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Keywords = Tomás Saraceno

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21 pages, 2872 KB  
Article
A Nature Thing: What Does Contemporary Ecological Art Produce?
by Barbara Stoltz
Arts 2023, 12(2), 67; https://doi.org/10.3390/arts12020067 - 29 Mar 2023
Cited by 9 | Viewed by 19519
Abstract
This article demonstrates that ecological art is a very specific art form that follows its own methods of creation and, consequently, of dealing with material and its definitions. This view of ecological art is directed by art theory factors and fundamental questions of [...] Read more.
This article demonstrates that ecological art is a very specific art form that follows its own methods of creation and, consequently, of dealing with material and its definitions. This view of ecological art is directed by art theory factors and fundamental questions of art history. Therefore, the main question in discussions on material and the functions of art is that of what contemporary ecological art produces in terms of the concepts ‘natural’ and ‘nature-fair.’ By analysing the artists Thomas Dambo, Aviva Rahmani and Tomás Saraceno, this article finds that, compared to various artistic forms that deal with ecology and the environment, ecological art acts more in the physical reality of the environment and ecosystems. Subsequently, what ecological art is actually producing is ‘a nature thing’, meaning a concrete effect on or intervention in the environment with gestures of appropriation, regeneration and coexistence, being above all ‘art for nature.’ The article shows that, in ecological art, the linear relationship between material and artwork, in that the artist transforms the material to its final form, namely the artwork, is absent. In ecological art, the aim is an ongoing process in which material can have different facets: the material can be a mere auxiliary instrument, the art object itself can become material for something else and the material in general can be understood as an overarching aim and motive: nature. Full article
(This article belongs to the Special Issue Rethinking Materiality in Modern and Contemporary Art)
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16 pages, 3605 KB  
Article
Tomás Saraceno’s Art Work “In Orbit” (2013) against the Backdrop of Space Architecture
by Eva Wattolik
Arts 2019, 8(1), 13; https://doi.org/10.3390/arts8010013 - 15 Jan 2019
Cited by 4 | Viewed by 10808
Abstract
When discussing the correlation between technological progress and the development of modern architecture, case studies from the fine arts can be instructive. This article undertakes a close architectural analysis of Tomás Saraceno’s walkable art installation “In Orbit” (2013) by releasing previously unpublished technical [...] Read more.
When discussing the correlation between technological progress and the development of modern architecture, case studies from the fine arts can be instructive. This article undertakes a close architectural analysis of Tomás Saraceno’s walkable art installation “In Orbit” (2013) by releasing previously unpublished technical specifications. A brief history of envisioned and constructed space architecture of the last hundred years—which can be divided into three phases—serves to locate the installation within the currents of predictive utopia, realized architecture and technological development. It becomes clear that Saraceno not only takes up pre-existing architectural techniques, but also develops them further. Full article
(This article belongs to the Special Issue Technological Progress as a Basis for Modern Architecture)
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