Other Pieces' by Tomas Saraceno utilises conceptual balance rather than literal balance. Each prism provide the visual effect that they are stacked, balancing upon one another, whilst also remaining visually cohesive and drawing the viewers eye around the work rather than to a singular focal point. This is achieved through Saraceno's use of panelling and colour. The warm colours randomised across the work unifying each individual panel. The panels themselves are shared between the prisms providing the affect that the shapes are intersecting and becoming one. This is then further highlighted by the use of negative space, Saraceno leaving out panels to allows the viewer to see the inner workings and more closely observe the works intersections. Like my work, 'Cloud Cities' manipulates geometric forms to explore how intersecting planes can alter its affect. Another parallel that can be drawn between my work and Saraceno's is the structure's aim to serve a purpose beyond aesthetic concerns. The work has the potential to promote the nesting of native wildlife when placed outside of a gallery context.

[natashara]

Concept Board 3: A Room: Physical Footsteps and Space

White/clear string will wrap around and through crocs shoes so they hang to insinuate walking or taking steps forward. Each shoe will seem as if it is levitating above the ground but it is an illusion of footsteps. Every step we take in the present was possibly thought of in the past or planned for the future. The space underneath our steps are equivalent to the space in our journey through life. The crocs represents the modern steps we are taking in life, crocs are a modern traveling shoe that occupies minimal physical space. With every two steps we journey into something new that is invisible to us before we see it. The space emphasized underneath the shoes is the force we incur through life. My use of space is inspired by Tomas Saraceno’s spatial explorations and Tim Hawkinson’s kinetic sculptures, they both show how space can be manipulated to reflect balance and tell a story. Strings and shoes will be arranged to create interaction, suspension, and a sense of equilibrium, further showing the journey of taking steps forward.

[idyllqueen]

Like spiders, our personal webs are not static, independent spheres but fine instruments, interconnected to the vast network of our universe. Until some git with a vacuum cleaner comes along.

Tomás Saraceno: Particular Matter(s), free the air, how to hear the universe in a spider web.

https://studiotomassaraceno.org/

[kvb222hanchu]

Week 1 - Artist Research

Artist 1:  ERNESTO NETO

Ernesto Neto is a Brazillian conceptual artist with the main focus on installations and sculpture. Neto is primarily influenced by nature and the human body, especially the skin, and his work always constructed with interaction for viewers. His works consist of fabrics, transparent, stretchy material, styrofoam pellets and fragants spices to create his installations (Tanya Bonakdar Gallery, n.d.).

One of his work that I impressed with called ‘Mother body emotional densities, for alive temple time baby son’ displays his combination of fabric and spices. The Lyrca polyester fabric has been used to create a skin-like appearance. Spices including annatto, clove, cumin, ginger, pepper, and turmeric are packed inside the skin bags (Tanya Bonakdar Gallery, 2016).

From the work title, I perceived fabric to be the skin of one mother who was flabby after giving birth and raising her children. Neto also experiments with gravity, dropping the skin bags from the ceiling and making it look heavy at the bottom highlighting a mother's physical and emotional densities. Also, the aromatic spices can evoke nostalgic, home-felt senses that bring visitors an engaging sensory experience.

Artist 2:  TOMÁS SARACENO

Tomás is an artist informed by the worlds of art, architecture, natural sciences and engineering. His works invite viewers to conceptualise innovative approach of living and interacting with others, and with their surroundings. Spiders and their webs have been a major inspiration for his work as he is the first person to scan, reconstruct and reimagine spiders’ weaved spatial habitats. The reimagine of spider webs have been convey through an installation in his ‘Silent Autumn’ exhibition (Tanya Bonakdar Gallery, 2022). 

Information about the material for this work have not been found, but when visitors touch the strings of the web,  it will produce vibrations that echo spiderly modes of communication. The spider web in this installation is not just as a physical structure but as a musical instrument. 

From my reading of this artwork, two meanings have been drawn. First, the interconnection of the strings expresses solidarity between human and non-human entities, fostering a sense of mutual respect and shared existence. Second, interaction with the work through sound and vibration mimics the non-verbal communication of spiders, this helps visitors realise that different species and cultures have different ways of understanding and interacting with the world.

This work is interesting as it engages visitors in a way that stimulates their senses and emotions, rather than just presenting visual information and constructing a very immersive art space.

REFERENCES:

Tanya Bonakdar Gallery. (n.d.). Ernesto Neto. Tanya Bonakdar Gallery. https://www.tanyabonakdargallery.com/artists/49-ernesto-neto/

Tanya Bonakdar Gallery. (2016). ERNESTO NETO: MOTHER BODY EMOTIONAL DENSITIES, FOR ALIVE TEMPLE TIME BABY SON | November 20, 2015 - February 21, 2016. Tanya Bonakdar Gallery. https://www.tanyabonakdargallery.com/exhibitions/229-ernesto-neto-mother-body-emotional-densities-for-alive-mca-san-diego/

Tanya Bonakdar Gallery. (2022). Tomás Saraceno. Tanya Bonakdar Gallery. https://www.tanyabonakdargallery.com/artists/28-tomas-saraceno/

[jordi-gali]

Claude Lévêque

Vive la neige

, 2010

Photo: archives kamel mennour

https://dailyartfair.com/exhibition/7800/arredoluce-mohamed-bourouissa-ronan-erwan-bouroullec-liam-everett-olivier-gagnere-douglas-gordon-petrit-halilaj-jaime-hayon-jeppe-hein-pierre-jeanneret-jacob-friedrich-kirstein-alicja-kwade-bertrand-lavier-claude-leveque-nate-lowman-philippe-parreno-jean-prouve-rob-pruitt-tomas-saraceno-rirkrit-tiravanija-tatiana-trouve-group-show-kamel-mennour

[pascaline-horan-art]

Tomas Saraceno: Cloud Cities. Opening