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Learning to Listen

Learning to Listen Sarah Lucie Particular Matter(s), an installation by Tomás Saraceno, The Shed, New York, NY, February 11–April 17, 2022. ow does a spider experience the world? This is a question I hadn’t really considered before visiting Tomás Saraceno’s Particular Matter(s) exhibition. HIt meditates on a central question: How can humans learn to experience our environment differently beyond the human perspective? Exploring this idea throughout the vast gallery space, Saraceno’s compiles new and existing work that accompanies the centerpiece of the exhibit: a ninety-five-foot-diameter spherical installation entitled Free the Air: How to Hear the Universe in a Spider/Web. The collection of pieces throughout the exhibit exemplifies Saraceno’s body of work. It is aesthetically captivating, playing with form, material, and scale, and is underpinned by an educational and ecocritical intent. Saraceno is an Argentinian artist and trained architect, which is reflected in his larger installations that invite the audience to touch or even crawl inside the works. This playfulness renders his poignant interrogations into atmosphere, climate change, and the Anthropocene, as well as his own painstaking scientific research, into something accessible and sen- sual. David Rothenberg’s earlier PAJ essay “Spider Music” explores the artist’s expe- riences playing music with spiders, emphasizing Saraceno’s http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

Learning to Listen

Lucie, Sarah
PAJ: A Journal of Performance and Art , Volume 44 (3): 5 – Sep 1, 2022
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References (4)

Publisher
MIT Press
Copyright
© 2022 Sarah Lucie
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/pajj_a_00630
Publisher site
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Abstract

Sarah Lucie Particular Matter(s), an installation by Tomás Saraceno, The Shed, New York, NY, February 11–April 17, 2022. ow does a spider experience the world? This is a question I hadn’t really considered before visiting Tomás Saraceno’s Particular Matter(s) exhibition. HIt meditates on a central question: How can humans learn to experience our environment differently beyond the human perspective? Exploring this idea throughout the vast gallery space, Saraceno’s compiles new and existing work that accompanies the centerpiece of the exhibit: a ninety-five-foot-diameter spherical installation entitled Free the Air: How to Hear the Universe in a Spider/Web. The collection of pieces throughout the exhibit exemplifies Saraceno’s body of work. It is aesthetically captivating, playing with form, material, and scale, and is underpinned by an educational and ecocritical intent. Saraceno is an Argentinian artist and trained architect, which is reflected in his larger installations that invite the audience to touch or even crawl inside the works. This playfulness renders his poignant interrogations into atmosphere, climate change, and the Anthropocene, as well as his own painstaking scientific research, into something accessible and sen- sual. David Rothenberg’s earlier PAJ essay “Spider Music” explores the artist’s expe- riences playing music with spiders, emphasizing Saraceno’s

Journal

PAJ: A Journal of Performance and Art – MIT Press

Published: Sep 1, 2022

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