163,000 Light Years

Tomás Saraceno
June 30 – November 6, 2016

Exhibition view

163,000 Light years, 2016

Museo de Arte Contemporaneo, Monterrey

 

Photo © Andrea Rossetti

Exhibition view

163,000 Light years, 2016

Museo de Arte Contemporaneo, Monterrey

 

Photo © Andrea Rossetti

Exhibition view

163,000 Light years, 2016

Museo de Arte Contemporaneo, Monterrey

 

Photo © Andrea Rossetti

Hybrid solitary social semi-social musical instrument Apus: built by: one Nephila clavipes - six days, a small community of Stegodyphus duffori - four months, and six Cyrtophora citricola spiderlings - two weeks, 2015

Spider silk, carbon fibre, glass, metal

 

Photo © Andrea Rossetti

Hybrid solitary semi-social semi-social Instrument Almagest Thebe 0.675 built by: a single Steatoda nobilis - seven weeks, a solo Cyrtophora citricola - one week, and a dozen juvenile Cyrtophora citricola - eight weeks, 2016 (left)

Spider silk, carbon fibre, glass, metal

 

Aeolic Instrument for a Ballooning Ensemble, 2015 (right)

 

Photo © Andrea Rossetti

Hybrid solitary semi-social semi-social Instrument Almagest Thebe 0.675 built by: a single Steatoda nobilis - seven weeks, a solo Cyrtophora citricola - one week, and a dozen juvenile Cyrtophora citricola - eight weeks, 2016

Spider silk, carbon fibre, glass, metal

 

Photo © Andrea Rossetti

Hybrid solitary semi-social semi-social Instrument Almagest Thebe 0.675 built by: a single Steatoda nobilis - seven weeks, a solo Cyrtophora citricola - one week, and a dozen juvenile Cyrtophora citricola - eight weeks, 2016 (detail)

Spider silk, carbon fibre, glass, metal

 

Photo © Andrea Rossetti

Arachno Concert With Arachne (Nephila senegalensis), Cosmic Dust (Porus Chondrite) and the Breathing Ensemble, 2016

Nephila senegalensis silk, carbon frame, light beam, cosmic dust, stellar wind, sonic waves, video camera, loudspeakers, video projector

 

Photo © Andrea Rossetti

Arachno Concert With Arachne (Nephila senegalensis), Cosmic Dust (Porus Chondrite) and the Breathing Ensemble, 2016

Nephila senegalensis silk, carbon frame, light beam, cosmic dust, stellar wind, sonic waves, video camera, loudspeakers, video projector

 

Photo © Andrea Rossetti

Arachno Concert With Arachne (Nephila senegalensis), Cosmic Dust (Porus Chondrite) and the Breathing Ensemble, 2016 (detail)

Nephila senegalensis silk, carbon frame, light beam, cosmic dust, stellar wind, sonic waves, video camera, loudspeakers, video projector

 

Photo © Andrea Rossetti

Arachno Concert With Arachne (Nephila senegalensis), Cosmic Dust (Porus Chondrite) and the Breathing Ensemble, 2016

Nephila senegalensis silk, carbon frame, light beam, cosmic dust, stellar wind, sonic waves, video camera, loudspeakers, video projector

 

Photo © Andrea Rossetti

Arachno Concert With Arachne (Nephila senegalensis), Cosmic Dust (Porus Chondrite) and the Breathing Ensemble, 2016

Nephila senegalensis silk, carbon frame, light beam, cosmic dust, stellar wind, sonic waves, video camera, loudspeakers, video projector

 

Photo © Andrea Rossetti

Arachno Concert With Arachne (Nephila senegalensis), Cosmic Dust (Porus Chondrite) and the Breathing Ensemble, 2016

Nephila senegalensis silk, carbon frame, light beam, cosmic dust, stellar wind, sonic waves, video camera, loudspeakers, video projector

 

Photo © Andrea Rossetti

Arachno Concert With Arachne (Nephila senegalensis), Cosmic Dust (Porus Chondrite) and the Breathing Ensemble, 2016 (detail)

Nephila senegalensis silk, carbon frame, light beam, cosmic dust, stellar wind, sonic waves, video camera, loudspeakers, video projector

 

Photo © Andrea Rossetti

Arachno Concert With Arachne (Nephila senegalensis), Cosmic Dust (Porus Chondrite) and the Breathing Ensemble, 2016

Nephila senegalensis silk, carbon frame, light beam, cosmic dust, stellar wind, sonic waves, video camera, loudspeakers, video projector

 

Photo © Andrea Rossetti

Semi-social musical instrument Small Magellanic Cloud built by: Cyrtophora citricola, 2012

Single-channel video (color, silent)

Duration 2:24 min

 

Photo © Andrea Rossetti

Semi-social musical instrument Small Magellanic Cloud built by: Cyrtophora citricola, 2012 

Single-channel video (color, silent)

Duration 2:24 min

 

Photo © Andrea Rossetti

CLOUD / TIME, 2016 (on screen)

Single-channel video (color, silent)

Duration 12:40 min

 

Aerocene 3, 2 & 1.2, 2015–16 (right)

Mylar: transparent and metalized, tape, pump with an overpressure release valve, polyester rope 

 

Photo © Andrea Rossetti

Aerocene 3, 2 & 1.2, 2015–16

Mylar: transparent and metalized, tape, pump with an overpressure release valve, polyester rope 

 

Photo © Andrea Rossetti

CLOUD / TIME, 2016 (on screen)

Single-channel video (color, silent)

Duration 12:40 min

 

Calder upside down, 2016 (right)

Inflatable, carbon fiber, fishing line, helium, stone

 

Photo © Andrea Rossetti

Calder upside down, 2016

Inflatable, carbon fiber, fishing line, helium, stone

 

CLOUD / TIME, 2016 (on screen)

Single-channel video (color, silent)

Duration 12:40 min

 

Photo © Andrea Rossetti

Exhibition view

163,000 Light years, 2016

Museo de Arte Contemporaneo, Monterrey

 

Photo © Andrea Rossetti

Untitled (Argentina Series), 2009

16 c-type prints, mounted on Dibond

 

Photo © Andrea Rossetti

Exhibition view

163,000 Light years, 2016

Museo de Arte Contemporaneo, Monterrey

 

Photo © Andrea Rossetti

Exhibition view

163,000 Light years, 2016

Museo de Arte Contemporaneo, Monterrey

 

Photo © Andrea Rossetti

Aerocene Explorer, 2016
The Aerocene Explorer, the tethered-flight starter kit currently in its beta version, enables anyone to launch their own personal exploration of the atmosphere. The Aerocene Explorer is developed by the Aerocene Foundation together with friends and collaborators.

 

Photo © Andrea Rossetti

Aerocene Explorer, 2016 (detail)
The Aerocene Explorer, the tethered-flight starter kit currently in its beta version, enables anyone to launch their own personal exploration of the atmosphere. The Aerocene Explorer is developed by the Aerocene Foundation together with friends and collaborators. 

 

Photo © Andrea Rossetti

Exhibition view

163,000 Light years, 2016

Museo de Arte Contemporaneo, Monterrey

 

Photo © Andrea Rossetti

Cosmic Filaments, 2013 (on the wall)

Diptych, inkjet print, mounted on Dibond

 

Photo © Andrea Rossetti

Documentation of the project

 

Photo © Andrea Rossetti

Documentation of the project

 

Photo © Andrea Rossetti

Documentation of the project

 

Photo © Andrea Rossetti

Documentation of the project

 

Photo © Andrea Rossetti

Event Horizon 270 light years, 2016

Two-channel video loop (color, silent)

 

Photo © Andrea Rossetti

Event Horizon 270 light years, 2016 

Two-channel video loop (color, silent)

 

Photo © Andrea Rossetti

163,000 light years, 2016

Single-channel video (color, sound), 163,000 years

 

Photo © Andrea Rossetti

163,000 light years, 2016

Single-channel video (color, sound), 163,000 years

 

Photo © Andrea Rossetti

Exhibition view

163,000 Light years, 2016

Museo de Arte Contemporaneo, Monterrey

 

Photo © Andrea Rossetti

Biosphere, 2009

Rope

 

Photo © Andrea Rossetti

Exhibition view

163,000 Light years, 2016

Museo de Arte Contemporaneo, Monterrey

 

Photo © Andrea Rossetti

Exhibition view

163,000 Light years, 2016

Museo de Arte Contemporaneo, Monterrey

 

Photo © Andrea Rossetti

Exhibition view

163,000 Light years, 2016

Museo de Arte Contemporaneo, Monterrey

 

Photo © Andrea Rossetti

Exhibition view

163,000 Light years, 2016

Museo de Arte Contemporaneo, Monterrey

 

Photo © Andrea Rossetti

Exhibition view

163,000 Light years, 2016

Museo de Arte Contemporaneo, Monterrey

 

Photo © Andrea Rossetti

Exhibition view

163,000 Light years, 2016

Museo de Arte Contemporaneo, Monterrey

 

Photo © Andrea Rossetti

163,000 Light Years

Tomás Saraceno
Museo de Arte Contemporaneo, Monterrey
June 30 – November 6, 2016
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The Museo de Arte Contemporáneo de Monterrey presents the first solo exhibition of artist Tomás Saraceno (Argentina, 1973) in Latin America. His work blurs the line between art scientifc thought and different creative processes, creating pieces that show incredible technical refinement and sensibility. Saraceno uses the expertise of specialists in different fields in order to create magical surroundings that alternate between the construction of impossible spaces, references to the nature of the cosmos, molecular biology and the laws of physics.

 

The origin of the cosmos has always intrigued Tomás Saraceno, who explores radical ideas, such as the existence of parallel universes. His interest in these themes is indebted to a certain domain of artistic exploration to which some creators have made recourse throughout history. These artists have allowed themselves to draw nourishment from information that is foreign to the traditional frame of the arts in order to interpret, or reinterpret, the world.

 

In Saraceno’s case, many projects draw inspiration from astronomy and astrophysics. Saraceno and his studio produce ideas from a multi-disciplinary platform, an approach that has, over the years, suggested possible realities that often verge on utopia.

 

The theory serves both researchers and Saraceno as an illustration of the codependent relationship that exists in our planet. lt posits that any isolated incident has consequences for the totality. One obvious case of this would of course be climate change.

 

Drawing on physics and mathematics, for example, Saraceno has taken the referent of the so-called “Membrane Theory,” an emerging area of research that involves studies of gravity in a multidimensional context in order to explain the essential forces of nature. This model of study is represented as a plane that, through pressure at a point on its surface, acquires a curvature that affects everything else on it.By drawing on these scientific theories, Saraceno lays the foundation for critical, poetic and even political visions, and invites everybody to contribute to the creation of possible futures. Artistic ideas work as invitations to take different yet horizontal roles in the construction of a better future.

 

The value of this kind of project is rooted in the pressing need to posit a more conscious transformation as a society, one in which we would learn to anticipate problems and to shape how we really want to live. lt is easy to interpret artistic projects like this as utopias, but for Saraceno, by contrast, they constitute the opportunity to make ideas concrete and to bring them about.

 

The artist does not delegate that responsibility to third parties, and becomes an agent of social change with his cooperative projects. He breaks down the barriers of incredulousness and achieves things previously believed to be impossible. In most cases, his work evokes situations that seem to come from dreams; it is so ethereal, so precise in its artistic realizations that it verges on the oneiric.

 

As a matter of principle he does not establish a hierarchical structure within his incredibly well designed working teams. In this sense Saraceno’s installations are not scale models, but rather apparatuses for creating experiences and for confronting that which we do not know or understand. The horizon that separates reality from utopia is much less enigmatic to him than it is to the rest of us. 

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