Oracle Readings, Weaving Arachnomancy, Synanthropic Futures: At-ten(t)sion to invertebrate rights!

Tomás Saraceno exhibits in the central giardini pavilion, on the occasion of the 58th International Art Exhibition of La Biennale di Venezia, his work Spider/Web Pavilion 7.
The work of Tomás Saraceno tries to raise the viewer's awareness of the current ecological crisis, and the importance of invertebrates, such as arachnids, in the environment and ecosystems.

Spider/Web Pavilion 7 also talks about different forms of knowledge and echoes spider divination methods that are practiced in different parts of the world, with the ability to forecast weather events, or extraordinary through observation of the behavior of other species.
 

Description of project by Tomás Saraceno

Spider/webs are nonhuman pavilions, transcending national representation. Weaving in the interstices between branches and door frames after a rain shower, they are oracles of living bodies, scripts of fortune divination, always in dislocation between national pavilions. Entangling cooperative constellations, these multi-being life forms trace maps of attunement to the astral scores.

In the context of the current ecological crisis, named the Sixth Mass Extinction, invertebrates such as arachnids and insects are disappearing at an accelerated pace, with major consequences for the environment and ecosystems. While invertebrates make up more than 95% of animal species, most countries lack ethical guidelines and regulations regarding their nonhuman rights.

Intensive agro-farming and pesticides, global warming and the industrial exploitation of resources add up to the widespread arachnophobia nourished by horror movies and other negative representations of invertebrates, accelerating their biological annihilation and perpetuating an ecological disaster.

Against the mass commodification of nature and the self-destructive cultural and economic power structures of the present, Spider/Web Pavilion 7 engages with different forms of knowledge and echoes spider divination methods practiced in different parts of the world. It celebrates the ability to forecast meteorological events, or extraordinary ones such as tsunamis, through the observation of other species’ behaviour.

Spider/webs are synanthropic: by living among us, they blur the boundaries between inside and outside, between nature and culture and between what is alive and what is not. The Spider/Web Pavilions are an invitation to attune to our sympoietic futures, the radical interconnectedness of all things, both living and nonliving.

Spider/webs are the mouths through which the spider eats and the oracle speaks. The oracle is a messenger between perceptual worlds, transcending the reciprocal blindness between spider/webs and humans. Extending your senses towards new forms of embodied cognition, Spider/Web Pavilion 7 tries to attune to a non-verbal language that amplifies our response-ability to each other. Its floor shakes at very low frequencies, at the rhythm of vibrating spider/webs, inaudible and yet sensible for the voices we might need to hear.

The sun’s rays are guided by a series of mirrors, directly illuminating the spider/web, extending its reverberation into a cosmic web of connections. Over the course of the Biennale Arte 2019, spider/webs from the Giardini and the Venetian Lagoon may appear and leave new threads. As a sensitive interface constantly modified by different sociabilities, the pavilion serves as a space of care and attention, to multiply perspectives and weave a participatory storytelling against extraction and extinction.

The Arachnomancy Cards (2019) are an invitation to attune to our sympoietic futures: created on the occasion of the 58th International Art Exhibition – Biennale Arte 2019, curated by Ralph Rugoff, they celebrate the radical interconnectedness of all things, both living and nonliving.

This deck of 33 cards is an instrument of mediation, one of the many ways to consult spider/web oracles. Spider/webs are the mouths through which the spider eats and the oracle speaks. The oracle is a messenger between perceptual worlds, transcending the reciprocal blindness between life forms. Spider/webs weave worlds of vibration in tune to the astral scores. Sense new threads of connectivity, or else face the eternal silence of extinction. As life draws lines on your hands, so the spider draws lines on your future. The Arachnomancy reading is written through the silken threads of the spider/web…

You are invited to participate in this chorus of voices, to join in the proliferation of spider/web stories and worlds, to weave the fabric of an Arachnocene! Download the Arachnomancy App (iOS/Android) to help you find the other Spider/Web Pavilions and encounter their oracles, joining a collective exercise of mapping against extinction.

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Author
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Tomás Saraceno
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Collaborators
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arachnophilia.net
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Commissioner
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Ralph Rugoff
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Venue
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La Biennale di Venezia. Pavilion 7. Venezia VE, Italy
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Timetable
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11 May > 24 November 2019.
closed on Mondays (except 13 May, 2 September, 18 November).
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Giardini.- open 10 am to 6 pm.
Arsenale.- open 10 am to 6 pm.
Arsenale.- on Fridays and Saturdays, until 5 October, open 10 am to 8 pm.
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Forte Marghera.-
7 May > 6 October 2019, open 1 pm to 9 pm.
closed on Mondays.
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Tomás Saraceno born San Miguel de Tucumán, Argentina (1973). He lives and works between and beyond the planet earth. He has degree architect, Universidad Nacional de Buenos Aires, Argentina (1992-1999), Postgraduate on Art & Architecture, Escuela Superior de bellas Ares de la Nación Ernesto de la Carcova,(1999-2000),Staatliche Hochschule für Bildende Künste - Städelschule-Frankfurt am Main,(2001-2003), Postgraduate on Art and Architecture, Venezia Italia- Progettazione e Produzione delle Arti Visive- IUAV,(2003-2004), International Space Studies Program, NASA Center Ames, Silicon Valley, California, Summer 2009.

He has a permanent installations as; "On clouds (Air-port-City)" in Towada Arts Center, Towada,(Japan) and "Flying Garden", EPO Munich, (Germany).

He had recibed awars as a Kunstpreis-1822, (2010), Calder Prize-Calder Foundation in asociation with Scone Fundation,(2009), Hessische Kulsturstiftung in Rotterdam,(2003-2004), el Fondo Nacional de las Artes-Argentina Italy-Venice IUAV(2003-2004) and the first Prize in Bundeswettbewerb des Bundesministeriums für Bildung und Forschung, (2003).

Saraceno has been the subject of numerous solo exhibitions, and permanent installations at museums and institutions internationally, including the Museum of Old and New Art, Tasmania (2022); The Shed, New York (2022); Towada Art Center, Japan (2021); Carte Blanche at Palais de Tokyo, Paris (2018); Museo de Arte Moderno, Buenos Aires (2017); K21 Kunstsammlung Nordrhein-Westfalen, Standehaus, Dusseldorf (2013); the Metropolitan Museum of Art, New York (2012); and Hamburger Bahnhof - Museum für Gegenwart, Berlin (2011), and is part of the collection of the Museum of Modern Art, New York, Fundació Sorigué Fundación Hortensia Herrero, Arnault Collection, Boros Collection Fontanals-Cisneros, TBA 21 (Thyssen Bornemisza Collection), Espace Muraille Dragonfly Collection, Fundación Helga de Alvear, Foster Collection, Sammlung KiCo, Kupferstichkabinett Museum Berlin, and QAGOMA Brisbane, among others.

Saraceno has participated in numerous festivals and bienales, including the 17th Venice Architecture Biennale (2020) and the 53rd and 58th Venice Bienales (2009, 2019).

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Published on: July 7, 2019
Cite: "Spider/Web Pavilion 7 by Tomás Saraceno" METALOCUS. Accessed
<http://www.metalocus.es/en/news/spiderweb-pavilion-7-tomas-saraceno> ISSN 1139-6415
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