Who is the artist?

Tomás Saraceno in conversation with Thomas Oberender


TO: At first, the «Down to Earth»-project wanted to do something that helps and gives a good example how we can change immediately our operating system and to help the planet. On a further level, for me it was a way out of the routines of institutions. Of course, I appreciate also the routines of institutions in some respect, but in this respect, I think the whole business of biennials, festivals, exhibitions is on the limit to be obscene. How can we change that? Down to Earth was the most advanced project I have done so far. On the one hand, because our sustainability project consisted of very different modules in terms of content, which all took place at the same time - the exhibition combined with spaces for workshops, concerts, performances, a repair café and installations in the garden. We always had two ambitions - to bring together very different communities, not only the art crowd, but also the experts of very different reform practices. And the other was to give an example how you can deal not only with a content of artwork, and change the operating system of the exhibition and institutions itself. In this case, I would say that your work was so fragile, in a way so decent. But the longer I think about it, it was the most radical work in the whole project.

TS: (lacht) I’m thinking many things and I will be trying to think together with you and the spider and the webs we have found… Thomas, do we want to talk a little about how the work evolved?

TO: Yes, please.