Edited with text by Emma Enderby. Text by Vinciane Despret, Michael Marder, Hans Ulrich Obrist, Filipa Ramos, Harriet Washington.
Saraceno’s dazzling installations synthesize science and art, architecture and art, industry and nature
Argentinian installation artist Tomás Saraceno (born 1973) combines research on fossil fuel alternatives, the architecture of spider webs and aeronautical engineering to create large-scale interactive sculptures that look toward the future. Saraceno’s interest in spiders is one of the defining features of his work: intrigued by their physical and philosophical structures of interconnectedness, he uses spiderwebs as the blueprint for many of his projects. The piece commissioned by The Shed for his largest-ever US exhibit follows in this tradition, combining spiderwebs with “the cosmic web” through an immersive experience. This publication documents the piece’s debut, alongside a four-color plate section of Saraceno’s previous projects and a selection of writing inspired by his work. In an effort to reduce the project’s environmental impact, the book is printed partially on excess paper salvaged from other jobs by the Italian printing atelier Musumeci.
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FORMAT: Pbk, 9.5 x 12.5 in. / 224 pgs / 80 color / 110 b&w. LIST PRICE: U.S. $45.00 LIST PRICE: CANADA $63 ISBN: 9783960988229 PUBLISHER: The Shed/Walther König, Köln AVAILABLE: 6/14/2022 DISTRIBUTION: D.A.P. RETAILER DISC: FLAT40 PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ONLY
Published by The Shed/Walther König, Köln. Edited with text by Emma Enderby. Text by Vinciane Despret, Michael Marder, Hans Ulrich Obrist, Filipa Ramos, Harriet Washington.
Saraceno’s dazzling installations synthesize science and art, architecture and art, industry and nature
Argentinian installation artist Tomás Saraceno (born 1973) combines research on fossil fuel alternatives, the architecture of spider webs and aeronautical engineering to create large-scale interactive sculptures that look toward the future. Saraceno’s interest in spiders is one of the defining features of his work: intrigued by their physical and philosophical structures of interconnectedness, he uses spiderwebs as the blueprint for many of his projects. The piece commissioned by The Shed for his largest-ever US exhibit follows in this tradition, combining spiderwebs with “the cosmic web” through an immersive experience.
This publication documents the piece’s debut, alongside a four-color plate section of Saraceno’s previous projects and a selection of writing inspired by his work. In an effort to reduce the project’s environmental impact, the book is printed partially on excess paper salvaged from other jobs by the Italian printing atelier Musumeci.
