Tomas Saraceno's dynamic and meta-theoric reinvention of space tends to build up an oikos, taken in its original Greek meaning of house, habitat, atmosphere, planet too, according to the ternary division of the ecological issue theorized by Felix Guattari in “The Three Ecologies”. Like Guattari, Saraceno seems to consider the term ecology reductive in itself, as actually any merely defensive environmental strategy could hide the destructive plans and polluting standards, that maintain and assist the economy obsessed by development and iper-production. The word ecology could hide dredful and xenophobic political tendencies, archaic and anti-technological ones. In terms of Guattari's triplicity, Saraceno's oikos represents a model, that demonstrates through an aesthetic of relational and cohabitational matrix, the impossibility of re-inventing the environment without reconstituting the subjective sphere, the intersubjective one and the social one. Bruno Latour has defined Saraceno a post-critic artist, embraceable definition, most of all in respect of an ecosophic interpretation of his unpredicteble architectures, tending to actually modify social norms through partecipative modalities, that bring to a tangible network of an utopic as well as possible molecular democracy, territorial and non-territorial at the same time. In a certain sense, a non-hierarchical example of governability of communitarian kind, perhaps one could speak about biopolitics too. This is what Bruno Latour meant in a very pertinent text, inspired by “Galaxies forming...” presented at Venice Bienniale in 2009, asserting that the work of Saraceno recovers the order of the modernism, in the horizontal and not dirigistic perspective of postmodernism.
In order to construct his amazing, oniric and sublime territories, Saraceno anchors himself, as a spider would do in order to begin his webbing from a precarious blade of grass, to the real threats, made chronic by the endless state of exception and never defused in our time, by considering carefully where to load and to unload knots and tensions and oulining somehow, if not really a way out, a laboratory, that helped by the microgravitational suggestion, could educate to the existential ecology.
By following the tradition of architects and theorists like Richard Buckminster Fuller, Archigram, Yona Friedman, Saraceno tends to expand his reflection on architecture up to cosmic and universal topics. Saraceno looks at scientific principles and technological innovations, according to hybrid strategies that tends to imagine “actualizable utopies” aiming for letting us reflect on planetary urgencies, by focusing on light, energy, movement, changeability and also on fragility and vulnerability. Somehow, the work of Saraceno urges us to find solutions.
In the Cortile Maggiore of Palazzo Ducale, on the occasion of the event “La Storia in Piazza”, focused for this edition on the theme of food and consequently on the idea of sustainability and social interaction, Saraceno will present a small world suspended in form of iridescent globe of approximately three meters diameter, enclosed within a polyester network anchored to the pavement, the columns, the walls. Purposely conceived for the ancient courtyard of the Genovese historical palace, Saraceno's planet irradiates from its surface, made from solar foil, a sort of chromatic energy, which color spectrum is celestial. The dark of the night turns the work of Saraceno into a fluctuating magic, as to reminding us, to quote Saraceno's mentor Richard Buckminster Fuller, that Earth is nothing else than a wonderful spaceship that moves in cosmos from the beginning of time. Together with other creatures, animals, plants, minerals, sustained by the Earth and sustaining it, we are part of an ecosystem, that does not include any lifeboat.
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