Utente:SolarBell/Sandbox
Tomás Saraceno (San Miguel de Tucumán, 1973) is an artist based in Berlin, Germany, who is best known for his large-scale interactive installations and floating sculptures, which propose and explore new, sustainable ways of inhabiting and sensing the environment and of reshaping urban ecologies and modes of political participation in the Earth System. Saraceno’s oeuvre could be seen as an ongoing research, characterized by an interdisciplinary approach towards the worlds of art, architecture, natural sciences and engineering, and enriched by the cooperation with experts from numerous fields and institutions.
Education
After attaining his architecture degree at Universidad Nacional de Buenos Aires in Argentina (1992-1999), Saraceno received postgraduate degrees in art and architecture from Escuela Superior de Bellas Artes de la Nación Ernesto de la Carcova, Buenos Aires (1999-2000) and Städelschule, Frankfurt am Main (2001-2003) directed by Daniel Birnbaum (curator of the 53rd Venice Biennale), with Thomas Bayrle and Ben van Berkel. In 2003-2004 Saraceno participated in the course „Progettazione e Produzione delle Arti Visive”, held by Hans Ulrich Obrist and Olafur Eliasson at Venice University (UAV). In 2009, he attended the International Space Studies Program at NASA Center Ames (Silicon Valley, California). The same year Saraceno presented a major installation at the 53rd Biennale di Venezia, and was later on awarded the prestigious Calder Prize. In 2012, he was the first residing artist at the Center for Art, Science and Technology (CAST) at the Massachusetts Institute of Technology (MIT, USA), which whom he started a solid and ongoing collaboration. Saraceno’s installations have been exhibited at the Venice Biennale of 2003 and 2009, as well as at the Sao Paulo Biennale of 2006.
Selected Works and Projects
Saraceno's works, which are often characterized by a close conjunction of science, architecture, engineering and art, deal with issues like the current ecological crisis, alternative and utopian types of architecture, living and urbanity, as well as with the new participatory potentials of emerging technologies.
Exhibitions
In the last years, Saraceno’s work has been shown in international solo and group exhibitions such as Une brève histoire de l’avenir, at Louvre Museum, and Le Bordes du Monde, at Palais de Tokyo, Paris (2015); In orbit, at Kunstsammlung Nordrhein-Westfalen K21 in Düsseldorf (2013-15), and On Space time foam, at Hangar Bicocca in Milan (2012-13), among others. His work has also been exhibited in public museums like The Metropolitan Museum of Art in New York (Cloud City, 2012), the Kemper Museum of Contemporary Art in St. Louis (Cloud-Specific, 2011-12), and Hamburger Bahnhof, Berlin (Cloud Cities, 2011-12).
Selected Solo Exhibitions
2015
Arachnid Orchestra Jam Session, Centre for Contemporary Art, Singapore
Becoming Aerosolar, Haus21er, Vienna, Austria
14 Billions (Working Title), SKMU Sørlandets Kunstmuseum, Kristiansand, Norway
Hybrid solitary... semi-social quintet... on cosmic webs…,Tanya Bonakdar Gallery, New York, NY
2014
Cosmic Jive: Tomás Saraceno. The Spider Sessions, Villa Croce, Genoa, Italy
Iridescent Planet, Pinksummer Gallery, Genoa, Italy
2013-2015
IN ORBIT, K21 Ständehaus, Düsseldorf, Germany
2013
Social .. Quasi Social .. Solitary .. Spiders … On Hybrid Cosmic Webs, Esther Schipper Gallery, Berlin, Germany
Tomás Saraceno, Andersen’s Contemporary, Copenhagen, Denmark
2012
Cloud City, Roof Garden Installation, Metropolitan Museum of Art, New York, USA
On space time foam, HangarBicocca, Milan, Italy
Cloud Cities, Maison Hermès, Tokyo, Japan
Tomás Saraceno, Taidehalli Kunsthalle Helsinki, Finland
Air-Port-City/Cloud Cities, Tanya Bonakdar Gallery, New York, USA
2011
Cloud Cities, Hamburger Bahnhof- Museum für Gegenwart, Berlin, Germany
Cloud-Specific, Kemper Museum of Contemporary Art, St. Louis, MO, USA
Cloudy Dunes. When Friedman Meets Bucky On Air-Port-City, MACRO, Museo d'Arte Contemporanea Roma, Italy
Labor, Kunstsammlung, Nordrhein-Westfalen, K20 Grabbeplatz, Düsseldorf, Germany
2010
Cloud Cities Connectome, Tanya Bonakdar Gallery, New York, USA
14 billions (working title), Bonniers Konsthall, Stockholm, Sweden
Tomás Saraceno: Lighter than air, Houston Blaffer Gallery, Houston, USA, (traveled from Walker Art Center, Minneapolis, USA)
Cloud-Cities, Pinksummer Contemporary Art, Genoa, Italy
Tomas Saraceno, Baltic Centre for contemporary Art, Gateshead, UK
From Camogli to San Felipe, spiders weaving stars, Fondazione Pierluigi e Natalina Remotti, Camogli, Italy
Sculpture project ROSSMARKT3, Frankfurt, Germany
2009
Tomás Saraceno: Lighter than air, Walker Art Center, Minneapolis, USA
Biosphere, Statens Museum for Kunst, Copenhagen, Denmark (in the framework of the cycle «RETHINK Relations»)
Tomas Saraceno, Mudam Musée d‘Art Moderne Grand-Duc Jean, Luxembourg (in the framework of the cycle «Habiter»)
Cloudy House, Andersen's Contemporary, Berlin, Germany
Tomas Saraceno, Andersen's Contemporary, Copenhagen, Denmark
2008
Galaxies forming along filaments, like droplets along the strands of a spiders web, Tanya Bonakdar Gallery, New York, USA
Cloudy Dunes, Fondazione Garrone, Genoa, Italy
2007
Air-Port-City, De Vleeshal, Middelburg, The Netherlands
Opening, AEREA Christian Larsen, Stockholm, Sweden
Biosphere MW32 Air-Port-City, Pinksummer Gallery, Genoa, Italy
Microscale, Macroscale and Beyond: Large-Scale Implications of Small-Scale Experiments, Berkeley Art Museum, USA
2006
On Water, Centre d’Art Santa Monica, Barcelona, Spain
Cloudy Dunes_Air-Port-City, Attitudes - espace des arts contemporains, Geneve, Switzerland
Air-Port-City,Tanya Bonakdar Gallery, New York, USA
Cumulus,The Curve , Barbican Art Centre, London, UK
Infinitive Actives, Portikus, Frankfurt, Germany (with personal states of Marjetica Potrc)
2004
On-Air, Pinksummer Gallery, Genoa, Italy
Selected Group Exhibitions
2015
The State of the Art of Architecture, Chicago Architectural Biennial, Chicago, USA
Brève histoire de l’avenir, Musée du Louvre, Paris
Homecomings: PROJECTIVE SPACE, Berlin, Germany
Pequod, 11 Columbia, Monaco, France
Cold War Hot Peace, Slought, Philadelphia, USA
Der entfesselte Raum, Gewerbemuseum, Winterthur, CH
Le Bord des Mondes, Palais de Tokyo, Paris, France
2014-2017
The Man in the Mirror, Vanhaerents Art Collection, Brussels, Belgium
2014-2015
Synthesis, Reykjavik Art Museum, Iceland
Diese Kunst, Galerie der Stadt Sindelfingen, Sindelfingen, Germany
Haus-Rucker-Co, Architekturutopie Reloaded, Haus am Waldsee, Berlin, Germany
2014
The Net: Weaving Webs in Art, Kunsthalle Kiel, Kiel, Germany
Harvest, GOMA, Brisbane, Australia
INSERT 2014: The Sharp Edge of the Global contemporary, Indira Ghandi Centre of the Arts, New Delhi, India
Kroblyos un groviglio di segni - da Parmigianino a Kentridge, Biennale disegno di Rimini, Rimini, Italy
Attention Economy, Kunsthalle Wien, Vienna, Austria
Vanitas. Motive des Vergänglichen in der zeitgenössischen Skulptur, Georg Kolbe Museum, Berlin, Germany
City and Nature, Sapporo International Art Festival 2014, Japan
Lichterfest, K21 Ständehaus, Düsseldorf, Germany
Second | Fourteen Highlight, Salon Kennedy, Frankfurt, Germany
Anthropocene Monument, Les Abattoirs, Toulouse, France
Between the lines, Tanya Bonakdar Gallery, New York, USA
2013
Moving. Norman Foster on Art, Carré d'Art - Musée d'art contemporain de Nimes, France
Mobile M+: Inflation! , M+ museum for visual culture, Hong Kong
Emscherkunst, Zeche Nordstern, Gelsenkirchen/Essen, Germany
Tomas Saraceno, Solar Bell, Portscapes 2, a series of art projects alongside the contstruction fo Maasvlakte2, Rotterdam, The Netherlands
Tomas Saraceno, Flora, Bogotá, Colombia
What am I doing here, Esbjerg Art Museum, Esbjerg, Denmark
I know you, Irish Museum of Modern Art, Dublin, Ireland
Reflets - Un Morceau de Pinksummer Genes -Mariana Castillo Deball, Tobias Putrih, Tomas Saraceno, Bojan Sarcevic, Luca Vitone, 11 Columbia, Monaco
Novela Festival, Toulouse, France
2012
Wir sind alle Astronauten Universum Richard Buckminster Fuller im Spiegel zeitgenössischer Kunst /We are all astronauts Universe Richard Buckminster Fuller reflected in contemporary Art, Zeppelinmuseum Friedrichshafen, Germany, (traveled from MARTA Herford, 2011)
Underværker - Mesterværker fra danske privatsamlinger (Wonder works - masterpieces from Danish private collections), Kunsten - Museum of Modern Art Aalborg, Denmark
Intersections: Science in Contemporary Art, Weizmann Institute of Science, Rehovot, Israel
Nature's Toolbox: Biodiversity, Art and Invention, The Field Museum, Chicago, Illinois, USA, touring globally through 2015
2011
The Divine Comedy, Olafur Eliasson, Ai Weiwei, Tomas Saraceno, Harvard Graduate School of Design, Cambridge, MA, USA
Private/Corporate VI.Die Sammlung Juan & Patricia Vergez, Buenos Aires, im Dialog mit der Daimler Kunst Sammlung, Stuttgart/Berlin, Daimler Contemporary, Haus Huth, Berlin, Germany
20 Jahre Gegenwart, MMK Museum für Moderne Kunst Frankfurt, Frankfurt, Germany
Cloud Cities, Perth International Arts Festival, Perth, Australia
Redesigning Nature, Städtische Galerie Bremen, Bremen, Germany (travelled from Künstlerhaus Wien)
The End of Money, Witte de With, Center for Contemporary Art, Rotterdam, The Netherlands
Wir sind alle Astronauten Universum Richard Buckminster Fuller im Spiegel zeitgenössischer Kunst /We are all astronauts Universe Richard Buckminster Fuller reflected in contemporary Art, MARTA Herford, Herford, Germany
Merz World: Yona Friedman & Tomas Saraceno, Cabaret Voltaire, Zürich, Switzerland
2010
Redesigning Nature, Künstlerhaus Wien, Vienna, Austria, curated by Susanne Witzgall, Florian Matzner, Iris Meder
Realidad y Utopía, Argentiniens künstlerischer Weg in die Gegenwart, Akademie der Künste, Berlin, Germany
Movin' Space, KUNSTEN Museum of Modern Art Aalborg, Denmark
Tales of Resistance and Change. Artists from Argentina, Frankfurter Kunstverein, Frankfurt, Germany
Rethink Contemporary Art and Climate Change, Rogaland Art Museum, Stavanger, Norway
Art for the world, World Expo Shanghai, China
Afuera, Centro Cultural España Córdoba, Córdoba, Argentina, Art Festival
Radical conceptual - Positionen aus der Sammlung des MMK, MMK, Frankfurt, Germany
Klimakapseln, Museum für Kunst und Gewerbe, Hamburg, Germany
Languages and Experimentations. Young artists in a contemporary collection, MART, Rovereto, Italy
In Defense of Nature, East Ayrshire Museum, Scotland
Bianco y Nero, Udine Art Festival, Udine, Italy
Between here and there: Modern and Contemporary Art from the Permanent Collection, Pérez Art Museum Miami, USA
Bold text2009
Fare Mondi, 53d Biennale di Venezia, Italian Pavillon at the Gardino delle Vergine/Arsenale, Venice, Italy
WANAS 2009: FOOTPRINTS, Wanas Foundation, Knislinge, Sweden
In Defense of Nature, Barbican Art Center, London, UK
Life Forms, Bonniers Konsthall, Stockholm, Sweden
Labyrinth :: Freiheit, Franzensfeste Fortress, Italy
Earth - Art of a Changing World, Royal Academy of Arts, London, UK
Dome Culture in the 21st Century, Art in General, New York, USA
Liverpool Biennial 2008, Liverpool, UK
Multiverse: Directions for the World, A.L.I., Rome, Italy
2008
Psycho Buildings – Artists and Architecture, Hayward Gallery, London, UK
Sonsbeek 2008: Grandeur, Arnhem, The Netherlands
50 Moons of Saturn, T2 Torino Triennale, Turin, Italy
Peripheral Vision and Collective Body, Museion Bolzano, Bolzano, Italy
Greenwashing, Fondazione Sandretto Rebaudengo, Turin, Italy
Experiment Marathon Reykjavic, Reykjavic Art Museum, Kjarvalsstadir, Reykjavic, Iceland
Kunst Naturligvis, Esbjerg Kunstmuseum, Esbjerg, Denmark
We have a dream, Spazio Gerra, Reggio Emilia, Italy
Art Focus 5: Can Art Do More?, Jerusalem, Israel
Megastructure Reloaded, Raumlabor, Berlin, Germany
48°C Public.Art.Ecology, Delhi, India
ROOMING IN! Claus Andersen visits Patricia Low, Patricia Low Contemporary, Gstaad, Switzerland
2007
Brave New Worlds, Walker Art Center, Minneapolis, USA
Biennale de Lyon 2007, Lyon, France
Hector German Oesterheld, La Aventura Continua, Museo de Arte y Memoria, Buenos Aires, Argentina
Poetic Cosmos of the Breath, Air Show Gunpowder Park, London, UK
On Water, Art Basel, Basel, Switzerland
In Cima alle Stelle. L'Universo tra Arte, Archeologia e Scienza, Aosta, Forte di Bard, Italy
Still Life Art, Ecology and the Politics of Change, Sharjah Biennal, Sharjah, United Arabs Emirates
SituazionIsola, a new Urbanism, Isola Art Center, Milan, Italy
Weather Report. Climate Change and Visual Arts, Centro Atlántico de Arte Moderno (CAAM), Las Palmas de Gran Canaria, Spain
The Domain of the Great Bear 3/3 Kosmische Sehnsucht, Kunstraum München e.V., Munich, Germany
2006
On Mobility, Berlin Büro Friedrich, Berlin, Germany
On Mobility, De Appel, Amsterdam, The Netherlands
Buenos dias Santiago, Museo de Arte Contemporaneo, Santiago de Chile, Chile
I still believe in miracles*, ARC (Musee d’Art moderne de la Ville de Paris), Paris, France
Reconstruction 1, Sudeley Castle, Winchcombe, Gloucestershire, UK, curated by Mollie Dent-Brocklehurst, Elliott McDonald
Busan Biennale, Busan, South Korea
How to live together, Sao Paulo Biennale, Sao Paulo, Brazil
Presented by, Galerie Andreas Huber, Vienna, Austria
2005
Luna Park. Fantastic Art, Villa Manin Centre for Contemporary Art, Codroipo, Italy
Dialectic of Hope, First Moscow Biennale of Contemporary Art, Moscow, Russia
The Opening, Andersen’s Contemporary, Copenhagen, Denmark
Project Rotterdam, Museum Boijmans Van Beuningen, Rotterdam, The Netherlands
Pursuit of Happiness, Leidsche Rijn, The Netherlands
La Strada, Fuori uso 2005, Pescara, Italy
Sehnsüchtig gleiten Ballone rund um die Welt, Green Light Pavilion, Berlin, Germany
2004
What is in my apartment when I’m not there, Berlin, Germany
Open Duende, Duende, Rotterdam, The Netherlands
Universal Outstretch, Flaca Gallery, London, UK
Common Property, 6. Werkleitz Biennale, Halle, Germany
ZIM- Zwaanshals in Motion, Rotterdam, The Netherlands
Do It, http://www.e-flux.com/projects/do_it/homepage/do_it_home.html, electronic flux corporation
2003 Here we come!!! Kunststudentinnen und Kunststudenten stellen aus, Kunst und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany Utopia Station, Dreams and Conflicts: The Dictatorship of the Viewer, Biennale Venice, Italy Un-build Cities, Kunstverein Bonn, Bonn, Germany Art-gentina, The Buena Vista Building, Miami, USA
2002 X-position, Architekturzentrum Wien, Vienna, Austria Peace(and)love istruzioni per la possibilità, Palazzo Bonaguro, Bassano, Italy Xposition, Berlague Institute, Rotterdam, The Netherlands Next, Venice Biennale, Venice, Italy Mobile HIV/AID Health Clinic for Africa, RIBA London, UK
2001 Real Presence, Tito Museum, Belgrado, Serbia and Montenegro Neue Welt, Kunstverein Frankfurt, Frankfurt, Germany El Suelo en Renuncio, Ministerio de fomento Arquería de los Nuevos Ministerios, Madrid, Spain
Permanent Installations
2015, Cloud Cities / Air-Port-City, Domaine du Muy, Parc de sculptures contemporaines, France 2015, Sundial for Spatial Echoes, Aker Brygge, Oslo, Norway 2008, On clouds (Air-Port-City), Towada Arts Center, Towada, Japan 2007, Flying Garden, EPO Munich, Germany
Publications
Cosmic Jive - The Spider Sessions, Edited by Giovanni Pezzato, Asinello Press, 2015 Cloud Specific, Edited by Meredith Malone, Edited by Igor Marjanovic, Contributions by Ines Katzenstein, Contributions by Tomas Saraceno, Contributions by Denis Weaire, Washington University, Mildred Lane Kemper Art Museum, 2014 14 Bilions (Working Title), Sara Arrhenius, Helena Granstrom, Nikolaus Hirsch Skira, 2011 Cloud Cities, Marion Ackermann, Daniel Birnbaum, Udo Kittelmann, Hans Ulrich Obrist, Kunstsammlung Nordrhein-Westfalen, Hamburger Bahnhof Museum für Gegenwart, Distanz Verlag, 2011
Selected Awards
2010, 1822-Kunstpreis 2009, Alexander Calder Prize 2003-2004, Fondo Nacional de las Artes-Argentina Italia-Venezia IUAV 2003-2004 Hessische Kulturstiftung Award and Residency in Rotterdam 2003, 16. Bundeswettbewerb des Bundesministeriums für Bildung und Forschung (1st prize)
Public Collections
Miami Art Museum, Miami, FL, USA Museum für Moderne Kunst, Frankfurt, Germany Museum of Modern Art, New York, USA San Francisco Museum of Modern Art, San Francisco, CA, USA Walker Art Center, Minneapolis, MN, USA Nationalgalerie, Staatliche Museen zu Berlin, Berlin, Germany Bonniers Konsthall, Stockholm, Sweden The National Gallery of Denmark, Copenhagen, Denmark Esbjerg Kunstmusem, Esbjerg, Denmark Istanbul Modern Art Museum, Istanbul, Turkey Hamburger Bahnhof – Musuem für Gegenwart, Berlin, Germany Boros Collection, Berlin, Germany The Collection of Juan Vergez, Buenos Aires, Argentina BSI Art Collection, Switzerland Mudam Musée d‘Art Moderne Grand-Duc Jean, Luxembourg Fondazione La Gaia, Busca, Italy Fondazione Pierluigi e Natalina Remotti, Camogli, Italy Fondazione Morra Greco, Naples, Italy Fondazione Edoardo Garrone, Genoa, Italy Lumas Foundation, Zürich, Switzerland Reykjavik Art Museum, Reykjavik, Iceland
Quotes
"For me the work of Tomás (...) deals with the question of the habitat: what it is to be in a shapeless environment (...) at the time of the Anthropocene. At the time of the Anthropocene the question if it is art or not does not seem important."
“Another remarkable feature of Saraceno’s work is that such a visual experience is not situated in any fixed ontological ___domain, nor at any given scale: you can take it, as I do, as a model for social theory, but you could just as well see it as a biological interpretation of the threads that hold the walls and components of a cell, or, more literally, as the weaving of some monstrously big spider, or the utopian projection of galactic cities in 3D virtual space. This is very important if you consider that all sorts of disciplines are now trying to cross the old boundary that has, until now, distinguished the common destiny of increasing numbers of humans and non-humans. No visual representation of humans as such, separated from the rest of their support systems, makes any sense today.”
“Standing in the middle of Saraceno’s work, the experience is inescapable: the very possibility of having an envelope around a local habitat is given by the length, number, and solidity of the connectors that radiate out in all directions. I would have loved to see, when the exhibition was dismantled, how quickly the spherical patterns would have collapsed once a few of their outside links had been severed.” (Bruno Latour)3
“Even though spider webs have been around for at least 140 million years, we have never managed to preserve and display their webs in a three dimensional form. In fact, there is no single museum in the world with a collection of this kind. Tomás Saraceno’s spider web sculptures are a breakthrough in both science and art, and thanks to his methods new fields of studies have been opened.”
“Forget about spider man and his meek two-dimensional webs! Tomás Saraceno has opened our eyes to the intricate geometry of spider webs. With his newly invented scanning instrument, he digitized for the first time a three-dimensional web, which had never before been measured. Saraceno’s technique has enabled much needed comparative studies in mathematics, engineering and arachnology.”
“Tomás Saraceno has, for the first time, scanned, reconstructed and reimagined spiders’ weaved spatial habitats, in a unique artistic and bioacoustics experience that uses groundbreaking methods and is expanding the horizons of scientific research. His innovative three-dimensional spider web works are a visionary statement for interspecies care and communication. From the American Museum of Natural History in New York to the Naturkundemuseum Senckenberg in Frankfurt am Main, Saraceno’s collection is a unique sight for all humankind.”
(Peter Jäger, 2015)6
“Tomás Saraceno’s work defies traditional notions of space, time, gravity, consciousness and perception through architectural, social and communitarian means that are utopian and participatory in nature. The sky and the earth are interchangeable in his installations, in which gardens float and people achieve their longstanding desire to fly. Inspired by an interest in affecting change in the way we live and experience reality, each work is an invitation to conceive of alternative ways of knowing, feeling and interacting with others. Concurrently, Saraceno appeals to the creative faculty of his viewers, involving them in situations and actions that demand their ingenuity, participation and responsibility. The projects evidence relationships and introduce interdependent spaces that emphasize the ecological character of not only natural environments but also social spaces. Above all, the works show us that the possibility to transform the world is always within reach for those who are ready to collaborate in its design and construction. The work of Tomás Saraceno is perhaps the set of tools that we were missing.”
(Rodrigo Alonso, curator)
“(T)he work of Tomas Saraceno (...) undeniably draws on the tradition of visionary architects from the hot-air globes aérostatiques of the Montgolfier brothers that floated over the French Ardèche in the 1780s to the self-supporting domes of Buckminster Fuller that were centrally conceived as ships or vacuoles within the “air ocean” just beyond the earth’s crust. But like these examples, its larger intention is to serve as harbinger of new psychic and political spaces to come.”
(Sanford Kwinter, The Divine Comedy- Group exhibition, at Harvard University-Graduate School of Design)4
“In terms of the dichotomy between utopia and heterotopia introduced by Michel Foucault in The Order of Things, Saraceno’s installations refer to a future place through the suggestion of a fable, a utopian tale, but are, in their effective presence, wholly real and tangible spaces that take the individual back to a pre-logical and pre-dialectical state. They prompt and foster bodily forms of communication and relations based on movements, impulses and vibrations more than verbal possibilities and structures. Like Foucault’s heterotopias, these installations always presuppose “a system of opening and closing that isolates them and makes them penetrable at the same time.”
(Luca Cerizza)5
“Spiders play together a complex symphony, and when they play one string it reverberates in all the other strings… When we are able to tune as a species, then the earth will reverberate…”
(Tomás Saraceno)6
“Becoming Aerosolar is an accumulation and elastic canalization of energy that heads in indeterminable directions: a passage of warmth and light not only beyond the border of individual bodies or discrete communities, but beyond the surface of the earth. In each parceling of air, a segment of chaos, a measured agitation. The dream of innumerable vortexes joining forces, a multitude of small experiments and improvisations weaving themselves into a collective atmosphere of invention. From a long launching pad of heat-induced transformation of matter-energy, a new generation of artisans reaches into worlds of light and vapor …”
(Nigel Clark, Atmospheres of Invention, Passages of Light)
(...) in close collaboration with various experts, he develops new applications for a variety of technologies. With the help of engineers and lawyers he has developed a patent(s) on a new field of application as with of the material ‘aerogel’ which makes it easier for his airships to fly powered solely by solar energy. A patent that he has now set free so as to make it accessible to all. The generous sharing of knowledge is a pervasive idea in his works, something that by extension also challenges our prevalent view of authorship and ownership.
“The world that Saraceno moves through is a vast, open field where the boundaries between science and art are not set out in the usual ways. Here, there is no high fence between disciplines and fields of knowledge, but a world of possibilities that are driven forwards by a sense of wonder at how the world was created.” (Sara Arrhenius)
“Is there a more elemental fantasy than that of weightlessness and elevation? I´m enthralled by Saraceno´s whimsical collage of people lingering in the skies – resting, conversing, perhaps even living and working in the space created by semitransparent membranes hovering like clouds.” (Daniel Birnbaum)
“In addition to being a great artist, Saraceno is a visionary, one who aims to break world records for flying, using just air. Perhaps a prophet of an age where temperature differentials and the sun are enough to fly very long distances, he is revolutionizing how we think, not just about art but about the possibilities of walking on air.” (Juan Enriquez)
References
External links