“A film that lasts 163,000 years, the length of time that it takes for the light that is traveling through space, to reach the Earth… What you see in a film, as in the sky, is always the past… It is, actually, the light that was emitted from the Large Magellanic Cloud 163,000 years ago… We, earthlings, are always convicted to watch the past…
It is a film that if you were able to watch till the end, could become the present, as the soundtrack you hear comes from the collision of two large black-holes, 1.3 billion years ago, that is being now projected on Earth. Spacetime is not a fixed construction, but rather it is an action that can warp the length of the film before its end. Similarly to the waves that animate the surface of the salt flats in Uyuni, Bolivia, where the film was shot, gravitational waves ripple spacetime in waxing and waning movements warping a linear conception of time. Different temporalities appear, dimensions are projected, and epochs redefined: we are now becoming more-than-human or, for the first time, hopefully human. This is the light seen by the prehistoric spiders, hopefully not the only spectators of this film, which is eclipsed now. We are entering a new dimension, a new Era, from the Anthropocene to Aerocene… 163,000 years in action now…”
(Tomás Saraceno, 2016)
163,000 Light Years presented at the Museum of Contemporary Art of Monterrey (MARCO), Mexico, from June 30 to November 04, 2016. Curated by Gonzalo Ortega.
“Very large telescope-Paranal Chile – the dryer place on earth as the window to the life in the cosmos…
…The idea of a surface that has been used to calibrate telescopes from outer space: the analogy of humans trying to find life on another planet, and the analogy of telescopes; the fact that human optical devices to seek life forms in outer space have been tuned using this surface, under which a cyanobacteria, the ancestral producer of oxygen, lives…”
(Tomás Saraceno, 2016)
Salt flats are ideal for calibrating the distance measurement equipment of satellites because they are large, stable surfaces with strong reflection, similar to that of ice sheets. As the largest salt flat on Earth, Salar de Uyuni is especially suitable for this purpose. In the low-rain period from April to November, due to the absence of industry and its high elevation, the skies above Salar de Uyuni are very clear, and the air is dry. It has a stable surface which is smoothed by seasonal flooding (water dissolves the salt surface and thus keeps it leveled).
“The dry limit of life in the Atacama Desert is one of the few places on Earth where we can investigate the transition from a habitable environment to an un-inhabitable environment by moving across the mountain barriers that isolate the core of the Atacama from water availability. The Atacama Desert is also one of the oldest deserts in the world with an aridity age of about 15-20 million years. It is the best place to research what the extraterrestrial life-forms might be like…”
(Chris McKay, astrobiologist)
The diving bell spider rehearsing towards new orbits:
Argyroneta aquatica is the only known specie
that spends all its life under the water,
in an air bubble…
The comprehensive Exhibition Catalogue (ENG/ ESP) has been published on the occasion of the exhibition.
Press Selection | 163,000 Light Years
Mendoza Lemus, Gustavo. Ofrece Saraceno Mirada del cosmos desde el arte. 30 June, 2016. Milenio.
MARCO Museo. Mini tour Tomás Saraceno. 163 mil años luz. 7 July, 2016. Video.
MARCO Museo. Entrevista con el curador de la exposición de Tomás Saraceno. 11 July, 2016. Video.
A des années-lumières avec Tomás Saraceno. 1 August, 2016. Arts Hebdo.
Quiroga Mendoza, Ricardo. El arte multidisciplinario de Saraceno, en el MARCO. 2 July, 2016. El Universal.
García Rico, Mario Alberto. Ciento sesenta y tres mil años luz, de Tomás Saraceno. 6 September, 2016. Revista Código.
Tsesarsky, Dina. In pictures: the W* photography desk’s 2016 digest of visual inspiration. 23 December, 2016. Wallpaper Magazine.