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I tend to be practical inside the world of art, practical in my world of art, where my spectators are spiders and spider webs, the dancing dust, the wind currents… the parallel universes. I love how things can change, and who knows what I will be 10,000 years from now? Maybe we’re caught, traveling in some threads of a spider ballooning… entangled in Laurie Anderson’s sound transmissions coming through our elbows, served as a recipe by Rirkrit, a light beam of Olafur, crossing the earth with Jol as a neutrino…īut yes, some of my existence-when I’m not sleeping or meditating, because then I am in another conceptual dimension of reality-is practical. Tomás Saraceno: I don’t like to close any doors. Do you consider yourself a conceptual artist? Or maybe you are an inventor (a patent for a mechanism can, of course, be seen as a text-based conceptual art piece)? The use of instructions as a method of creating artworks is often mentioned in connection with conceptualism. Iaroslav Volovod: One of your earliest works is a set of instructions for making a geodesic solar balloon called 59 steps to be on air by sun power/Do it Yourself (2003). Building upon concepts such as these not to abandon the earth, but to better attune to what it is that floats in the air with us-from CO2, particulate matter, and viruses to earthly and cosmic dust particles-Saraceno takes us a step closer toward this new era, working for the first time with a material that posits the sculpture as a working prototype for a balloon that is able to float around the world, fueled only by the air we breathe and the heat of the sun. Moving Atmospheres resonates with the most daring concepts of Russian avant-garde, which suggested that people, buildings, and even entire cities should become airborne. 1973, San Miguel de Tucumán, Argentina lives and works in Berlin) The catalog of the exhibition, Taking a Different Tack: Maggie Sherwood and the Floating Foundation of Photography ISBN 978-3-1, includes many images of the photographers who met there and the houseboat itself.Tomás Saraceno (b. In 2009 the Samuel Dorsky Museum of Art at the State University of New York at New Paltz mounted a retrospective exhibition about the Floating Foundation, its influences and the photographers who were part of what happened there.
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Coleman described it as "moored at the literal edge of Manahattan, marginal by definition, it served a key role as the medium of photography itself moved from the periphery to the center of cultural discourse and creative activity." The Foundation continued to be an influential center for photography in New York until two years after Sherwood's death in 1984. The houseboat was originally moored at the 79th Street Boat Basin, but in later years it traveled up and down the Hudson River. Within a few years she added a classroom and darkrooms. The Foundation was founded by photographer Maggie Sherwood in 1970 after she bought an old houseboat, painted it purple and offered it as a gallery and photo center for many of her friends. It was also one of the first institutions to engage in teaching photography in socially marginalized communities such as prisons, mental institutions and drug rehabilitation programs. Eugene Smith, Arthur Tress, Mary Ellen Mark, Les Krims, Judy Dater, Lisette Model and Lee Witkin. It is famous as a gathering place for a generation of influential New York photographers, including W. The Floating Foundation of Photography was a New York photography exhibition space, meeting place and teaching center.