A visionary artist whose multidisciplinary practice encompasses art, social and life sciences, Tomás Saraceno creates immersive works and participatory experiences that suggest a new way of living in our world by forging connections with such non-human phenomena as spiders, dust particles and plants, which become players in his work and metaphors of the universe. …
I have returned to Florence after almost thirty years. Although I had no corporeal memories of my presence in the different places, I did have visual memories, probably because Florence is one of the most photographed cities on the planet, and is part of the collective memory of many, at least in the West. My studies in art history and the monographs I did about Leonardo, Florentine himself, and Michelangelo, whose artistic life began in the Florence of the Medici, might have help to keep that memory. Apart from the spatial and visual experience, the latter of unquestionable beauty, which, according to Stendhal, even hurts; there is another characteristic that in my opinion, is explicitly Florentine. And I do not mean the public sculptures, nor the symmetrical facades of the churches and palaces, nor the marbles of different tonalities, neither the perspectives of their perfectly cobbled streets.
I’m referring to the ‘trapped time’.
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