➤ 托馬斯．薩拉切諾，〈算法．韻律〉，2017-2026。（新北市美術館提供，攝影｜林冠名） Tomás Saraceno, Algo-R(h)i(y)thms, 2017-2026 (Courtesy of New Taipei City Art Museum, Photo | Lin Guan-ming)
托馬斯・薩拉切諾：共織宇宙
Tomás Saraceno: Interwoven
在一根細微蛛絲的彼端，連結著什麼？在空中漂浮的雲朵深處，又蘊藏著什麼秘密？藝術家從這些散落於生活中無人留意之處，思考人類在宇宙萬物中的位置：我們究竟是形塑世界的中心？還是與其他生命與物質共存的一份子？
At the tip of a delicate spider’s thread, what connections lie? Within the drifting clouds above, what secrets are hidden? Tomás Saraceno draws inspiration from these overlooked corners of everyday life to reflect on humanity’s place in the cosmos: are we the architects of the world, or merely one of many interdependent forms of life and matter?
托馬斯・薩拉切諾（Tomás Saraceno）以「共織宇宙」為題，嘗試用不同於人類活動的觀點來回答此一問題。這位出生於阿根廷、現居柏林的藝術家，首次在臺灣舉辦大型個展。他的作品橫跨藝術、科學與社會行動領域，透過和生物學家、物理學家、環境研究者的合作，創作大型、沉浸式裝置。在這場展覽中，你我不再是旁觀者，而受邀在一個充滿關係性的場域中，重新思考人類如何回應身處的世界。
Titled Interwoven, Saraceno’s first large-scale solo exhibition in Taiwan invites audiences to explore this question from perspectives beyond human activity. Born in Argentina and based in Berlin, Saraceno works across art, science, and social engagement, collaborating with biologists, physicists, and environmental researchers to create immersive, large-scale installations. In this exhibition, visitors are no longer mere observers—they are invited into a relational space where human beings are encouraged to reconsider how we respond to the world around us.
➤ 托馬斯．薩拉切諾藝術家個人照。（新北市美術館提供，攝影｜林軒朗）Tomás Saraceno's portrait (Courtesy of New Taipei City Art Museum, Photo | Hsuan Lang Ling)
從一根蛛絲開始，傾聽人與世界的共振
Beginning with a single thread
藝術家長年觀察蜘蛛，從這個人們普遍恐懼的生物身上汲取創作靈感。蜘蛛藉由蛛絲震動來感知周遭環境，而我們生活的物質世界其實也充滿類似的震動，包含昆蟲、植物、土地都會發出微弱的振動頻率。於是在《算法．韻律》這件作品中，他模擬蛛網結構，將之轉化為以震動感知訊號的互動空間。人們藉由觸碰不同交匯節點發出的聲音，將自己交織進作品中，感受那些微小、安靜、看不見卻隱約牽動彼此的生命訊號。
For many years, Saraceno has studied spiders, finding creative inspiration in these creatures that often evoke fear. Spiders perceive their surroundings through vibrations transmitted along their webs, and our material world also resonates with subtle vibrations—from insects, plants, and soil to other living beings. In Algo-r(h)i(y)thms, Saraceno simulates a spider web, transforming it into an interactive space that conveys information through vibrations. Visitors can touch the web’s intersections to produce sound, becoming entangled in the work and experiencing the subtle, quiet signals of life that invisibly connect everything.
➤ 托馬斯．薩拉切諾，〈算法．韻律〉，2017-2026。（新北市美術館提供，攝影｜林冠名） Tomás Saraceno, Algo-R(h)i(y)thms, 2017-2026 (Courtesy of New Taipei City Art Museum, Photo | Lin Guan-ming)
另一件作品《關注之網》，呈現由來自世界各地的蜘蛛交錯編織的「混合網」。藝術家刻意讓不同社會性習性的蜘蛛——有的獨居，有的群居或半群居——進入同一空間，沿著已存在的網絡編織，形成既獨立又共融的對話。喻示著即使在看似衝突或不相容的群體之間，仍有可能發展出共處與協作的模式。
In Webs Of At-ten(s)ion, spiders from different regions and social behaviors—some solitary, some communal or semi-communal—are brought together to weave a “hybrid web.” By allowing these diverse spiders to occupy the same space and build upon existing structures, the installation models a form of dialogue that is simultaneously independent and interconnected, suggesting that even seemingly conflicting or incompatible communities can develop ways of coexisting and collaborating.
➤ 托馬斯．薩拉切諾，〈關注之網〉，2025。（新北市美術館提供，攝影｜林軒朗） Tomás Saraceno, Webs Of At-ten(s)ion, 2025 (Courtesy of New Taipei City Art Museum, Photo | Hsuan Lang Ling)
同時，他發現蛛網的構成，和連結星系的暗物質網絡有相似之處。在展場中，一張張由雷射光掃描，於黑暗中靜靜發出紅光的蛛網，呼應浩瀚宇宙中的星系是如何緊密而複雜的交織與共存。從不可見到可見、從微觀到宏觀，人們經由觀看《如何將宇宙陷入蛛網？》這件作品，投射宇宙中連結星系的巨大網絡，感受那些將萬物連結在一起的無形絲線，反思人類在其中是否具備調適與「回應能力（response-ability）」。
Saraceno also observes parallels between the structure of spider webs and the cosmic web of dark matter connecting galaxies. In the exhibition, laser-scanned webs emit a quiet red glow in the dark, echoing the intricate and interconnected networks of galaxies in the universe. In How to Entangle the Universe in a Spider/web?, visitors project this cosmic network, tracing the invisible threads that link all things, and reflect on humanity’s capacity for adaptation and“response-ability.”
➤ 托馬斯．薩拉切諾，〈如何將宇宙陷入蛛網〉，2025。（新北市美術館提供，攝影｜林軒朗） Tomás Saraceno, How to Entangle the Universe in a Spider_web_, 2025 (Courtesy of New Taipei City Art Museum, Photo | Hsuan Lang Ling)
世界是一個整體，彼此流動與呼應
The world as an interconnected whole
經由微觀的蛛絲與震動感知，展覽進一步探討人類如何介入環境與社會議題。藝術家提出「大氣世」（Aerocene）觀點，挑戰過去以人類本位與資本主義角度觀看世界的方式，通過回歸個體生命的覺察，建立人類與地球環境的連結。
Through the microcosm of spider threads and vibrational perception, the exhibition expands into environmental and social concerns. Saraceno presents the concept of the “Aerocene”, inviting audiences to reconnect with the awareness of individual life and the Earth’s environment.
於是走入《熱力學的想像》展間，我們可以看見牆上的平面作品，與空間中輕盈懸浮的玻璃雕塑，構成由空氣、玻璃與光所組成的微妙生態系。《大氣世》系列雕塑模擬無需化石燃料的飛行原型，幫助觀者想像一種更乾淨、永續的未來。《呼．氣．息…》則捕捉呼吸在流動中的瞬間狀態，並藉由不同文化對「氣」所指涉的精神意涵，提醒人們經由每一次的氣息交換，皆與地球產生緊密依存。
In Thermodynamic Imaginary, visitors encounter wall-mounted works alongside delicate, floating glass sculptures, forming a subtle ecosystem of air, glass, and light. The Aerocene sculptures envision fossil-fuel-free flight prototypes, encouraging reflections on cleaner and more sustainable futures. Ha Chi Ki… captures the ephemeral dynamics of breathing, drawing on diverse cultural interpretations of “qi” to remind visitors that each exchange of breath is an invisible yet intimate link to the Earth.
➤ 托馬斯．薩拉切諾，「熱力學的想像」展間一隅。（新北市美術館提供，攝影｜林冠名） A view of the gallery of Thermodynamic Imaginary. (Courtesy of New Taipei City Art Museum, Photo | Lin Guan-ming)
影像作品《與帕查一同飛入大氣世》，記錄了藝術家與阿根廷北部大鹽沼及瓜亞塔約克湖（Laguna de Guayatayoc）原住民社群於 2020 年的共同行動。一座巨大的太陽能氣球裝置「Aerocene Pacha」呈現標語：「水與生命比鋰更有價值」，抗議鋰礦開採對家園土地與水源的破壞。在南美洲安地斯文化中，「Pacha」（帕查）代表和諧的能量，它將宇宙萬物緊緊聯繫在一起。這項無化石燃料的飛行運動，創下 32 項世界紀錄。
The video installation Fly with Pacha, into the Aerocene documents Saraceno’s collaboration in 2020 with Indigenous communities in the northern Argentinian Salinas Grandes and Laguna de Guayatayoc. A large solar balloon, Aerocene Pacha, bears the slogan: “Water and life are more valuable than lithium,” protesting lithium mining that threatens local land and water. In Andean culture, “Pacha” represents harmonious energy that interconnects all things in the cosmos. This fossil-fuel-free flight set 32 world records.
➤ 托馬斯．薩拉切諾，〈與帕查一起飛入大氣世〉(影片截圖)，2017-2023。（新北市美術館提供，攝影｜林冠名） Tomás Saraceno, Fly with Pacha, into the Aerocene (Still Image), 2017-2023 (Courtesy of New Taipei City Art Museum, Photo | Lin Guan-ming)
《太陽能飛行博物館》是首次在台灣呈現的作品，邀請在地參與者收集回收塑膠袋並組裝，使裝置僅依靠太陽熱能升空，猶如一件雕塑，也是一項氣候行動，至今這件作品已有超過三十個國家的大小朋友參與共同創作，將生活中隨處可見的垃圾轉變為守護環境的力量。
Museo Aero Solar, presented in Taiwan for the first time, engages local participants to collect and assemble recycled plastic bags into a solar-powered balloon sculpture. Functioning as both an artwork and a climate action, it has involved participants from over thirty countries, transforming everyday waste into an act of environmental stewardship.
➤ 托馬斯．薩拉切諾，〈太陽能飛行博物館〉，2023-2026。（新北市美術館提供，攝影｜林冠名） Tomás Saraceno, Museo Aero Solar, 2023-2026 (Courtesy of New Taipei City Art Museum, Photo | Lin Guan-ming)
➤ 托馬斯．薩拉切諾，〈太陽能飛行博物館〉，2023-2026。（新北市美術館提供，攝影｜林冠名） Tomás Saraceno, Museo Aero Solar, 2023-2026 (Courtesy of New Taipei City Art Museum, Photo | Lin Guan-ming)
延續這項行動，觀眾亦被邀請成為《公平雲朵》計畫的一部分——透過描繪同一片鹽沼上空的雲景，參與者共同思考如何創造更為公平的水、記憶與生命的循環。這片雲也許曾飄過我們居住城市的上空，也會飄進這片擁有豐富生態與高山濕地的鹽沼，與他們一起守護長期面臨鋰礦開採而面臨威脅的珍貴水源。
Extending this practice, visitors are invited to participate in the Fair Cloud project, collectively depicting the clouds above the salt flats to reflect on creating more equitable cycles of water, memory, and life. These clouds may drift over urban cities or across ecologically rich Andean wetlands, connecting global audiences to local environmental stewardship.
在跨越微觀與宇宙尺度的展覽中，觀眾不僅是觀看者，也成為生命網絡中的一個節點。當我們放慢腳步，傾聽細微震動時，或許會發現——自己早已身處萬物共織的宇宙之網之中。
Spanning scales from the microscopic to the cosmic, the exhibition positions visitors not only as observers but as active nodes within a vast network of life. By slowing down and attuning to subtle vibrations, one may realize that we are already part of an interwoven cosmic web shared by all things.
➤ 托馬斯．薩拉切諾，〈公平雲朵〉，2026 （新北市美術館提供，攝影｜林軒朗） Tomás Saraceno, Fair Clouds , 2026 (Courtesy of New Taipei City Art Museum, Photo | Hsuan Lang Ling)