Tanya Bonakdar Gallery is pleased to present Silent Autumn, a solo exhibition of new works by Tomás Saraceno on view in New York from February 12 through March 26, 2022. Saraceno invites participants to attune to the intricacies of our entanglement with human, nonhuman and elemental forces. Across a spectrum of perceived realities and through works that connect differently with other beings and phenomena, Saraceno highlights how a considered co-
Visitors arriving to the gallery’ main entrance encounter An Open Letter for Invertebrate Rights, a work emblematic of the artist’ longstanding collaboration with spiders and their webs of life. Underscoring the vitality of preserving situated traditions of knowledge that transcend both human speech and arachnid vibrational language, the proceeds from this letter, as well as spider divination questions asked via Nggamdu.org, will benefit the Mambila people of Somié, Cameroon, a community whose cultural heritage includes the historic, trans-
The main gallery features two experiential works that evoke the non-
Framing these interrelated installations are
In the back room of the gallery, WEBSDR and The Politics Of Solar Rhythms: Cosmic Levitation, both projected video works, explore vibrational phenomena occurring at scales both cosmic and microscopic. WEBSDR is a live haptic painting created from the radio frequencies generated by meteoroids impacting the upper layer of the atmosphere. Here, antennae become the instrument through which a hidden score is written – where space meets Earth, revealing the invisible web of radio waves that envelopes the planet as air molecules are set in motion and rearranged in a new compositional form. The Politics Of Solar Rhythms: Cosmic Levitation, developed as part of an experiment proposed by Tomás Saraceno and conducted with the Jaeger Lab at the University of Chicago, is a collaboration between the controlled sound waves oscillating at a key frequency, where particles of cosmic dust begin to levitate, questioning which worlds might be created at certain rhythms.
The exhibition continues on the second floor with a series of artworks that confront the Capitalocentric perception of nature as an immutable force, as air, water or soil marked by pollution performs as a medium for transformation as well as a narrator of history. Silent Spring features poppy flowers cut from the contaminated soil surrounding the artist’ studio in Berlin-
The photographic process of exposing light through the medium of film, as well as its tainted history, is refracted in the suite of prints from which the exhibition derives its name. The pressed leaves depicted in Silent Autumn will continue to change throughout the exhibition as their pigment wanes in the gallery’ natural and artificial light. Silent Autumn continues on the adjacent wall, where the same image is photographically reproduced, first digitally, and again using Agfa film stock. Here, the seemingly benign process of photographic capture is investigated, its politics and pollutants exposed in the name of changing our habits and not the climate.
Moving into the adjacent gallery, a series of sculptures connect the consciousness of breath and its physical presence. Here, Saraceno considers both the inequalities of breath in the world but also the myriad languages and traditions in which breath and life are inextricably intertwined. The blown glass works Pneuma, Aeolus, Aeroscale, Aerosolar Serpens encapsulate the spirit of breath, drawing on this powerful life force to reanimate a collective ability to pause and consider essential energies. Many cultures philosophically and linguistically link the concepts of breath and spirit; for Saraceno, this entanglement of breath and spirit filling and forming these glass shapes also helps to construct the question: who has the right to breathe?
Framing the atmosphere’ imperceptible phenomena, the series Calendrier Lun-
The communities most affected by the climate crisis are also the least responsible for it. These communities, located all throughout the world, represent just 5% of the world's population and are custodians for 80% of the planet's biodiversity, which includes the invertebrate species that make up the vast majority of animal life on the planet. In the vibratory umwelt of spiders/webs, the world is an evolving entanglement of senses. Their entangled modes of being, much like the communities who for centuries have attuned themselves variously to their arachnid kin, have been disregarded by the humans of the Capitalocene, and teeter on the edge of extinction.
In the exhibition Silent Autumn, unheard voices become felt vibrations. Nested within a tale of interspecies solidarity, what begins with a call to co-
Exhibition 12 February -
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