Tomás Saraceno

Born in 1973 in Tucuman, Argentina, Saraceno currently lives and works in Berlin. He studied architecture at Universidad Nacional de Buenos Aires in Argentina from 1992 to 1999 and received postgraduate degrees from Escuela Superior de Bellas Ares Ernesto de la Carcova, Buenos Aires (2000) and Staatliche Hochschule für Bildende Künste – Städelschule-Frankfurt am Main (2003). In 2009, he attended the International Space Studies Program at NASA Center Ames in Silicon Valley, CA, and was awarded the prestigious Calder Prize later that year.
Among his many exhibitions since the late 1990s, Saraceno’s important solo presentations include ARIA, Palazzo Strozzi, Florence, Italy (2020), ON AIR, Palais de Tokyo, Paris, France (2019), Tomás Saraceno: Aerographies The Utopian Practitioner and Visionary, Fosun Foundation Shanghai, Shanghai, China (2019), Tomás Saraceno: How to Entangle the Universe in a Spider Web, Museo de Arte Moderno Buenos Aires, Argentina (2017), Wilhelm-Hack Museum, Ludwigshafen, Germany (2017) Stillness in Motion — Cloud Cities, curated by Joseph Becker, Museum of Modern Art, San Francisco, CA (2016), Cosmic Jive, Tomas Saraceno: The Spider Sessions, curated by Luca Cerizza at the Villa Croce in Genoa, Italy (2014), Tomás Saraceno, HfG Karlsruhe in Karlsruhe, Germany (2014), In orbit, Kunstsammlung Nordrhein-Westfalen K21 in Düsseldorf (2013), On Space time foam, Hangar Bicocca in Milan (2012-13), Tomas Saraceno on the Roof: Cloud City, a site-specific installation commissioned for The Metropolitan Museum of Art, New York (2012).

Ruth Benzacar Galería de Arte
Ha Chi Ki , 2021
Ruth Benzacar Galería de Arte
Ha Chi Ki , 2021
Ruth Benzacar Galería de Arte
Ha Chi Ki , 2021
Ruth Benzacar Galería de Arte
Ha Chi Ki , 2021

Ruth Benzacar Galería de Arte

Proud of plurality and aware of the impossibility of a panorama, this selection made specially for SOUTH/SOUTH intends to act as an introductory presentation both of some of our gallery artists and of the Argentine contemporary art scene. A wide range of media, materials and conceptual research is unavoidable when trying to stage a comprehensive overview of our contemporary production but at the same time it describes perfectly the vast amount of visual languages that make up our programme. Here, nostalgia is what brings these works together. Whether nostalgia for the future in the case of Villar Rojas and his thoughts on our remains to come, for the impossible as in the ficticious animals that Telleria gives birth to, for becoming another by leaving behing what we where, like it happens in the works of Da Rin. Nostalgia present in the tribal nature of Catalina León´s painted offerings and in Saraceno´s yearning to bring toghether ourselves with the cosmos.
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