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Teodora Coman, Tomás Saraceno, arhitectul art-gentinian al aerului

Magazine: 11 – 12
Date: 2013
Teodora COMAN
tedicoman@yahoo.com

Abstract

Tomás Saraceno, The Art-gentinian architect of the air

Tomás Saraceno is one of the most well-known Argetinian artist worldwide. He studied architecture as well as visual arts and since then has shown the utmost interest in relating his art to various scientific fields such as aeronautics, chemistry, biology, ecology, astrophysics or astronomy. He could thus reshape scientific notions into original installations, modular or sculptural cells, balloons or suspended environments, all built at a large scale. He has a possessionlesss nomad view of social and urban space and therefore focused especially on the complexity and sculptural potential of the aerial environment, whose intrinsec dynamism avoids by far the fixity of the terrestrial urban locations, together with their geographical, political, social and racial boundaries. Saraceno can be considered a visionary artist because of his futuristic speculation of celestial space, which will probably be the only available environment for urban, social and technological development of the future metropolitan areas.

Keywords: conceptual art, installation, utopia, ambiental sculpture, modular structure, suspended environments, visionary art, architecture, rethinking of space, inflatable platforms and patterns, performance, reshaping scientific notions, futuristic speculation

Whole article


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Note bibliografice

  1. [1] Deja există voci autoritare precum cea a lui Oliver Marchart, care au început să critice fenomenul “bienalizării” datorită profundei sale politizări. Satul planetar ca formă de organizare geo-politică se regăseşte sub aceeaşi formă şi în modul în care se spaţializează expoziţiile. Şi totuşi, Saraceno nu are nimic naţionalist sau exotic într-un cadru voit global, corelat cu un marketing local, marea contradicţie a oricărei bienale. Cf. Oliver Marchart, Hegemonia în cîmpul artei, Editura Idea Design & Print, Cluj-Napoca, pp. 5-12.
  1. 2.[1] ART NOW, vol. 2: The new directory to 81 International Contemporary Artists, Taschen, edited by Uta Grosenick, 2005, p. 86.
  1. [1] Am dat peste acest termen în articolul lui Dan Perjovschi din revista 22, Context contemporan (1999), integrat într-un volumul retrospectiv. Cf. Dan Perjovschi, 20/22. Douăzeci de ani de texte, Editura Cartea Românească, Bucureşti, 2010, p. 88.
  2. [1]Idem, p. 92, unde se precizează că, pentru a fi cu adevărat contemporană, arta trebuie să demonstreze un grad sporit de reactivitate la problemele societăţii.

Bibliografie

  • Perjovschi, Dan (2010), 20/22. Douăzeci de ani de texte. Bucureşti, Editura Cartea Românească.
  • Marchart, Oliver, (2009), Hegemonia în cîmpul artei, trad. de Maria-Magdalena Anghelescu, Cluj-Napoca, Editura Idea Design & Print.
  • ART NOW (2005), vol. 2: The new directory to 81 International Contemporary Artists, Taschen, edited by Uta Grosenick.