Encuentro Salinas Grandes 2023 – CONFERENCIA DE PRENSA

CONFERENCIA DE PRENSA

En el marco del encuentro en San Salvador de Jujuy y la cuenca de Salinas Grandes y laguna Guayatayoc, las Comunidades indígenas de Salinas Grandes y Laguna Guayatayoc, el Colectivo de Acción por la Justicia Ecosocial y la comunidad internacional Aerocene convocan a una conferencia de prensa el día 13 de enero de 2023 a las 11:30 hs. en el salón en Unión de trabajadores del Turismo Hoteleros y Gastronómicos (UTHGRA), seccional Jujuy, ubicado en calle Benito Bárcena 676 de San Salvador de Jujuy.

Este encuentro marca la continuación de una relación de muchos años entre la comunidad de investigación y artivismo ambiental Aerocene, fundada en 2015 por el artista Tomás Saraceno, y las Comunidades indígenas de Salinas Grandes y Laguna de Guayatayoc. En enero de 2020, la escultura aerosolar Aerocene Pacha se elevó en las Salinas Grandes, permitiendo a su pilota, Leticia Noemi Marqués, flotar libremente, sin uso de combustibles fósiles, ni helio o litio, convirtiéndose en el vuelo más sostenible de la historia de la humanidad y estableciendo 32 récords mundiales reconocidos por la FAI. El globo  elevado ese día llevaba el mensaje propuesto por las comunidades “El agua y la vida valen más que el litio”. El proyecto Fly with Aerocene Pacha contó con el apoyo del grupo de música BTS, curado por DaeHyung Lee.

En esta oportunidad el equipo de Aerocene viajará junto a representantes del Colectivo de Acción por la Justicia Ecosocial (CAJE), entre ellxs Maristella Svampa, Enrique Viale, Gastón Chillier, Melisa Argento y Alejo Di Risio, así cómo también la abogada Alicia Chalabe, Bruno Fornillo del grupo de estudios en Geopolítica y Bienes Comunes, representantes de la Fundación Ambiente y Recursos Naturales, la curadora Inés Katzenstein, y las escritoras y ambientalistas Claudia Aboaf, Gabriela Cabezón Cámara y Graciela Speranza.

Entre el 14 y 16 de enero se desarrollarán talleres y grupos de trabajo junto con las comunidades en Alfarcito (declarado sitio de patrimonio histórico y cultural), de Salinas Grandes, cuyo objetivo es debatir sobre los escenarios regionales y globales de la transición energética, así como sobre los impactos e injusticias socioambientales de la minería de litio y la organización de las Comunidades indígenas de Salinas Grandes y Laguna Guayatayoc. Los talleres requieren inscripción previa. Si desea participar, póngase en contacto con nosotros a través de la página de contacto.

En conjunto con una agenda de actividades que incluyen la realización de talleres de trabajo en torno a las claves urgentes para la Transición Ecosocial justa desde el Sur global y la centralidad de los Derechos de Naturaleza en la defensa de la cuenca de Salinas Grandes y Laguna Guayatayoc, se presentará el primer corto de Pacha (Dir: Tomás Saraceno y Maximiliano Laina, Argentina/Alemania, 2020), una película sin fin que seguirá siendo expandida y modificada en diálogo contínuo con las comunidades, la cambiante situación en las Salinas Grandes, y la evolución de estrategias locales y globales ante la crisis ambiental, presentándose un nuevo corte en junio 2023 en Serpentine, Londres.

Estamos en tiempo de descuento. De cara al agravamiento de la crisis climática y la urgencia de encarar la transición energética, nuestro primer mensaje es: No queremos ser más zona de sacrificio. Necesitamos hacer la transición, pero no podemos aceptar cualquier transición energética, como la que quieren imponer actualmente a los pueblos del Sur, a través de la minería del litio, que amplifica las desigualdades sociales, étnicas y ambientales. Debemos escuchar las voces de los territorios, en la defensa del agua, salares y nuestros bienes comunes.

CRONOGRAMA

Viernes 13 de enero

Conferencia de Prensa

Hora: 11:30 hs.

Ubicación: Salón en Unión de trabajadores del Turismo Hoteleros y Gastronómicos (UTHGRA), seccional Jujuy, ubicado en calle Benito Bárcena 676 de San Salvador de Jujuy.

 

Sábado 14 de enero

Ubicación: Comunidad Alfarcito

10:00 – Taller 1 – Estrategias legales y visibilización de los derechos de las Salinas Grandes

13:00 – Almuerzo

15:00 –  Talleres prácticos para generar estrategias, imágenes y mensajes para la visibilización de la lucha en defensa de las Salinas Grandes.

19:00 – Proyección de Pacha.

Domingo 15 de enero

Ubicación: Comunidad Alfarcito

10:00 – Taller 2: Cómo dar visibilización a la lucha de las comunidades ante la transición energética y el aumento de la extracción de litio – varios casos

13:00 – Almuerzo

15:00 –  Talleres prácticos para generar intercambios, imágenes y mensajes para la visibilización de la lucha en defensa de las Salinas Grandes.

Frontignano Art Walks, Italia

Il 15 ottobre Aerocene si è alzata in volo a Frontignano, una piccola frazione del comune di Ussita, in provincia di Macerata.

Situata nel cuore del Parco Nazionale dei Monti Sibillini, la cittadina è tristemente nota per essere stata uno degli epicentri dei terremoti del 2016: un evento, quello sismico, che ha messo in ginocchio la città, danneggiandola in modo sostanziale e decimando al contempo il numero di turisti che ogni inverno affollavano queste zone per le attività sciistiche.

L’evento si proponeva di riflettere sul significato e sulle possibilità degli “altipiani”, di ripensare le montagne e di come viverle in modo autentico e non invasivo. cittadina è tristemente nota per essere stata uno degli epicentri dei terremoti del 2016: un evento, quello sismico, che ha messo in ginocchio la città, danneggiandola in modo sostanziale e decimando al contempo il numero di turisti che ogni inverno affollavano queste zone per le attività sciistiche.

La scultura Aerocene ha volato attraverso lo splendido scenario e, in assenza di vento, si è alzata lentamente sopra l’orizzonte, mentre un pubblico attento seguiva i suoi movimenti ondulatori.

Sineglossa (@sineglossa_), C.A.S.A. (@portodimontagna), orizzontale (@orizzontale_architecture), BAM! Strategie Culturali (@bamstracult) e Go World (@goworld_touroperator).

Museo Aero Solar Intiñan – COP20, Lima, Perú

We can become aerosolar

By Pablo Suarez, Ph.D.
Innovation Lead
Red Cross Red Crescent Climate Centre

On Sunday, December 7, 2014, Museo Aero Solar Intiñán became lighter than air and lifted off the ground, in the context of the annual UN Climate Conference in Lima -COP20. The event included former heads of state, national ministers, and leaders of development organizations from all continents. No need for helium or a burning flame feeding off fossil fuels: Just sunlight and the flame of motivated volunteers.

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Under Tomás’ vision and guidance, a team of local volunteers set to work, including artists, students and Red Cross youth, as well as grandmothers and children from the slums near Parque Wiracocha. They collectively constructed a Museo Aero Solar: a large, lighter-than-air sculpture made of plastic bags that would otherwise be trash, engaging people across generations. Named “Intiñán” (a Quechua word meaning “way of the sun”), the sculpture aimed to harness the sun’s power to make our thinking and action take flight.

 

While Museo Aero Solar Intiñán was absorbing the sun’s power before it took flight, many participants decided to experience the magic. People in suits and neckties removed their shoes and crawled into this cathedral of light made of simple plastic bags. An artistic vision was uniting Lima’s shanty town dwellers with Nobel-prize-winning scientists, Bangladeshi community organizers, TV crews, European donors and Ugandan disaster managers, all bonding and reigniting their commitment to a better world while looking up to the luminous world of possibilities from inside the incomprehensibly beautiful sculpture.

I imagine what Pablo must have gone through, to get bureaucratic sign-off on this. No metric of success. No Theory of Change. Him, fighting tooth and nail for a large and hugely risk-averse organization to trust, falls into the arms of a community, an artist, a facilitator, and a game maker. And they did. And it changed the entire event. People in suits crawling into this cathedral made of plastic bags, each individually cut and added with love to the whole. A pile of fancy shoes outside the entrance, like a ballroom bouncy castle. People’s unabashed joy watching art some of them had made into a room, and then lift off to become a transport

Willow Brugh
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Intiñán incarnated what our world needs: We can become aerosolar. We can mobilize the power of humanity, embracing science and art to rekindle our relationship with the world. The beauty, the sheer joy, and the deep inspiration that emerged from embarking on Tomás’ aerosolar ideas were magnificently uplifting. His invitation to an artistic experimental performance was an innovative, seriously fun endeavour that compelled us to re-imagine the world and its possibilities.

Hosted by Development & Climate Days, 2014: Zero poverty, Zero emissions, Within a generation.

With:

Studio Tomás Saraceno

Red Cross Red Crescent Climate Centre

Overseas Development Institute

American Red Cross

Peruvian Red Cross

Pablo Suarez, Carlos Pedreros, Willow Brugh, Helga Elsner Torres, Ramiro Espinoza Wong, Frances Munar Aparicio and many more!

Aerocene at the Grand Palais – COP21, Paris, France

During the end of 2015, “Aerocene – Around the world to change the world”, an open project by Tomás Saraceno was presented at Grand Palais and Palais de Tokyo during the United Nations Climate Change Conference COP21. In the week spanning December 4 – 11 visitors to at Grand Palais in Paris, France, were able to admire the gigantic Aerocene sculptural installation, floating above the COP21 main conference venue.

The material realization was surpassed by the message it bore: Its aesthetic form followed a both utopian and real idea of open source force of movement. Inflated by the air, lifted by the sun, carried by the wind, the Aerocene project questions and seeks answers to our current and troublesome dependency on fossil and hydrocarbon fuels and pollution – the topics that place Aerocene at the core of the United Nations Climate Change Conference COP21 topical framework.

Around the world to change the world

Photography by Studio Tomás Saraceno, © 2015
Photography by Studio Tomás Saraceno, © 2015
Photography by Studio Tomás Saraceno, © 2015
Photography by Studio Tomás Saraceno, © 2015
Photography by Studio Tomás Saraceno, © 2015

In a world divided by geopolitics, Aerocene calls for participation and do-it-together actions. Crossing the frontiers between art, science and education, it becomes a visionary and open platform of shared knowledge. Thus it seeks for the deep understanding of our planet and all its physical, natural and social entanglements in order to project new ways of how we can move, dwell and be-together here on Earth.

For COP21 Paris, the artist presented the first Aerocene prototype at Grand Palais that will be able to circumnavigate the earth many times. At Palais de Tokyo, a symposium and a demonstrative workshop was organized, and a series of actions and collective performances, based on open-source collaborative principles, took place. Conformed participants of three panels’ event included Leila W. Kinney (MIT CAST), Marion Ackermann (Kunstsammlung NRW, K21 Düsseldorf), Oliver Morton (The Economist), Bronislaw Szerszynski (Lancaster University) and others.

Aerocene is an extraordinary work of art that is at once a sketch of a cutting-edge scientific laboratory for the environment, a technical and collaborative challenge and a committed work of art. The objective of this ambitious project, imagined by the Argentine artist Tomas Saraceno, is to float in the stratosphere, between planes and satellites, an open data climate watch, providing data and images in real time. To achieve this, the artist has imagined an innovative machine capable of carrying out "the longest thermodynamic flight" around the world, i.e. relying solely on the heat of the sun (without solar panels), the earth's infrared and natural physical processes. This sculptural "science fiction" will be presented in prototype form in the nave of the Grand Palais. At the same time, a symposium and workshop will be held at the Palais de Tokyo on the circulation of energy and its "poetic, ethical and political" implications.

LeMonde.fr

Aerocene at Nextones Festival in Italy

On July 27th and 28th Aerocene community member Lorenzo Malloni carried out a 2-day workshop: 26 Steps to be On Air during the Nextones Festival in the Val d’ Ossola, Italy.

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Using inexpensive Do-It-Together techniques, the workshop’s twelve participants built two enourmous Tetro Aerosolar sculptures, that were later flown to excellent conditions. About the recent workshop, Lorenzo recalls: “We strictly followed the Aerocene sculpture construction method, including corner reinforcements and an inflation opening with velcro stripes”.

On the third day the participants were able to fly the sculptures collectively built. During the first half hour the wind was very low providing almost ideal conditions, and the sculptures took only five minutes to become buoyant. In Lorenzo’s words: “The alpine air was fresh and chill and the summer sun did the rest”.

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Aerocene seeks to change how people relate to the world in environmental, social, and political terms. To build, and to design the sculpture is to engage participants in practices of thinking-through-making and collaborative action, triggering imagination and creativity, and spreading knowledge about solar balloon flights, thermodynamic physics, meteorological science and art practices through a multidisciplinary approach.⁠

Nextones project for “A Theatre of Stone in Nature” stands out as an example of architectural and landscape design which draws on the natural context and the industrial archeology of the location, thus ensuring the continuation of a narrative and enabling future generations to actively experience these spaces and also to contribute to their transformation.

Picture credits: Piercarlo Quecchia / DSL Studio

Museo Aerosolar Cátedra Goldenstein – FADU UBA

El Museo Aerosolar es una construcción espacial efímera que promueve un estado de conciencia a favor del cuidado del medio ambiente al utilizar energía natural y bolsas de plástico recicladas como material de proyecto.

Iniciado en conversaciones entre Tomás Saraceno y Alberto Pesavento en 2007, el Museo Aero Solar se desarrolla en el espacio formado entre participantes humanos y no humanos en los simples actos de cooperación y reutilización de bolsas de plástico para producir colectivamente una escultura aerosolar, capaz de moverse en el aire, utilizando sólo la energía del Sol.

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El MAS gira la mirada hacia el aeroceno: una nueva era geológica centrada en el cuidado de la atmósfera. Es una invitación a cambiar nuestras actitudes más dañinas hacia el planeta y de promover una sensibilidad ecológica con la posibilidad de futuros más limpios.

En el 2013 por invitación del área de educación del Parque de la Memoria, el MAS fue realizado con la cátedra Goldenstein -Proyectual (CBC FADU UBA)- por primera vez. Desde entonces cada año se realiza una nueva construcción con cientos de estudiantes trabajando unidos en un solo equipo.

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Agradecemos especialmente a Joaquín Ezcurra y Carlos Almeida de la comunidad Aerocene por compartirnos sus conocimientos para ampliar los límites de esta maravillosa experiencia y a nuestros queridxs Paulina Gramón Vidal y Felipe Ramírez Vilches por las bellas fotografías y el video.

Aerocene Arcosanti with Joseph Becker and TSOA

On March 4th, 5th, and 6th, 2022, a group of students from The School of Architecture at Arcosanti flew an Aerocene Sculpture, as part of Professor Joseph Becker’s workshop “RAD/PED,” a three-day exploration of radical pedagogies.

Following the guides included in the Aerocene Backpack atmospheric exploration kit, the team launched an Aerocene sculpture from the spectacular roof of Arcosanti in Arizona, which was able to get aerosolar lift in very cold air. Embracing the do-it-together ethos of the Aerocene, the students also built and launched their own Museo Aero Solar Tetro sculpture out of a thin recycled-plastic drop cloth and plastic bags.

Arcosanti is an experimental town in the high desert of Arizona founded by Italian-American architect Paolo Soleri. Envisioned as an experiment in living frugally and with a limited environmental footprint, Arcosanti is an attempt at a prototype arcology, integrating the design of architecture with respect to ecology.

In dialog with the Aerocene Community, Professor Joseph Becker, who is the Associate Curator of Architecture and Design at the San Francisco Museum of Modern Art, expressed: “Cultural revolutions and moments of societal upheaval have contributed to ways of looking beyond the traditional and hierarchical formats of teaching, learning, and making. This workshop examined the circumstances and explores the techniques of a history of radical pedagogy in art and architecture.”

Aerocene at OpenCOP – COP26, Glasgow, Scotland

In late 2021, the Aerocene community was invited to take part of OpenCOP, a unique co-created virtual conference that facilitated exploration, broader ecological awareness, and collective solidarities. Initiated by Forum for Earth, OpenCOP was carried out in parallel to COP26 UN Climate Change Conference that took place in Glasgow, Scotland, from November 10th to 12th, 2021.

Over a 50-hour period, discussions and performances were live-streamed, alongside videos, digital art, and projects, accessible through the state of the art Sparkle online platform, bridging projects and voices beyond those present in Glasgow to the adjacent potential of decentralized and inclusive futures

The Aerocene community set up a virtual space within the OpenCOP Imaginarium Space. The Aerocene online space at OpenCOP allowed visitors to participate on an online screening room broadcasting the Aerocene Pacha Flights live transmission, interact with the online Aerocene App and Float Predictor, and chat through video-link with other participants.

OpenCOP brought together an emerging intergenerational solidarity of earth stewards from every discipline and bio-region around the world who poured their skills, knowledge, and passions into weaving healthier, more inclusive futures, bridging their work around local and global sustainability and regeneration projects.

Activists, system hackers, thought-leaders and organizations came together to co-create this online collective envisioning and sensemaking space. You can re-live all the conversations held at OpenCOP via Forum for Earth website.

Museo Aerosolar Reconquista

Story and impressions of the work process

By Carlos Almeida

At a time when our society is hurt and divided, the mottos: Work free from social and human borders and take advantage of the energy generated by community work, were good guides for the incubation of Museo Aero Solar “Reconquista”.

With these objectives in mind, a group of puppeteers and visual artists gathered in the academic space “Inflatable Laboratory”, decided to invite social groups that for some reason were exposed to different situations of social vulnerability to join the project.

We chose to express ourselves from what is usually considered as waste, from what is despised, from what does not manifest at first sight the possibility of becoming an artistic object.

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Perhaps those who contributed most to making the construction of this great sculpture possible were precisely the people and groups in the most vulnerable situations.

Most of the bags that make up the Museo were rescued from the waste that arrives from Buenos Aires to the Bella Flor urban recycling cooperative, which is located in the town of José León Suárez, Buenos Aires. This highly contaminated and vulnerable region is called “Reconquista River Zone”, hence the name of our Museo.

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In the same area of Reconquista River, very close to the facilities of Bella Flor Cooperative, is the North Penitentiary Complex, where the San Martín University Centre (CUSAM) is located. The CUSAM is a university centre dependent on UNSAM, where prisoners and prison guards can study together in an unprecedented experience. Women and men.

These two spaces, where daily life is very difficult to face, were the epicentres of the construction of the “Reconquista”. Approximately two hundred people have worked on the construction of the Museo:

  • Workers from the Bella Flor Urban Recycling Cooperative
  • Students deprived of their ambulatory freedom who are part of the CUSAM community
  • Teachers, students, graduates and management staff of the UNSAM Institute of Arts
  • Professors and students of the Institute of Architecture and Urbanism UNSAM
  • Teachers and young students from secondary schools in the area
  • People who independently joined the initiative by contributing bags
  • Recyclers, puppeteers, sociologists, anthropologists, circus artists, dancers, documentary makers, technicians, visual artists, philosophers, architects and enthusiastic people who joined.
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We set out to build an Aero Solar Museo from the slogans generously shared by Tomás Saraceno and his team on Aerocene’s website. We set the objective of making the big sculpture by previously building a 300 square meter sheet, equivalent to a 10 x 30 meter rectangle, with bags or material that had already had some kind of previous use.

More than half of the material that makes up the Museo Reconquista was rescued from the mountains of rubbish that circulates daily in the facilities of the Bella Flor urban recycling cooperative. We also appealed to friends and family who would like to donate bags. We detected in our community that in general young people and teenagers do not usually keep plastic bags in their homes, it was easier to receive them thanks to the contribution of older people.

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It is important to highlight that the workers of the Bella Flor Cooperative dedicated a lot of time, effort and joy in the recovery of bags for this purpose and they selected them thinking about the colours and formats that were most attractive to them for the construction of the Museo. After that enormous work they also spent several days cleaning and gluing bags.

Two special mentions are due to the plant coordinator Nora Rodríguez, who proposed the name “Reconquista” and considered that one of the activities to be carried out by the work cooperative was artistic production, because both she and her team had a lot to express from that place. The other special mention goes to Ernesto “Lalo” Paret, a great territorial articulator who understands and promotes expression through art in the processes of social reconstruction.

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At this point it is important to mention the other driving idea of the project: The small, the oppressed, the individually and socially depressed can be transformed and generate a sense of expansion when they manage to take AIR in a communitarian way. We like the metaphor of the flattened Museo when it is placed on the floor before being set up, in relation to the air-filled, expanded, vital and moving Museo.

In order to make the 300 square metre sheet more concrete, we proposed to build, with each group that participated, sheets of approximately 50 square metres. Each day of work lasted approximately three hours and ended with a game of raising the newly constructed sheet of paper between all of us, bagging air and, when we came down, building a “bubble” where we all stayed inside and there… we sang, said poetry to each other, laughed and played freely.

Both the finished Museo and these previous instances of play are spaces of ephemeral habitability, meeting atmospheres, spheres of air.

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Another slogan that crossed the construction process was that the participants had the possibility of writing, drawing and intervening in the sheets as they wished, expressing what they wanted, in absolute freedom, without any slogans and without any limits. This experience had its most impressive point in the CUSAM where the students deprived of their ambulatory freedom used the possibility of expressing themselves by writing on the plastic with extreme dedication, care and depth.

As the sheets were being built and reached our work base on the UNSAM Campus, the team of puppeteers and visual artists from the Inflatable Laboratory chair brought them together, trying to build a logic in the combination of colours, textures and written interventions.

The whole assembly process was guided by two models, one folded with the final shape of the tetrahedron and the other with the open rectangle and the possibility of observing it from both sides, which guided us to the position where each sheet could be placed.

These objects were very useful to explain to the people who joined the project what the final shape of the object we were building was going to be and it was also useful for the folding and final assembly stage.

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The first assembly of the Museo was carried out inside a large circus tent that the University has on its Campus. We enjoyed living in and observing this wonderful and enormous object. That day, a cultural anthropology class was held inside the Museo and then we made the object independent from the air entry point so that the puppeteers could manipulate it from inside by means of some threads tied to the internal vertices and generate movements through the space. The object took on a life of its own… It was an incredible experience. That moment was very well recorded by Joaquín from Aerocene Argentina.

The first public and open-air installation was carried out in an open space on the Campus as part of the First International Congress of Art and Science “The Skies” organised by UNSAM. The following stagings took place on a rugby field located inside the prison complex, in a shed where the Museo was converted into a classroom for a philosophy class, and in other sectors of the Campus where it was set up for repairs.

The Museo Aero Solar Reconquista is a collectively owned object that will continue to receive the written interventions that the people who observe it or live in it wish to make and will remain available to the whole community to be mounted wherever a team of people has the desire to do so.

We know that a moment will come when the fragile material that makes up the object and requires permanent repairs will have already completed its life cycle. At that moment we will make a final survey of everything written and drawn on it and surely in some singular ceremony it will be given back to the Bella Flor Cooperative to enter a recycling process. It sounds sad… but we know that this material, added to the work of so many people, has allowed us to recycle and expand our emotions and our minds.

We thank Tomás Saraceno, Joaquín Ezcurra, Maxi Laina, Dalia Maini, Sasha Engelmann and all the aeronauts who through this open source initiative have inspired us and allowed us to go through some moments of our lives with a little less “gravity”.

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Project General Coordination
Carlos Almeida

Aerocene Argentina Coordination
Joaquín Ezcurra

UNSAM Territorial Coordination
Ernesto “Lalo” Paret

Bella Flor Cooperative Coordinator
Nora Rodríguez

CUSAM Diploma in Art and Management Coordinator
Marcos Perearnau

Artistic and technical management advisors
Camila Almeida
Nehuen Serpa

Inflatable Laboratory 2019 of the IAMK: Team responsible for the assembly and mounting of the Museo Aero Solar “Reconquista/Arte”.
Manuel Gómez
Rocío García
Carla Guerra
Lorena Fiorence
Gabriela Longo
Fernando Orecchio
Maria Paula Company
Daniel Pagnota
Laura Gómez Pescuma
Walter Dantes

Bella Flor Cooperative Workers
Daiana Recalde
Griselda Taborda
Silvia Sánchez
Alcira Sánchez

Centro Universitario San Martín (CUSAM) Teachers and students
María Laura Compañía (Teacher)
Juan Perea Pons
Chaparro Acosta
Pablo Sánchez
Arce Rolón
Iván Coronel
Diego Armóa
Jonatan Martínez Gómez
Brian Matínez
Alejandro Vertoti
Gayoso Martínez
Leonel Malinovsky
Guillermo Martínez
Ángel Silva
Damián Vallejos
Luis Varas
Víctor Vivas Molina
Acevedo Gómez
Silvana Ortiz Casco
Macarena Sosa
Rodrigo Altamirano

IAMK Cultural Anthropology Department students
Paola Rojas
Tamara Prusak
Manuel Arias
Lucía Beatriz Chávez Mérida
María Paula Chalita
María Micaela Chirinos
Sariah Micaela Fernandes
Germán Alejo Haro
Victoria Marecos
Laura Medina
Monserrat Morlans
Jefferson Queipo

IAMK Teachers and management staff
Carolina Scaglione
Micaela Almeida
Florencia Petersen
Mercedes Lozano
Axel Lázari
Patricia Galletti

UNSAM Territorial Articulation Area Team
Nancy Salvatierra
Cecilia Lemandi
Gisela Bustos

Institute of Architecture and Urbanism of UNSAM professors and students
Sebastián Vela (Professor)
Matías Lien Benitez (Professor)
Juan Pablo Berbery (Professor)
Flavio Adrián Becerro (Professor)
Sebastian Alfieri
Geronimo Alvarez
Agustin Tomás Antolini
Daniela Aramayo
Maximiliano Armando
Jose Balbuena
Micaela Bazzano
Ignacio Begue
Gianluca Biaggetti
Keila Blackal
Carmen Elisa Bordon
Tamara Capornio
Yamila Carrazco
Lucas Castillo
Lautaro Celada
Elias Cena
Vanina Chaparro
Lautaro Ciongo Pasotti
Tobias Costa
Alejandra Cubides
Ignacio Evangelista
Morena Rene Federico
Diego Fernandez
Ivan Fernandez
Abril Gamarra
Federico Garcia Beres
Sol Giraudo
Mayra Romina Gomez
Juan Franco Gomez
Josefina Gonzalez
Juan Manuel Grasso
Magali Ariana Kalenok
Juan Ignacio Konradi Proto
Sebastian Konradi Proto
Juan Ignacio Konradi Proto
Daniela Kunschek
Santiago Lamela
Jimena Ledesma
Yair Leon
Gonzalo Luciani
Adriana Luy Martinez
Marina Mariscal
Agustina Martinez
Agustina Mitjans
Nicole Monpelat
Nazareno Monti
Natalia Morboso Pipparola
Micaela Morin
Nicole Moya
Maria Ojeda
Facundo Paniagua
Gonzalo Parada
Agustina Pastor
Martina Pavone
Sara Peña Monroy
Maria Belen Perez Gaitan
Gonzalo Pernicone
Tomas Piragine
Gonzalo Pombo
Nazarena Prada
Delfina Prebisch
Agustina Presas
Tomas Ramirez
Mario Jeronimo Rodriguez
Tomas Rodriguez Das Neves
Aylen Rubin
Eric Ruiz
Antonella Rocio Saccomanno
Camila Scaldafferro
Milagros Simon
Agostina Sisca
Matias Spitzer
Patricio Tamborenea
Ornella Tantino
John Tibaquira
Tamara Tjoruk
Tomas Turner
Cecilia Ureta
Silvia Vallejos
Nayla Villalba
Lautaro Villalba
Fernando Lautaro Villalba
Edgardo Villanueva
Liz Viveros
Nadia Von Schey
Mariano Willems
Matias Leonel Zotto

Philosophy, School of Humanities UNSAM Professor and students
Santiago González Cáseres (Professor)
Carlos Dario Romero
Damaris Vanag
Melanie Llarin
Ramon Mujica
Cristian Pampin

Rogelio Yrurtia School of Artistic Education Teachers and adolescent students
María Clara Gabor (Teacher)
Andrea Daleoso (Teacher)
Jimena Sánchez (Teacher)
Mónica Villaverde (Teacher)
Veruscka Chuan (Teacher)
Eva Giulia Ayala
Sofia Buldrini
Sofia Chiara Cammarano
Luciana Macchi Defeo
Violeta De la Fuente
Micaela Nicole Karo
José Maria Martinez Didolich
Martín Lisandro Moreno
Sophia Brigitte Quiroga Grosso
Maite Quiroga Tevez
Florencia Ricci
Vicente Gala Rodriguez
Luna Sandonato
Manuela Seoane García
Milena Maria Vivaldi
Aylin Amén
Laura Melanie Sabrina Bautista
Ariadna Calabró Villarreal
Carla Cámera
Agustina Carullo
Joaquin Casas
Lara Chacur
Haret Coronado
Ivon Condori
Ema Correa
Lauro Divito
Ema Falcón
Clara Fernandez
Rocío Gómez Fernández
Franco Guzmán Mamani
Barrios Agustín López
Lourdes López
Angely Mamani Sillero
Malena Ramos
Eneas Rodriguez
Ramiro Sarno
Lourdes Orkonina

Secondary School 31 of San Martín teacher and students
Analía Lozana (Teacher)
Nicolás Aquino
Benjamín Cabrera
Walter Mena
Tiziano Pereyra
Esquivel Milagros

Other anonymous people, friends and relatives of ours, who participated in the MAS by donating
plastic bags for its construction.

Teacher in charge of the Inflatable Laboratory
Carlos Almeida

Dean of IAMK
Laura Malosetti Costa
Rector of UNSAM
Carlos Greco

ARIA Days | Florence, Italy, 2020

On the occasion of the exhibition Tomás Saraceno. Aria 

in Florence, Palazzo Strozzi, the collaboration between Aerocene Foundation, Fondazione Palazzo Strozzi and Manifattura Tabacchi led to the take-off of ARIA Days.

 

Over three days, Friday 11 to Sunday 13 September 2020, Aerocene sculptures elevated in the air of Florence, imagining how to move and travel without the need for fossil fuels: a symbol of a new age for the planet, the era of the Air.

Becoming buoyant only with the heat of the sun, the aerosolar sculptures rose above Piazza dell’Orologio at Manifattura Tabacchi thanks to the collaboration of a volunteer group trained by Aerocene Foundation.

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In the words of Martino Margheri, Aerocene Pilot, Education Coordinator at Fondazione Palazzo Strozzi and organizer of Aerocene activities in Florence:

“We had such a great experience in Florence during ARIA Days at Manifattura Tabacchi.

Since the workshop with the representatives of Aerocene Foundation, Alice Lamperti, Lorenzo Malloni and Joaquin Ezcurra in July, we really enjoyed working altogether and delve ourselves into the community attitude of Aerocene endeavours and share with a broader public a new engagement with the air and the atmosphere.

During the Aerocene Pilot Course, we have been able to deliver a powerful message to the Florentine community, as many people participated and asked about organizing further Aerocene events in the upcoming months.

Around 200 people launched the aerosolar sculptures enclosed in the Aerocene Backpacks and more than 1000 people attended the events of ARIA Days, uplifted by the mesmerizing flying sculptures.”

A group of 12 volunteers, Aerosolar Pilots officially trained by Aerocene Foundation’s coordinators Alice Lamperti and Lorenzo Malloni, worked side by side with Palazzo Strozzi’s team to engage with the audience and show a different way for flying, sharing with enthusiasm the possible futures to come within the Aerocene era.

During the workshop open to the public, the on-site team had to deal with a sunny but windy weekend: in order to have full control of the sculpture and guarantee safe flights for the pilots and the number of visitors in the courtyard of Manifattura Tabacchi, they all flew, together, one sculpture at the time, following the rhythms of the winds and the will of the atmosphere. 

The Pilot Course for the volunteers promoted by Aerocene Foundation in collaboration with Fondazione Palazzo Strozzi was set up as an interdisciplinary workshop, a laboratory to sense di air differently.

The first approach with an Aerosolar Sculpture can be extremely powerful both in terms of our physical engagement with it, both concerning its connection with the invisible natural forces we live among – such as the air, the winds and the energy of the sun. Elements that in our daily routine may end up unnoticed in the majority of cases, especially in a city like Florence, an environment with a solid history of human-centric vision as the cradle of Humanism and the Renaissance. 

Aerocene wants to inspire a different perspective, where the environment abandons its role of sole scenography, but becomes the protagonist, with all its elemental energies: to foster a shift in consciousness, rethinking what the futures to come could inaugurate a new Renaissance – Aerocene, an era for the Air, towards the independence from fossil-fuels based mobility.

If we think about the aerial perspective, whose studies were initiated in the very city of Florence by Leonardo da Vinci, it is based on the discovery that air is not an entirely transparent medium. According to Leonardo’s optical studies, moreover, the air is denser («una aria grossa più che le altre» – one air thicker than the others) the closer it is to the ground, while it becomes more transparent with height. 

With the Aerocene workshop in Florence during ARIA Days, the aim was to trigger the volunteers and the public’ sensitivity towards the atmosphere and the planet, detaching from the ground to have a tangible view of the ocean of air at the bottom of which we all live. 

The Pilot Course is based on learning how to launch an aerosolar sculpture in the air and the safety procedures that come with this action. The Aerocene Pilot Course is an entrance into the praxis of becoming aerosolar; attuning to the weather, collaboratively energising and activating the lift and drift of aerosolar sculptures in alignment with the Sun and winds, and drawing aeroglyphs with the air. A thinking-through-making activity, the Pilot Courses seek to open up the thermodynamic imagination through the boundless potential of energies, both elemental and of collaboration.

Every aerosolar sculpture, while on air, can be equipped with the SensAIR, the sensing kit enclosed in the Aerocene Backpack, a tool for perceiving and measuring atmospheric properties collaboratively developed by the Aerocene community. 

 

Contained within a reused plastic bottle, a Raspberry Pi single-board computer connects to a Raspberry Pi camera, a BME280 pressure/humidity/temperature sensor, a solar battery back, an SD card, and a WLAN stick (USB 2.0). It can also include Motion Trackers and Particulate Matter Sensors.

Prior to list off, the device is attached to the sculpture and enables the gathering of aerial pictures and atmospheric data, such as temperature, humidity and pressure, along with air pollutant measurements.

Fully open-source via the GitHub repository, the SensAIR enables the low-cost, non-intrusive, emissions-free scientific study of airborne matter, and encourages citizen-science approaches to atmospheric investigation.

The motion tracker embedded in the SensAIR is able to record the movements of the floating sculptures, the invisible traces left by it – the Aeroglyphs.

Like handwriting or fingerprints, the swirling trace that follows any Aerocene flight is unique. While eagerly adapting to the ever-changing rivers of the wind, atmospherics laws and weather conditions, aerosolar spheres create signatures in and of the air. In contrast to fuel-powered flights that leave behind visible, straight lines in the sky, the trajectories of an Aerocene float are invisible to the eye.

With every launch, the participants have been able to record the flight trajectories and subsequently, thanks to Joaquin Ezcurra – Aerocene Foundation’s Aerial Data expert – visualize them in digital form. The objective was to understand the basics of the collected data: GPS coordinates, atmospheric pressure and its relation to altitude, and then process this information into an artistic visualization. 

During the workshop, participants have been able to sort and analyze the information collected by the airborne sensing device from scratch, by compiling the source info on a CSV file, through an open-source spreadsheet application. Then, the GPS values have been pasted into a sample KML file through a text editor application, following examples downloaded from Aerocene’s Sky Hole Mark Up repository on GitHub. Later, each KML file has been uploaded into the Google Earth Pro (Free) application for visualization of each aerosolar sculpture’s Aeroglyph.

  Aeroglyph AT 200727, Florence, 2020

Aerial Pictures, SensAIR, Florence, 2020

  Aeroglyph AT 200726, AT 200727, AT 200728, G-Earth view, Florence, 2020

Aerocene Certified Pilots, Class of 2020, ARIA Days, Aerial Pictures, SensAIR, Florence, 2020

Congratulations to all new certified pilots and participants for the amazing collective achievements of ARIA DAYS.

Special thanks to Martino Margheri and Riccardo Lami for the invaluable support and energy invested in making the Aerocene landing in Florence a reality, together with Arturo Galansino Director General Fondazione Palazzo Strozzi and the entire team of Manifattura Tabacchi.

Applause to all volunteers for the enthusiasm and care demonstrated during the workshop! In aerial order: Maria Camilla Palleschi, Sara Gavagni, Marta Lorenzi, Silvia Villafranca, Federica Pascarella, Giampaolo Irtinni, Marianna Di Rosa, Chiara Martini, Mariasole Monaci, Fiamma Batini, Federica Giglio.

Photo Credits: Aerocene launches, 2020, Manifattura Tabacchi, Firenze, as part of exhibition Tomás Saraceno. Aria, Palazzo Strozzi, Firenze. All photos by Giancarlo Barzagli. Licensed under CC BY-SA 4.0 

Video Credits: Alex Torres and Ugo De Berti – UDB Studio Licensed under CC-BY-SA 4.0