A recursive web of models: Studio Tomás Saraceno’s working objects
A recursive web of models: Studio Tomás Saraceno’s working objects
This article addresses contemporary artist-architect Tomás Saraceno and his studio team’s work in the context of art and science collaborations. The text pays special attention to how their artistic practice deals with questions of environmental formations and agency. Besides a context in speculative architecture, this article approaches Saraceno’s material engagement as working objects, borrowing the term from Lorraine Daston and Peter Galison’s work. The studio’s engagement with images, sculptures, and other material objects is relevant to a broader set of discussions about materiality and the modelization of and through living beings. The article argues how spatial (spider) web constructions and sculptures work as diffractive yet productive models, concluding with how these models engage with larger questions of environmental humanities and practice-based art methods.
architecture, art and science, environmental humanities
309-332
Parikka, Jussi
cf75ecb3-3559-4e53-a03e-af511651e9ac
15 July 2020
Parikka, Jussi
cf75ecb3-3559-4e53-a03e-af511651e9ac
Parikka, Jussi
(2020)
A recursive web of models: Studio Tomás Saraceno’s working objects.
Configurations, 28 (3), .
(doi:10.1353/con.2020.0019).
Abstract
This article addresses contemporary artist-architect Tomás Saraceno and his studio team’s work in the context of art and science collaborations. The text pays special attention to how their artistic practice deals with questions of environmental formations and agency. Besides a context in speculative architecture, this article approaches Saraceno’s material engagement as working objects, borrowing the term from Lorraine Daston and Peter Galison’s work. The studio’s engagement with images, sculptures, and other material objects is relevant to a broader set of discussions about materiality and the modelization of and through living beings. The article argues how spatial (spider) web constructions and sculptures work as diffractive yet productive models, concluding with how these models engage with larger questions of environmental humanities and practice-based art methods.
Text
Parikka final submission Configurations no images
- Accepted Manuscript
More information
Accepted/In Press date: 14 March 2020
Published date: 15 July 2020
Additional Information:
Funding Information:
I want to thank Elise Misao Hunchuck for her expert guidance in formulating the arguments and the language in this article, and Ally Bisshop for her generous help in elaborating on and explaining many of the details about the Studio’s work. A thank you also to Tomás Saraceno and the Studio staff for sharing images and thoughts. In addition, I am grateful to Sasha Engelmann, Ryan Bishop, Joanna Page, and the anonymous reviewer for their helpful feedback when writing and editing this text. This research has also been supported by Czech Science Foundation funded project 19-26865X “Operational Images and Visual Culture: Media Archaeological Investigations.” An earlier version was presented as an IKKM (Bauhaus University, Weimar) lecture.
Publisher Copyright:
© 2020 by Johns Hopkins University.
Keywords:
architecture, art and science, environmental humanities
Identifiers
Local EPrints ID: 439057
URI: http://eprints.soton.ac.uk/id/eprint/439057
ISSN: 1063-1801
PURE UUID: bffe6a02-ddb4-46d0-a2ec-8dabc230e2e6
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Date deposited: 02 Apr 2020 16:32
Last modified: 17 Mar 2024 03:25
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