I like to think of jaming as an invitation to the sensory ecologies of the different species… opening a dialogue, while listening to the possible resonances that emerge from it
Tomàs Saraceno, interview with Rebecca Lamarche-Vadel, curator of the exhibition
Arachnophobes go your way, the following is absolutely insane!
Jean de Loisy‘s crazy bet: on the eve of the end of his mandate at the Palais de Tokyo, he offers us a vibrant manifesto on the planet and its unfathomable invisible wonders by dedicating his new carte blanche to the artist Tomàs Saraceno on all the spaces, i. e. 13,000 m².
Never seen before in the tradition of the white cards previously offered to Tino Sehgal or Philippe Parreno.
Another mutation at work from the spider web and its interactions (70 from his Berlin studio, the others collected on the spot) at the crossroads of anthropology, philosophy, music, astrophysics, biology, ethology… to open a cosmic jaming (jaming = playing together in an ecosystem in the making) and go towards a “Homo Sapiens Flotantis”.
Use the “social intelligence of spiders” as summarized by the artist, some of whom, during the exhibition, will dance another revolution broadcast on the air, ON AIR, while the cosmic dust slaps its foot, takes it into a tarantula, and the sound of the hum of hydraulic fracturing, shaking the dolphins of the Mediterranean Sea until they revolt”… (extract from the Magazine du Palais de Tokyo).
A scenario with the appearance of science fiction that could be discouraging at first, while the result is a tiny poem revealing what usually remains invisible to the eye.
Moreover, to question the behaviour of groups, in this case spider webs, is to go beyond aesthetics, as Rebecca Lamarche-Vadel points out, and today the air we breathe is a crucial issue in a logic of fossil fuels that has contaminated everything.
Since then, as Bruno Latour, who strongly inspired the artist, pointed out, the Anthropocene era signs the murderous impact of man with the amplification of violent and unpredictable phenomena. Is another approach still possible to reverse this trend?
This is the whole point of the last part of the exhibition through the Aerocene project defended by the artist, namely the limitation of the carbon footprint to release the air and the adoption of other human behaviours to free oneself from fossil fuels. “Can a post-individualistic and participative era be envisaged? This is the question that summarizes the imagination conveyed by the Aerocene Foundation founded by Tomàs Saraceno with the construction of a flying museum in 2007, the Museo Aero Solar, visible in the exhibition space and regularly replayed.
So let yourself be carried away by interstellar dust particles, spider vibrational waves, meteorite frequencies that hit the atmosphere, the vibratory rhythm of black holes, enter another world to live an experience at the borders of the infra thin and the inaudible. Become the receptacle of infrasounds, during an acoustic session where your body is viatic of interplanetary signals. From darkness to light, vibration occurs and becomes meaning.
Tomás Saraceno was born in 1973 in Tucumán, Argentina. He lives and works on and beyond the planet Earth.
After obtaining a master’s degree in architecture from the Ernesto de la Carcova Nation School of Fine Arts in Buenos Aires, Tomás Saraceno continued his studies in Europe, studying fine arts at the Städelschule in Frankfurt and then following the master’s degree in art and architecture at the IUAV in Venice. Since then, the artist has lived and worked in Berlin. In 2009, it was shown at the 53rd Venice Biennale and since then in international venues, including Cloud Cities;
Tomás Saraceno presented his work for the first time at the Palais de Tokyo in February 2015 in the exhibition “Le Bord des Mondes”, then proposed the Aerocene seminar and the “Museo Aerosolar” workshop, in response to COP21 in December 2015. His work Du sol au soleil was exhibited from October 2017 to January 2018 in the exhibition “Voyage d’Hiver”, outside the walls of the Palais de Tokyo in the gardens of the Château de Versailles.
Practical information:
Carte blanche to
Tomàs Saraceno
ON AIR
until January 6, 2019
Tokyo Palace
from noon to midnight
Around the exhibition: the On Air With
On each of these occasions, on October 26, November 23, and December 14, a seminar brings together researchers, activists and artists in the exhibition spaces, workshops are offered to the public as well as exceptional and original “jamming with spiders” concerts by Alvin Lucier, Eliane Radigue and Evan Ziporyn.
#TomásSaraceno