Welcome to the Art Angle, a podcast from Midnight Publishing Group News that delves into the places where the art world meets the real world, bringing each week’s biggest story down to earth. Join us every week for an in-depth look at what matters most in museums, the art market, and much more, with input from our own writers and editors, as well as artists, curators, and other top experts in the field.
In the studio of Argentine artist Tomás Saraceno, there’s an expected sound—vibrations of a spider working on its web—a sound normally imperceptible to the human ear, but that doesn’t make it any less real.
The recent technological feat of capturing and recording the sound of a spider is just one of the many pursuits undertaken by the Berlin-based artist. Saraceno is known for working with experts from the field of science, engineering, and architecture among others, to create works that exist beyond the traditional bounds of the art world. These research intensive, often groundbreaking installations and projects render visible our interconnectedness with one another and the ecosystems in which we exist. They’ve even earned him some world records.
It’s an ambitious undertaking and it has solidified him as one of the most impactful artists of our generation. For Saraceno’s first major U.K. solo exhibition, which opens on June 1 at the Serpentine Galleries in London, Saraceno and his collaborators are moving beyond the walls of the museum, from the Royal Parks in London all the way to the rural communities of Argentina where people are fighting to stop lithium extraction in their lands, to Cameroon where Spider Diviners challenging our notions about knowledge.
At the Serpentine, “Web(s) of Life” delves into critical and urgent questions about how we as people coexist with other life forms and how technology intersects with the climate emergency itself. As the last of his works were en route to London, Midnight Publishing Group News’s Europe editor Kate Brown joined the artist in his bright and beautiful Berlin studio.
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