On Air: Carte Blanche to Tomás Saraceno

Tomás Saraceno
October 16, 2018 – January 6, 2019

Event Horizon

 

The installation consists of a spider web woven by a spider from the Palais de Tokyo, and a Bluetooth speaker that receives a signal coming from a laboratory of fundamental physics located in Italy. This laboratory records vibrations coming from two black holes colliding. These vibrations are sent onto the spider web in hope that the spider may reply.

 

Photo © Andrea Rossetti

Webs of At-tent(s)ion, 2018

 

Made up of 76 hybrid spider webs – sculptures interwoven by different spider species where individual threads and sensory worlds combine to form a floating landscape. Some of these spider/webs have been amplified with special microphones that allow us to listen to the rhythm of their vibrations.

 

Photo © Andrea Rossetti

Webs of At-tent(s)ion, 2018

 

Made up of 76 hybrid spider webs – sculptures interwoven by different spider species where individual threads and sensory worlds combine to form a floating landscape. Some of these spider/webs have been amplified with special microphones that allow us to listen to the rhythm of their vibrations.

 

Photo © Andrea Rossetti

Webs of At-tent(s)ion, 2018

 

Made up of 76 hybrid spider webs – sculptures interwoven by different spider species where individual threads and sensory worlds combine to form a floating landscape. Some of these spider/webs have been amplified with special microphones that allow us to listen to the rhythm of their vibrations.

 

Photo © Andrea Rossetti

Sounding the Air, 2018
spidersilk (6 m each, 5 parts), computer, camera, mixer, stands, Dedolights, carbon fiber
2 x 6 x 3,6 m

 

Sounding the Air is an aeolian musical instrument that is played by the air. Its sounds are produced by five threads of spider silk–each 6 meters long–woven by a spider between two carbon fiber poles, that drift and resonate in the air. Real-time video captures the movements of these ‘strings’, translating them into sonic frequencies and patterns.

 

Photo © Andrea Rossetti

Laser Web, 2018
Spider silk, carbon fiber frame, red laser, tripod
Variable dimensions, minimum room height 4 m, length 10 m, spider web frame 90 x 90 x 90 cm

 

Some scientists observed that complex, three-dimensional spider webs resemble computer simulations of the cosmic web. Building on this analogy, Tomás Saraceno invented, for the first time, an original technique for 3D scanning, digitizing and reconstructing spider/webs. In this installation, a laser sheet bi-dimensionally intersects the spider/web.

 

Photo © Andrea Rossetti

Laser Web, 2018
Spider silk, carbon fiber frame, red laser, tripod
Variable dimensions, minimum room height 4 m, length 10 m, spider web frame 90 x 90 x 90 cm

 

Some scientists observed that complex, three-dimensional spider webs resemble computer simulations of the cosmic web. Building on this analogy, Tomás Saraceno invented, for the first time, an original technique for 3D scanning, digitizing and reconstructing spider/webs. In this installation, a laser sheet bi-dimensionally intersects the spider/web.

 

Photo © Andrea Rossetti

This room puts into perspective the different ways in which the movements of people, heat, animals, and spider silk affect and are affected by the air. Spider’s webs laid out on paper produce new Spider Maps, while the trajectories of balloons that float freely in the air without the help of fossil fuels trace out Aeroglyphs.

 

Photo © Andrea Rossetti

Living at the Bottom of the Ocean of Air (Underwater Spider), 2018
HD video (16:9), single channel, black and white stereo, projection, duration 9:11 minutes
Dimensions variable

 

Saraceno’s film, directed by Ana Lena Vaney, is about a spider that leaves underwater. To survive, the Argyroneta aquatica dwells in a kind of diving bell that envelopes its abdomen and most of its legs. The air bubble is secured with threads of silk in order to resist contact with plants and predators

 

Film still © Tomás Saraceno

Web SDR presents the projection and sound of the live radio frequencies generated by meteoroids impacting the atmosphere, detected by an antenna located on the roof of the Palais de Tokyo.

 

Photo © Andrea Rossetti

The Politics of solar rhythms: Cosmic Levitation, 2018
Single channel video, black and white, sound, polymers speakers, projector
Duration 2:50 min
Dimensions variable

 

Photo © Andrea Rossetti

A Thermodynamic Imaginary is an installation that the artist terms a “Theater of Shadows”

 

A Thermodynamic Imaginary presents a new immersive ensemble of sculptures from this ongoing project, exhibited earlier this year under the same title at MAAT in Lisbon, and elsewhere. The installation includes existing and new pieces that allow us to imagine the possibility of an “aerocene” urbanism.

 

Photo © Andrea Rossetti

Calder Upside Down 38/29/24/18/15/12/12, 2018
Hand blown glass spheres, polyester rope, velvet rope, stainless steel
263 x 109 x 157 cm (overall dimensions)

ø 38 cm; ø 29 cm; ø 24 cm; ø 18 cm; ø 15 cm; ø 12 cm; ø 12 cm (7 spheres)

 

In 2009, Tomás Saraceno was awarded the prestigious Calder Prize and later had the opportunity to partake in a residency at Atelier Calder in Saché (France). This work revisits the legacy of modernist sculptor Alexander Calder—its suspended spheres and metallic structure recall Calder’s iconic mobiles—while at the same time questioning the legacy of Modernism

 

Photo © Andrea Rossetti

eps Tau b/M+M, 2016
Stainless steel, mirror panels, polyester rope, fishing line, metal wire
97 x 129 x 107 cm (5 modules ø 60 cm each, Mirror Cloud)

 

Photo © Andrea Rossetti

Algo-R(h)i(y)thms, 2018
Rope, contact microphones, computer, machine learning software, full range active speakers, shakers, subwoofers, dmx controlled light, 16 net elements
Dimensions variable, room size 375 sq m H7 x L25 x W15 m

 

On occasion of ON AIR, his Carte Blanche at Palais de Tokyo, Tomás Saraceno has conceived a new immersive and interactive sonic work. Titled Algo-R(h)i(y)thms, the large scale installation is a site-specific commission.

 

Photo © Andrea Rossetti

Algo-R(h)i(y)thms, 2018
Rope, contact microphones, computer, machine learning software, full range active speakers, shakers, subwoofers, dmx controlled light, 16 net elements
Dimensions variable, room size 375 sq m H7 x L25 x W15 m

 

On occasion of ON AIR, his Carte Blanche at Palais de Tokyo, Tomás Saraceno has conceived a new immersive and interactive sonic work. Titled Algo-R(h)i(y)thms, the large scale installation is a site-specific commission.

 

Photo © Andrea Rossetti

Algo-R(h)i(y)thms, 2018
Rope, contact microphones, computer, machine learning software, full range active speakers, shakers, subwoofers, dmx controlled light, 16 net elements
Dimensions variable, room size 375 sq m H7 x L25 x W15 m

 

On occasion of ON AIR, his Carte Blanche at Palais de Tokyo, Tomás Saraceno has conceived a new immersive and interactive sonic work. Titled Algo-R(h)i(y)thms, the large scale installation is a site-specific commission.

 

Photo © Andrea Rossetti

Algo-R(h)i(y)thms, 2018
Rope, contact microphones, computer, machine learning software, full range active speakers, shakers, subwoofers, dmx controlled light, 16 net elements
Dimensions variable, room size 375 sq m H7 x L25 x W15 m

 

On occasion of ON AIR, his Carte Blanche at Palais de Tokyo, Tomás Saraceno has conceived a new immersive and interactive sonic work. Titled Algo-R(h)i(y)thms, the large scale installation is a site-specific commission.

 

Photo © Andrea Rossetti

Algo-R(h)i(y)thms, 2018
Rope, contact microphones, computer, machine learning software, full range active speakers, shakers, subwoofers, dmx controlled light, 16 net elements
Dimensions variable, room size 375 sq m H7 x L25 x W15 m

 

Each module is anchored to the floor, ceiling and walls of the room, like a giant spider-web in which visitors are invited to wander and interact with the work by touching the cords to create sounds, as if they were playing an instrument.

 

Photo © Andrea Rossetti

Algo-R(h)i(y)thms, 2018
Rope, contact microphones, computer, machine learning software, full range active speakers, shakers, subwoofers, dmx controlled light, 16 net elements
Dimensions variable, room size 375 sq m H7 x L25 x W15 m

 

Photo © Andrea Rossetti

Museo Aero Solar is a collective project initiated in 2007. It is an open invitation for everyone to turn used plastic bags into a lighter-than-air balloon. It is both a flying museum and a solar sculpture.

 

Photo © Andrea Rossetti

Museo Aero Solar is a collective project initiated in 2007. It is an open invitation for everyone to turn used plastic bags into a lighter-than-air balloon. It is both a flying museum and a solar sculpture.

 

Photo © Andrea Rossetti

On Air: Carte Blanche to Tomás Saraceno

Tomás Saraceno
Palais de Tokyo, Paris
October 16, 2018 – January 6, 2019
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The exhibition ON AIR is an ecosystem in becoming, hosting a polyphonic choreography between human and non-human universes, where works reveal common, fragile and ephemeral rhythms and trajectories uniting these worlds. As a hybrid organism, ON AIR is made of a myriad of presences, animate and inanimate, that meet and cohabit within it. Some voices become quiet, whilst others, usually less heard in the world, are magnified. The exhibition functions as an ensemble, performing the illegible ties between events and sensibilities, the togetherness of earthly and cosmic phenomena, weaving a web of relations that cannot be described but maybe can be felt.

 

ON AIR proposes a space and time that reveals the strength of the presences floating in the air and the way they interact with us: from CO2 to cosmic dust, from radio infrastructures to reimagined corridors of mobility. Thus, the invisible histories that compose the nature we are part of invite us to rethink poetically new ways to inhabit the world – and of being human.

 

While extractivist activities that mine the Earth for resources continue to threaten entire ecologies, ON AIR celebrates new ways of thinking about our relation with the planet, through new modes of knowledge production. This is to open itself up to the debate and global challenges posed by the Anthropocene, a word proposed to define the current epoch we live in on Planet Earth, in which some human activities leave an impact so important that they profoundly modify terrestrial ecosystems. It is thus especially through the activities of Aerocene, an interdisciplinary artistic project initiated by Tomás Saraceno that seeks to reactivate a common imaginary to collaborate ethically with the atmosphere and the environment, that the visitors are invited to collectively engage in an urgent exercise of planetary attunement.

 

ON AIR echoes the artist’s practice as it gathers numerous collaborators and collaborations, bringing together scientific institutions, research groups, activists, local communities, visitors, musicians, philosophers, non-human animals, and celestial phenomena, all of whom equally take part in the evolution of the exhibition. Workshops, concerts, public symposiums regularly transform an exhibition that constantly remake the Palais de Tokyo into a vast “cosmic jam session”.

 

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