Art and science are often described as two opposing disciplines. Looking at the practice of the Argentinian artist and trained architect Tomás Saraceno, such a differentiation is quickly disproved. Climbing atop one of his larger-than-life installations feels like becoming part of a scientific speculation about alternative habitats, letting one sense the often disregarded correlation of the human body and its environment in a new way. From his Cloud Cities projects, to installations such as In Orbit and On Space Time Foam and his experiments around spiderwebs and aerosolar journeys, the common thread in Tomás’ works lies in a life lifted off the ground.
“I’ve been studying architecture and this is a discipline where you deal a lot with people. I remember Vito Acconci once said to me, “Don’t you come from a discipline that builds sculptures for humans?” What I am doing has never really been architecture, but what has always been at the center of my practise is incorporating the human scale and the relation of human bodies. And I was always more drawn to the experimental side of architecture or practices such as the one of Gordon Matta-Clark.”
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