OCTOBER 10, 2017 6:30 - 8:00PM Tomás Saraceno Eclipse of the Aerocene Explorer, 2016

Season

Fall 2017

Date

Tuesday October 10, 2017
6:30 - 8:00PM

Venue

The Lantern
Lenfest Center for the Arts
615 W. 129 St.
New York, NY 10027

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The visionary work of Fall 2018 artist-in-residence Tomás Saraceno traverses art, engineering, the natural sciences, architecture, and social theory. Presented at the COP21 United Nations Climate Change Conference in Paris and the World Economic Forum in Davos, Switzerland, his airborne, fossil-fuel free sculpture Aerocene will “achieve the longest, emission-free journey around the world: becoming buoyant only by the heat of the sun and infrared radiation from the surface of earth.” Aerocene floats without the power of fossil fuels, solar panels, batteries, helium, hydrogen, or other rare gases, holding “a message of simplicity, creativity and cooperation for a world of tumultuous geopolitical relations, reminding us of our symbiotic relationship with the Earth and all its species.”

 

Co-presented by Columbia University School of the Arts; the Fu Foundation School of Engineering and Applied Science; and the School of International and Public Affairs as part of Saraceno’s Fall 2017 residency at Columbia University.  

 

Registration open now.

 
Image credit: Tomás Saraceno
Eclipse of the Aerocene Explorer, 2016
Performance in Salar de Uyuni, Bolivia, January 2016, during Tomás Saraceno's artistic expedition. Salar de Uyuni salt flat is estimated to be the biggest lithium depository in Earth. Lithium is an alkali metal, used widely in electronic industry for mobile batteries, and becoming increasingly scarce. Atop of Uyuni salt crust, the Aerocene sculptures floated proposing to keep the natural resources in the ground, and to relate to energy cycles differently: harnessing Sun and Earth as the sole batteries.
Courtesy the artist; Tanya Bonakdar Gallery, New York; Andersen's Contemporary, Copenhagen; Pinksummer contemporary art, Genoa; Esther Schipper, Berlin.
© Photography by Studio Tomás Saraceno, 2017