new-york

View of “Tomás Saraceno,” 2012.

Tomás Saraceno

Tanya Bonakdar Gallery

View of “Tomás Saraceno,” 2012.

The sculptures and collages shown in Tomás Saraceno’s recent exhibition belong to a wide-ranging scientific and philosophical project begun in 2002, variously called Cloud Cities and Air-Port-City. At the crux of the undertaking is a speculative metropolis composed of continuously shifting configurations of cell-like modules that float above the earth, the entire process powered by solar energy and wind.

In Tanya Bonakdar’s large downstairs space, various arrangements of polyhedrons made from beech plywood or nylon string—representations of the Cloud City’s component cells—hung from the gallery ceiling among complex webs of more nylon string that were anchored to the gallery’s floor and walls; navigating this floating city required the audience’s full attention, as if to underscore our earthbound clumsiness. The polyhedrons are based on the Weaire-Phelan model of an ideal

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