Studio Tomás Saraceno © 2013

工作室Tomás Saraceno(2013年)

“描述这项工作意味着描述使用它的人-以及他们的情绪，”托马斯·萨拉塞诺(Tomás Saraceno)解释说，他是在过去三年里，与工程师、建筑师和蜘蛛学家合作设计的，是蜘蛛和蜘蛛网方面的专家。

“To describe the work means to describe the people who use it – and their emotions,” explains Tomás Saraceno concerning his largest installation to date, planned over the past three years in collaboration with engineers, architects, and arachnologists – experts on spiders and spider webs.

 Studio Tomás Saraceno © 2013

工作室Tomás Saraceno(2013年)

这个高度现代的安全网覆盖面积达2500平方米，分布在K21大型玻璃冲天炉下面的三个层次上，各个层面被一系列“球体”隔开，充气PVC球的直径高达8.5米。

This highly contemporary safety net, which covers altogether 2500 m², spreads itself out across three levels below the massive glass cupola of the K21 and the levels are held apart from one another by a series of “spheres,” airfilled PVC balls measuring up to 8.5 meters in diameter. 

 Studio Tomás Saraceno © 2013

工作室Tomás Saraceno(2013年)

从圣德豪斯的下面或中间层看，在玻璃冲天炉的背景下，被困在这张网里的人们似乎在天空中游动。对于艺术家来说，这个漂浮的空间变成了一个由关系、神经通路、共振和同步通信组成的振荡网络-一种新的数字地理，在物理上是有经验的。

Viewed from below or from intermediate levels of the Ständehaus, and against the background of the glass cupola, conversely, the people enmeshed in this net seem to be swimming in the sky. For the artist, this floating space becomes an oscillating network of relationships, neural pathways, resonances, and synchronous communication – a new digital geography, one that is experienced in physical terms.

 Studio Tomás Saraceno © 2013

工作室Tomás Saraceno(2013年)

这些材料强调了萨拉塞诺关于流动和轻盈的基本思想：“当我看到透明线和球体的多层次时，我想起了描述重力和行星体力量的宇宙模型。对我来说，这项工作可视化了时空连续体，蜘蛛的三维网，大脑组织的分支，暗物质，或者宇宙的结构。随着“在轨道上”，比例进入新的关系；人体成为行星，分子，或社会黑洞。

The various materials underscore Saraceno’s basic ideas of flow and lightness: “When I look at the multilayered levels of diaphanous lines and spheres, I am reminded of models of the universe that depict the forces of gravity and planetary bodies. For me, the work visualizes the space-time continuum, the three-dimensional web of a spider, the ramifications of tissue in the brain, dark matter, or the structure of the universe. With ‘in orbit,’ proportions enter into new relationships; human bodies become planets, molecules, or social black holes.”

 Studio Tomás Saraceno © 2013

工作室Tomás Saraceno(2013年)

“在轨”是艺术家迄今实现的最轻的项目之一：这项工作与蜘蛛网和肥皂泡的细腻性和稳定性联系在一起-尽管单是网状结构就有3000公斤重，最大的“球体”重300公斤。Saraceno在多年研究各种蜘蛛物种的蛛网结构过程中所遇到的功能、美和力量的结合，也在“在轨”的细节中得到了证明。

“in orbit” is one of the lightest projects realized by the artist to date: the work summons associations with the fineness and the stability of spider’s webs and soap bubbles – despite the fact that the net structure alone weighs 3000 kg, and the largest of the “spheres” weighs 300 kg. The conjunction of functionality, beauty, and strength that Saraceno has encountered during years of studying the web constructions of various spider species is also in evidence in the details of “in orbit.”

 Studio Tomás Saraceno © 2013

工作室Tomás Saraceno(2013年)

对自然的精确观察及其现象的概念发展是萨拉塞诺作品的一贯标志，它打破了艺术与科学之间的界限。在这个装置中，空间是通过振动感知的-就像蜘蛛一样。其结果是一种新的、混合的交流形式。

The precise observation of nature and the conceptual development of its phenomena are consistent trademarks of Saraceno’s work, which dissolves the boundaries between art and science. In this installation, space is perceived through vibration – just as it is by spiders. The result is a new, hybrid form of communication.

 Studio Tomás Saraceno © 2013

工作室Tomás Saraceno(2013年)

这位艺术家说：“每一根单独的链不仅让参观者就位，而且还将他们编织成自己，同时允许他们表演。”它就像一个开放的扩展网络。一种开放的、宇宙的、编织的结构，在它的边缘再次流淌成线条之前，它变得致密、稀薄。网络与现有体系结构的关系是独一无二的。“

Says the artist: “Each individual strand not only holds visitors in place, but weaves them into itself, at the same time allowing them to act. It is like an outstretched network with an open character. An open, cosmic, woven structure that becomes densified, ramified, before flowing out into lines again at its edges. The web is singular in its relationship to the existing architecture.”

欲了解更多有关展览的信息，请访问这里。

For more information on the exhibition, please visit here.