Tomás Saraceno, ‘View of Uyuni from Lacaille 9352’, 2017, Outset: Benefit Auction 2017
Tomás Saraceno, ‘View of Uyuni from Lacaille 9352’, 2017, Outset: Benefit Auction 2017

From the Catalogue:
Near the border with Chile, located in southern Bolivia, Salar de Uyuni is the most expansive salt flat in the world. Both bare and barren, the Salar has been witness to the great astronomical discoveries of the century. It is well known among astronauts who seek its refuge upon returning from space missions, perhaps nostalgic of its vast landscape or curious to experience the image of the endless horizon. In the Salar light moves as energy does at the surface of the Sun. As it reaches the Earth transformed into light, it illuminates the infinite cloudscape above our heads. There is no horizon to parse our sight, there is only movement. Light is bound upwards and downwards surmounting any sense of gravity. Fernando Pessoa once wrote, “Dust hovers where the night ends, on the edge of visibility.” Interstellar dust, full with the elemental basis of life, forms stars in molecular clouds and aerial dust modulates atmospheric clouds. Dust, which astrophysicists once found as the condition for the possibility of sight generates all sorts of forms: cirrocumulus, cumulonimbus, nebulae. Earthbound, or standing at the outer edge of this planet, clouds are everywhere, as movements of light, as formations swirling in airflows, on which dust rides. Printed using traditional lithographic methods, the photograph View of Uyuni from Lacaille 9352 was produced in Salar de Uyuni January 2016, where the artist Tomás Saraceno has traveled to record and reflect upon the blurred horizons of the cosmic plane. The photographic print is pressed on cotton paper. With the passing time, dust settles on the print surface, making a layer, a seam of time, a record of its own. 40.000 tons of cosmic dust reaches the Earth every year, simultaneously traversing and inviting us to partake in its planetary scale.
Source: Studio Saraceno GmbH

Signature: Signed

About Tomás Saraceno

Having studied as an architect, Tomas Saraceno incorporates physics, engineering, and aeronautics into his interactive and evolving artistic structures. Using arachnology, or the study of spiders, to create structures that suggest alternative ways of living, he employs tridimensional webs to better understand how unique building blocks create distinct forms. Saraceno places spiders in cubic frames and leaves them to spin webs, rotating the cubes at various intervals to introduce elements of freedom; the process results in disoriented yet structurally stable webs. Translating the complex geometries culled from his spider studies into habitable structures, Saraceno has built spaces that merge art, architecture, and science, such as the Metropolitan Museum of Art’s Cloud City structure and Aerocene at the 2015 United Nations climate change talks in Paris.

Argentine-German, b. 1973, Tucunan, Argentina, based in Berlin, Germany