Saraceno has participated in numerous festivals and biennales, including the 17th Venice Architecture Biennale (2020) and the 53rd and 58th Venice Biennales (2009, 2019). ![]() He has also been the subject of solo exhibitions and permanent installations at museums and institutions internationally, including The Shed, New York (2022) Palais de Tokyo, Paris (2018) Museo de Arte Moderno, Buenos. He has held numerous residencies including MIT Center for Art, Science & Technology (2012 – ) and Atelier Calder (2010) published in Nature and PNAS presented a TED talk staged artistic interventions with COP20, COP21, and COP26 has lectured internationally. Young spiders molt frequently, while older spiders molt less frequently. Molting allows the spider to grow and replace its exoskeleton with a fresher model. Arachnophilia, an interdisciplinary, research-driven community, also emerged from the artist’s more than 10 years of collaboration with humans, spiders, and their webs. To grow, spiders must shed their hard-exterior exoskeleton through a process known as molting. For more than two decades, Saraceno has activated projects aimed towards fossil-fuel free futures, including Museo Aero Solar (2007–) and the Aerocene Foundation (2015–). Tomás Saraceno is an Argentina-born, Berlin-based artist whose projects dialogue with forms of life and life-forming, rethinking dominant threads of knowledge in the Capitalocene era and recognizing how diverse modes of being engage a multiplicity of vibrations on the Web of Life. The Rijksmuseum does not intervene with the spiders in various public spaces for spiders to create their webs, which will be recognized as art. ![]() Imagining renewed ways of entangling with our arachnid kin, the open letter is a call to recognize the spider/webs that did not arrive by invitation, to acknowledge those still living and those who face extinction – themselves becoming curious museological relics. The hybrid spider/web invites a new understanding of our arachnid kin, recognizing the non-human worlds they represent.Īn Open Letter for Invertebrate Rights (2020 -ongoing) initiates direct conversation with the Rijksmuseum to acknowledge the invertebrates the museum cohabits, works and exhibits with. Against the Sixth Mass Extinction, re-prioritise analogue modes of interspecies relation that promote kinship and solidarity. Gravitational solitary semi-social solitary solitary Choreography LHS 477 (2019), presented in the ‘Crawly Creatures’ exhibition, functions as both model and metaphor. According to Saraceno, humans must start acknowledging ecosystems as meshworks of interdependence, by understanding ecologies as lively webs of relations across, and between species whose fates are intimately bound to one another.
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