Helenesee moves on air – Free Flight

Free Flight

Archimedes & Aerides

Saturday August 4

What would breathing feel like in a post fossil fuel epoch, and what is our response-ability?

How to challenge geopolitical borders in an age of climate inequality?

Last Saturday, August 4 in 2018, the Aerocene community reunited for two seperate free flights. First was an atmospheric rehearsal for the most sustainable and longest Aerocene Free Flight and for the first emissions-free around-the-world flight. After that, an aerosolar sculpture free flight that would be released from a kayak on the lake Helenesee.

Meeting at 8 am at Helenesee by the Wassersportzentrum, we started our journey towards decolonisation of the air from particulate matter.

Once upon a time, millenia ago, people began dreaming about taking flight. The philosophers and thinkers who first thought, wrote and spread the word about this possibility had no notion of fuel. However, once the Montgolfier brothers took flight, things took a turn for the unsustainable. The brothers, and the people following them, were to bare the label aeronaut, which describes someone who operates or travels in an airship or balloon. It’s a word connoting mythicism, forwardness and conquering the improbable, which turned out not to rather conceivable after all.

Over the last 50 years,  another generation of Aeronauts have resurfaced. Having a similar flare for exploring the improbable but slightly different intention, they revisit the great minds of the past which have been overlooked after the fossil fuel apocalypse. From this, they venture onwards, towards for brighter futures for all.

Like aeronauts uses s, futures do the same. Devoted people, from diverse backgrounds, in diverse communities, with diverse positive intentions, have gathered over the last decades to pave the way for us to quite literally, track them. In the case of the Aerocene community, the word aeronaut takes on another form. “Aero”, a short, clean word refers to the aerial, a symbol of the essence of our activities, communicating a message of simplicity in a world of tumultuous geopolitical relations, reminding us that the air belongs to everyone and should not depend on any type of sovereignty: free from borders, free from fossil fuels. “Naut”, also short for nautical, is a significant and perhaps accidental recognition of the similarity of floating in fluids, whether gaseous air or liquid water. The neologism highlights togetherness, as with the aeronauts of Aerocene, just like liquids and gases conjoin under the term fluids, our community effort synthesises under Aerocene.

The 4th of August was special; the Aerocene community united once again for an unforgettable free flight journey. Community commitment and fellowship, with each other as individuals, as well as with the earth, seemed to be the key ingredients bringing them together, this time with an added accomplishment: many had been camping on site prior to the morning of the free flight. After necessary preparations, tranquility took over the campers as they reconnected with the world around them and experienced the harmonic consonance of the earth. When crashing into sun-heated water, and peering upwards, surrounded by the power of the sun after it disappeared behind the horizon, we floated peacefully, perhaps unaware of the depth of meaning that this swim had for the upcoming flight.

Although our Aerocene journey had begun the previous evening, waking up with the sun and slowly recognising our surroundings, empirically and metaphysically, was a key moment in this free flight. Rising up, hopping down from a flying tent that was innocently strapped between trees, or rising up and out of an earthbound tent, revealed to us the peaceful surroundings. In that moment we couldn’t have felt the sun’s intensity stronger. Waking up differently than we were used to, out of the usual routine, gathering with the community and floating with Aerocene, we were still unaware of the two flights that were about to happen with our two sculptures: Aerides and Archimedes.

The Archimedean principle states that the upward buoyant force that is being exerted on a body and immersed in fluid, whether partially or wholly, is equal to the weight of the fluid that the body displaces. It acts in the upwards direction at the centre of mass of the displaced fluid. This principle applies to any body, including aerosolar sculptures, which tap into an unlimited source of energy, the Sun. The sculpture is designed to absorb and preserve as much infrared radiation as possible, and when the warm air inside the balloon becomes lighter than the ambient air, the resultant force is a vertical upwards force: the aerostatics force or ‘lift’. In this way, our Archimedes represents the dawn of aeronautics as well as the later ascent of the aerosolar many years later, as originating from the clean mathematical principle stated by him.

As aerosolar flights are weather dependent, needing sun and minimal wind to lift, and we were lucky to experience a warm and sunny day. While the sun was shining, returning to the water for a swim was a great option to cool our fragile bodies from the heat of the sun, the very source that lifts the Aerocene sculpture, allowing it to float in the air as we do beneath it in the water. Gently on the clear waters of the lake, we float with Aerocene, all heated by the sun. Due to the partially reflective material of the Aerocene sculpture, the air inside an envelope will slowly heat up until the inner air density is low enough to provide sufficient lift to overcome gravity and make the envelope rise. Once in the air, an untethered Sculpture can easily rise up to the stratosphere in a couple of hours. Filled only with air, lifted only by the sun and the infrared radiation from the surface of the earth, carried only by the wind, floating onwards without the use of fossil fuels, is a recent development of today’s aeronauts. Aeronautics has required patience, and this is no exception. Inflating the sculpture Archimedes was done by running in order to fill it with air, and waiting for it to begin to rise before guiding it to the water, from which it was released using a kayak. Despite light cloud cover at this time, the radiation reflecting off from the glistening water and the heat of the sun above allowed it to lift into the air smoothly.

In accordance to the patience required in these types of events, the importance of spending time with each other and getting to know one another cannot be overstated. We had plenty of time to do so on this day. After some intermission, which can always be expected with aerosolar launches, the launch team and the rest of the community were preparing for the first-ever free flight rehearsal launch. Aerides, a tetra shaped balloon, accompanied by a small ensemble of 6 sbs-13s, was aiming to reach a flight level of 13000 meters. Followed by stations worldwide in collaboration with the APRS community, the flight was a test of overnight long distance flight constantly capturing temperature data from inside and outside of the aerosolar sculpture. If it would travel across the globe, it would be the first time with a camera. Attached to the balloon, there was a solar cell and a tracker, Pecan Pico 10-B, built by Aerocene community member and radioamateur Sven, with help from Bob in Australia, their collaboration a global journey itself. Since Aerocene technology is open source, everybody has access to it, and to track, modify and to change, and is invited to do so.

The concept behind the flight was to photograph and analyse the behaviour of the solar balloon and its day-and-night-cycle, in which the power of the sun is ever present but also everchanging. The aim is to be able to complete an aerosolar emissions free around the world free flight in the foreseeable future. Just like we feel the heat of the sun within the water, as we float overtop, the sculpture also feels the heat of the sun through the membrane. Whether directly during the day, or indirectly throughout the night, it keeps itself afloat in this way.

The blazing hot day made us losing track of time and space as we became caught in the pulse of the relationship between the sun, earth and ourselves. Ever present and oscillating, the current of energy from the sun translated into a stream of consciousness. During the moments of the inbetween, when the pendulum briefly pauses at each end, at dusk and dawn, we were allowed to physically feel the constant oscillation of energy. We cool down at dusk and warm up at dawn, just like the aerosolar sculptures. Embodying us in the air, it was an eternal pendulum to which we all seemed to feel attached to. Together with our reflections during this event, an imaginative space opened. It was both physical and metaphysical, and became a space to pause and to reflect, reclaiming the space between us, the cosmos and the atmosphere.

In many ways, we devise new modes of sensitivity and reactivate a common imaginary towards achieving an ethical collaboration with the environment. We find ourselves usually in the every day, but this weekend was a heightened event in all of our lives. With the rehearsal of an aerosolar around the world flight, we pictured a new infrastructure, challenging and redefining an international right to mobility. Along with our community efforts, we re-assessed our connection to the earth, symbolising the opposition to the extractive approach developed by humans towards this planet. We call to re-examine the possibility of freedom of movement in the air above us.. In this way, as aeronauts of an  imaginative nature, we call for a new interplanetary ecology which reconnects elemental sources of energy of the sun and planets to break the boundaries of the sublunary. We can experience the dawn of this when floating with Aerocene, acquainting ourselves with the power of the sun and starting our journey towards the decolonisation of the air.

In this way amongst others, we devise new modes of sensitivity and reactivate a common imaginary towards achieving an ethical collaboration with the environment we find ourselves in every day, during this weekend a heightened presence in our lives. The rehearsal of an aerosolar around-the-world flight symbolises a new infrastructure which redefines an international right to mobility, and along with our community to reassess our connection to the earth, we hereby oppose the extractive approach developed by people towards the planet we inhabit. Instead, we call to re-examine the possibility of freedom of movement between countries, along with a reconnection between us and the elemental sources of energy, the sun and the planets. The dawn of this, the start of a new interplanetary ecology of interconnection between us all and the environment, can be sensed in moments like these, when we float with aerocene and re-acquaint ourselves with the power of the sun, beginning our journey towards the decolonisation of the air.

We re-acquaint ourselves with the power of the sun and we re-activate a common imaginary towards achieving an ethical collaboration with the environment. We find ourselves in every day, during this weekend a heightened physical presence in our lives. Within this, along with the rehearsal of an aerosolar around-the-world flight, we symbolise an imaginary new infrastructure which leaves behind the extractive approach people have adopted towards the earth, and re-assesses our connection to the earth and re-examines the possibility of free movement across the world as we move towards an interconnection between us and the elemental sources of energy, the sun and the planets, a new interplanetary ecology of practise in terms of oscillating harmony.

Aerocene movements over CCCB – Barcelona

Bacelona, the Aerocene Explorer flies over the CCCB

Barcelona, Spain: 30 April 2018

Only one day before the closing of ‘After the End of the World’, an exhibition about the Earth of 2017 (irreversibly transformed into the Anthropocene planet after two centuries of human impact on natural systems) and how we will reach the world of the latter half of the 21st century; the CCCB team decided to perform the Aerocene Explorer tethered-flight by using the material contained in the Explorer Backpack hanging from our exhibition walls. The launch was performed in the Pati de les Dones, an exterior courtyard enclosed by the buildings of the CCCB. The courtyard is a public space, which means that any pedestrian passing by could see and enjoy the experience.

It wasn’t the first time we had planned to fly the Sculpture over our cultural center, but the weather conditions in Barcelona during the past weeks had been unbelievable! Since when has the sunny city seen so many cloudy and windy days in spring? May we blame climate change once again? Or shall we be blamed for the change in climate?


Fortunately, the conditions that morning were good enough (a sunny morning with low winds) to allow us to perform the experience and finally materialise the activity, offering greater understanding to the audience, who was able to visualize the concept functioning in open air. But how did the process go?

STEP 1: We prepare the Sculpture in the yard for the flight

STEP 2: We manage to make it fly!

We were impressed by how quickly the Structure raised to reach the sky. All of a sudden, people passing by started to gather around to see the Sculpture fly. Many were extremely curios and took their phones and cameras out to capture the moment; children were impressed, looking at the sky and running around the yard to follow the Sculpture as it flew.

When the morning started to look gloomy again, it was time to take the Sculpture back
to the ground and place it back to its container. It took 5 of us to fold it but, with
patience and team work, we finally managed to get the air out (always keep an eye on the hole – it needs to be open for the air to escape!) and finalise the experience!

Being able to publically practice and present the utopian architectural project of the Aerocene Explorer has been an invaluable experience to show the importance of using
the countless resources we have to tackle the current and future climate crisis.

All images were taken by the CCCB

Aussie Esperance & Perth Explorer Flights


Esperance & Perth Explorer Flights

A duo of first ever Australian Aerocene Explorer flights took place in the last week of 2017 and the first week of 2018.
Gwilym Faulkner who was visiting his family on vacation from Berlin, had the timely opportunity to launch with them into the new year in a truly Aerocenic manner. The first flight took place on the remote white and blue expanse of Lucky Bay in Esperance, and secondly in a more communal setting at the South Fremantle beach in Perth.

The flight in Esperance was a true testament to the ability of the wind, with a strong onshore south-westerly typical to the area, the flight was equal parts battle and dance with the wind in an attempt to gain some lift from the sun and record some aerial footage of the beautiful coastal landscape.

Sharing the beach with only a few campers and tourists, there was a beautiful quietness between the sculpture and the landscape, which was only occasionally interrupted by a curious cry of a child, the slowing engine of a vehicle beachgoer passing by and the perhaps confused calls of local seagulls. Having several pairs of helping hands on standby, the sculpture was manageable but still an important reminder of the power and force that is constantly generated by the ever present wind. After a few successful lifts the decision was made to retire the sculpture for the day. For a first ever flight in the continent, the group left with a feeling of achievement and a newfound respect for the raw power and ability of nature.




On the 6th of January, with sunny blue skies and a moderate amount of wind, the second flight took place on a grassy field a stone’s throw away from the waters of South Beach in Fremantle. With adequate sunshine and a recorded temperature difference of 13 degrees celsius within 6 minutes, the sculpture was ready to launch. Before long a relationship between the sculpture and the people began to take place; many local families, friends and beachgoers were getting curious and inquisitive about the sculpture.

Once the sculpture had lifted, the first to interact, unsurprisingly, were a group of young toddlers who chased and danced with the sculpture. Following their lead, many of the other people who had heard about the launch or passed by at the right time started to converse between themselves and with Gwilym regarding just what it was they were seeing. The moments when many realized this large thing in front of them was lifted purely by the power of the sun, there was a reaction of awe and excitement and perhaps a shift in the way things are seen. In a land with such plentiful sunshine, the potential for an Aerocene inspired future is bright and important.

Lancaster Tethered flight at Mobile Utopia Conference

Aerocene Explorer Tethered flight at Mobile Utopia Conference

2 November 2017


54°00’21.0″N 2°47’15.0″W

On November 2nd Sasha Engelmann, Bronislaw Szerszynski and Grace Pappas performed an Aerocene Explorer tethered flight in Lancaster, UK, within the framework of a two-day “Mobile Utopia Experiment” called “The Drift Economy”, that Bron and Sasha  co-organized. The Drift Economy workshop was held at the Lancaster City Library on November 1st, and at the Lancaster University InfoLab on the morning of the 2nd.  Participants joined Bron and Sasha in experimenting with drifting seeds, VR-experiences of drift, and ‘mapping drift’ onto a three dimensional diorama of Lancaster’s topography. The Drift Economy was an experiment in public participation in an alternative mobility regime based on the existing flows of water, air, slopes, soil and elemental processes.  

Aerocene was a primary element in the Drift Economy experiment, as well as in the conference session and panel that Bron and Sasha chaired at the Mobile Utopia Conference.

In the context of the continuing expansion of fuel-intensive air travel and the militarization, securitization and commercialization of atmospheric space, the experimental workshop and the conference session were devoted to exploring how humans might develop an ethical and sustainable relationship with the atmosphere through vernacular ways of sensing, understanding and collaborating with the macro- and micro-dimensions of air. 

The approach to critical atmospheric utopias was inspired by Aerocene, inviting a tactile, unmediated skilling of atmospheric awareness. In its name, Aerocene also deliberately evokes the possibility of an epochal shift in humanity’s relation with its home planet, and indeed in the very way that the Earth populates its atmosphere with moving things. 

At around noon on the 2nd of November, Grace and Sasha inflated the sculpture on an open field near the conference venue.  As they were attaching the GPS tracker to the Aerocene sculpture, Rob La Frenais joined them on his bike.  Later in the conference, during his Keynote speech, Rob spoke about the Aerocene flight that had happened that day, and related it to the White Sands launch of D-OAEC Aerocene that occurred in 2015.


Luckily for the launch team, the weather was particularly benign on that day -except for a little wind – and the Aerocene Explorer floated in the atmosphere immediately, while recording track information with a handheld GPS attached to it.  Sasha and Grace took turns flying the sculpture, and then Sam Hertz, who had just arrived at the conference, flew the Aerocene with Bron.  

The Sculpture flew over an hour, overseen by over 60 people who gathered for the launch, registering a complicated aero-glyphic that was later processed with Garmin Basecamp and Google Earth into a striking visualization.  Participants connected to the Aerocene Explorer wifi hotspot and connected to the Aerocene’s onboard camera to ‘see’ what the sculpture was seeing. During her train travel back to London that evening, and on the way back up to Lancaster the following morning, Sasha downloaded the flight data from the launch and made some early attempts at a Google Earth flight visualization with the help of Joaquin.  


The experience of the Aerocene launch resonated into the conference session during the following days. The “Atmospheric Adventures in the Aerocene: heterotopias of aerial mobility” conference panel on the 3rd November included presentations by Bron, Sasha and Sam Hertz. It also included a short film, “Points of Presence” made by Adam Fish, Bradley Garrett and Oliver Case.  Rob La Frenais was the ‘discussant’.  The panel was guided by the following questions:


  • How can we invent and employ accessible, modest aerial experiments to arrive at an ethical engagement with the atmosphere?

  • What tools, skills, imaginaries and alliances do we need to develop to become more sensitive to the objects and vibrations passing through the atmosphere around us?

  • How can we populate the air in ways that enhance rather than diminish atmospheric affordances for different forms of life? 


The response from the panel and the subsequent discussions with many scholars, researchers, artists, technologists and engineers was a clear indication of the way that the Aerocene launch and the panel discussion had catalyzed a range of reflections and insights at the Mobile Utopia conference.  Indeed, many commented that it was the most expressive, ethical and collective ‘mobile utopia’ among the countless other proposals circulating in the air in Lancaster.

Sasha Engelmann would like to thank the Aerocene foundation for lending the sculpture to Aerocene friends in the U.K., Bron for coordinating their amazing Drift Economy experiment in Lancaster, Daniel Schulz for preparing the Explorer and checking all the components with Sasha during the summer, and Joaquin who was a fantastic (!) help with the Garmin device & software. Also Grace traveled over two hours from London to join the launch on that day and was incredibly super helpful in flying, communicating and documenting the Aerocene project to everyone involved.

Organizer: Sasha Engelmann 

Drift Economy Experiment: Bronislaw Szerszynski, Sasha Engelmann and Adam Fish

Aerocene Explorer borrowed from Aerocene Foundation

Communication: Camilla Berggen Lundell (Aerocene Foundation) and Alice Lamperti our amazing intern at STS

Aerocene Explorer set-up and support: Daniel Schulz (STS)

Aeroglyphics tutorial and support: Joaquin Ezcurra (Aerocene Foundation)

Payload experiments: Grace Pappas

Aerocene Launch Münchenberg

Aerocene Launch

Munchenberg 23.09.2017


Part 1. Aerocene Flight

Two solar sculptures gently floating above an industrial town in Germany brought in mind our desire of escaping the Anthropocene and entering the Aerocene.

A sand quarry has exactly the sound of the Anthropocene. The conveyor belt for wheeling sand around the working area has that high-pitched tone that sticks into your head and forces you to focus on it.

On Saturday we tried to cover that sound with the delicate melody of two solar balloons. Our new Aerocene sculptures managed to capture even those very few golden rays of sun that peaked through the cloudy autumn sky and, using just air, left for their zero-fuel journey above Germany.

We arrived at the location at 7 a.m., just as the sun started to rise over the horizon. Aerocene sculptures fly due to the temperature difference between the envelope interior and its surrounding air. At that time of the day, the air is still cold from the night, and it makes for an ideal time for a launch. If you act fast and catch those first sun rays before the air around it warms up, then the sculptures can take off in no time. And we saw it happening; in a matter of a couple of hours, we managed to inflate the Aerocene sculptures and saw them take off – with only 1 degree of temperature difference. The two giant three colored sculptures, an icosahedron and a tetrahedron, are the biggest ever produced for a free flight, with their 8 m of diameter. Unfortunately, they flew for only 10 km this time, as the clouds covered the sun reducing the irradiation, forcing them to land in a nearby forest.


Aerocene is a project celebrating our relationship with nature. Nothing exists in a vacuum, everything is connected and everything is being affected by what is happening next to it. It is an appreciation of these delicate relationships. If we develop a sensitivity towards these connections then we can start creating in harmony with them.

On Saturday, flying above the industrial site, we dreamt of a time when we will break free from our parasitic practices towards nature. For a few hours, we were not in the Anthropocene anymore; we were living in the Aerocene era.

When one happens to be under an Aerocene balloon, holding it while it is inflating, one can feel the energy emanated by the sculpture, which reflects the real potential and strength of the Earth, the Air and the Sun dancing together to their own tune. All of a sudden, you just realize how small we are, part of an intricate system of causes and effects in which we are just joints of a bigger natural mechanism, and have no right to own nothing.

The time for the Anthropocene is over: as soon as we recognize it, we will have more chances to lay the groundwork for the new Aerocene epoch, thinking by doing, thinking actively towards a new equilibrium between the elements, to overcome the erroneous dichotomy between man and nature and to re-learn how to inhabit our planet. Our dream is to develop real possibilities and alternatives to push our species towards an harmonious coexistence with nature. What we achieved on Saturday is a very encouraging result that fills us with hopes and dreams for the future of what is possible.

Part 2. Experiments

Aerocene is an era where people work in harmony with our environments but also with each other. As part of this epoch, for the past few months we have been collaborating with the London-based designer and RCA student Grace Pappas to produce a series of experiments using the Aerocene and the possibilities it opens up as a platform.

Materials exist in an inseparable bond to their environment and the different forces that act upon them. Pressure, temperature, gravity, time; all affect how materials exist in a specific moment in a particular location. Along the same principles, Grace Pappas developed a series of objects that are sensitive towards the environment the Aerocene flies in. She created loads of playful prototypes that react to pressure and temperature, some more simple and some more elaborate.

For example, we wanted to release a trap during the flight to study the complex form of life that exist in the air. Aerocene does not leave a trail of pollution behind itself. This means that any experiments in air quality or biodiversity will be more accurate than data collected using more obtrusive means. Reflecting a similar narrative, Grace created for our Aerocene Hack an insect collector that opens and closes using air pressure, to capture and protect insect samples. For this Free Flight, she created a release mechanism using ice. Two pieces of string, one attached to the sculpture and one attached to the insect collector were frozen together in a small block of ice. Some time after takeoff the ice melted, allowing the collector to drop.In addition, she created a performative pressure sensor that moves in reaction to the air pressure differences experienced during a flight at high altitude. Pressure, air volume and temperature lay on the same function; when you change one, the other two get affected. For example, if the pressure for a given amount of air drops, then its volume expands. Similarly, when the temperature drops, the air contracts. Drawing from that principle, she created an object that moves as the air pressure changes. To achieve that, she insulated a series of pistons, to minimize the effects of temperature to the air and attached them to a dial that would display the air expansion during the flight.


Part 3. Tracking and Recovery


Aerocene Argentina CCK

Aerocene Explorer Argentina Tata Inti - performance with eight aerocene explorer ARGENTINA 6-7 AUGUST 2017 8:55 a.m.

The Aerocene Explorer performance, Tata Inti – (father sun) doesn’t try to get closer to the sun. Instead what it does is to play with the way in which the sun and the air interact with each other in thermodynamic balance.

In Greek mythology, Icarus and his father Daedalus, attempted to escape from imprisonment in Crete by means of wings that his father constructed from feathers and wax. Daedalus, warns him first of complacency and then of hubris, asking that he fly neither too low nor too high, so the sea’s dampness would not clog his wings or the sun’s heat melt them. Icarus ignored his father’s instructions and flew too close to the sun; the wax in his wings melted, the feathers fell off and he tumbled out of the sky and into the sea where he drowned.

Icarus is us and the Anthropocene. It is our attempt to emancipate ourselves from nature, to objectify it as an extraneous body, to exceed it, to become its ruler and the ruler of all the beings placed in its kingdom, giving us an excuse to act as if they were not alive as we are, they were not equally legitimated to exist. The dynamic of “othering” through naturalization have been the epistemological justification for exterminations, genocides and exploitation throughout history.

Tata Inti  doesn’t try to get closer to the sun and enter in relation with it through our anthropocentric hubris.

Instead what it does is to play with the way in which the sun and the air interact with each other in thermodynamic balance. When Tanta Inti flies, it traces a narrative thread in the terrestrial  tapestry, that allow us to read the interlacement of the world, the entanglement of different forces that create the condition of life, becoming an interpreter of one of the many languages of the ecosphere.

To overcome the dichotomy between man and nature would lead us to the impossibility of ethically dividing the existing into two categories: subject and object, in which nature is always an object and it is assigned to a “diminished” order of reality, something that is up for grab, existing to serve us.

In this time of crisis, where appropriating is not enough, due to the more and more limited amount of natural resources, we are actually working to replace nature, and, as contemporary Icaro we are punished by our own blindness, the inability to reconsider the organism we are part of, once again thinking of it as an object without agency.

During the Tata Inti performance, the movements of the Aerocene sculptures in the air become aerogliphs; their trajectories are inscriptions that compose a codex, a codex that allow us to interpret the atmosphere, the strata that is created by the interaction of the planet with other cosmic bodies. As any language, it is both written and oral: catching infrasound, it gives a voice to the murmur of the world, recording the vibratory score of worldly events.

In such a way, the Aerocene sculptures embrace the earth, the air and the sun, dance at their dance and with their simplicity become an envelope that contain their entangled movements.

If “the speaking of language is part of an activity, or of a form of life” (Wittgenstein) then the aeroglyph of Aerocene unravel a language that composes poems in the air, and tells us of a new form of life, a post-anthropocenic, one that rediscovers the lure of earthly phenomena and acts following the paths traced by its invisible forces. Its fluctuation echo a re-enchantment that comes from afar, and it’s embodied in the multifarious mythological repertoire that humans built since the beginning: the Andean cosmology of Tata Inti, the Father Sun, also called the Life Giver, or the astronomical calendar inscribed on the Nazcas geoglyphs, or again Helios in ancient greek mythology, that Icarus wasn’t able to reach.

As an aerial stele, it will remain for the posterity as a testimony of a different epoch, the one of the Aerocene, a wish to overcome the bifurcation between man and nature.

“Instead of there being a separation of subject and object, there is an entanglement of subject and object, which is called the “phenomenon.” Karen Barad

With the support of CCK

#aeroceneargentina #aerocene #cck #tecnopolis #mediosycontenidos


Jujuy, Argentina performance participants

Alicia de Arteaga, Maxi Bellman, Martín Bonadeo, Joaquín Ezcurra, Agustina de Ganay, Guido Ignatti, Maximiliano Laina, Pablo Lapadula, Inés Leyba, Eduardo Marengo, Ana Martínez Quijano, Tomás Saraceno, Sven Steudte, Pio Torroja,
Gabriela Urtiaga

Tecnopolis workshop and performance participants

Sabrina Martinez Zunni, Guido Poloni, Sofia Petit de Meurville, Laura Daldin, Laura Nieves, Magdalena Molinari, Analia Laura Palavecino, Yisell Sarasua, Mauricio Florentino, Martín Bonadeo, Pablo La Padula, Maximiliano Bellmann, Mateo Amaral, Hernán Soriano, Alfio Demestre, Mariano Giraud, Daniela Gutierrez. Patricia Saragueta, Erica Bohm, Guadalupe Pardo, Oliverio Duhalde, Santiago Orti, Joaquin Ezcurra, Agustina de Ganay, Guido Ignatti, Tomás Saraceno, Sven Steudte, Mauricio Corbalán


If you would like to experiment with the Aeroglyphs created in Jujuy, you can find them liked below and feel free to download them. You only need Google Earth soft installed on your computer, by double-clicking file, the balloon’s trajectory will open.

This project was possible thanks to the support of

Centro Cultural Kirchner