Where art, life science, and social sciences cross paths, Tomás Saraceno followed his profound interest in spiders and webs to form Arachnophilia

Tomás Saraceno’s practice is informed by concepts linking art, life science, and the social sciences. Enmeshed in the junction of these worlds, his floating sculptures, community projects, and immersive installations propose sensory solidarity with the planet through a social, mental, and environmental ecology of practice

In the thread of his practice, he profound interest in spiders and their webs led to the formation of the Arachnophilia. Arachnophilia is a not-for-profit, interdisciplinary spider/web research community that builds on innovations arising from Saraceno’s past collaborative research into spider/web architectures, materials, modes of vibrational signaling and behavior. And explores ideas related to spiders and webs across multiple scientific and theoretical disciplines, including vibrational communication, biomateriomics, architecture and engineering, animal ethology, nonhuman philosophy, anthropology, biodiversity/conservation, sound studies and music

Source: Studio Tomás Saraceno

#Arts #People #Artist #Exhibition #Nature #Contemporary #Experimental #Disruptive art #Science #Nasa #South america #Installation #Argentinia

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Titled “On Air” and covering 64,500 square feet, the show is the latest iteration of the Palais de Tokyo’s biannual Carte Blanche series, in which an artist is given free rein of France’s largest exhibition space for contemporary art. Mr. Saraceno in his installation “Algor(h)i(y)thms” at the Palais de Tokyo. Participants are invited to play the work by gently plucking or sliding their fingers up and down the strings.

---- The New York Times

Vibrations and sounds also reverberate elsewhere in the exhibition. The show is “a synesthetic, bodily experience, a journey,” Mr. Saraceno said. “I’m moving away from the visual.” It’s also another connection to spiders, which can’t hear or see, as well as an exploration of alternative forms of sensory knowledge.

---- The New York Times

Argentinian artist Tomás Saraceno continues his exploration of art, life, and science with his exhibition. Saraceno also plays with different elements like air in his installation of Flying Gardens. Delicate Tillandsia plants, also known as air plants, are installed in handblown glass spheres suspended from the ceiling. These plants, which have no roots, acquire what they need to survive from the air. In this way, they stand as a metaphor for adaptability and freedom.

---- MY MODERN MET

Other rooms display a variety of experiments. This includes cloud-like formations called Connectome, whose irregular shapes and mirrored surfaces trace the sun's rays, as well as A Thermodynamic Imaginary. This model of a landscape harnesses the unlimited potential of the Sun and sets humans in their place by putting them in scale with the cosmos.

---- MY MODERN MET

有著建築、藝術、美國NASA的國際空間研究等背景的藝術家Tomás Saraceno，擅長將自然觀察、未來建築、空氣動力學、環境生態議題……等，與藝術創作相結合。如同蜘蛛網狀的大型裝置藝術作品「120-168 MHz (PSZ2 G099.86+58.45 (z = 0.616)」，是以黑色絲線模擬蜘蛛網狀打造而成，觸碰作品外部的粗黑線能產生不同的音調與聲音，讓觀眾藉此共振、共感。除此之外，該作品也是Tomás Saraceno對於「宇宙網」的探討與解讀。藝術家藉此傳達，蜘蛛網便如同一個微型宇宙網，串聯生物與生物或生物與非生物、跨物種的合作溝通，形成有結構型的社會系統，進一步引起我們對於生態系統、社會結構的反思。

---- Tatler/TAIWAN

Where art, life science, and social sciences cross paths, Tomás Saraceno followed his profound interest in spiders and webs to form Arachnophilia

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