New Taipei City Art Museum | Tomas Saraceno: Entangled Universe
- 🕷️ Taiwan's first large-scale solo exhibition, artist Tomás Saraceno presents an immersive installation experience for the first time in Taiwan.
- 🌐 Spider and web installations, using natural structures as a medium, explore imaginations of multiple futures.
- ♻️ "Aerocene Museum," composed of recycled materials, embodies sustainable practices.
- 🤝 Co-creation with indigenous communities, showcasing the artist's long-term collaboration with indigenous people of Argentina's Salinas Grandes, centered on ecological and social justice.
- 🔬 Cross-scale perceptual experience, from the microscopic world of spiders to the planetary scale of the atmosphere, feeling the invisible threads connecting all things.
- 🌍 Deep exploration of issues, touching upon contemporary key topics such as the Anthropocene, Capitalocene, climate crisis, and species coexistence.
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General Admission Ticket (includes access to all current exhibitions)
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Exhibition Information
｜Exhibition Dates｜2026.03.21–2026.09.06 ｜Exhibition Venue｜New Taipei City Art Museum Exhibition Halls 6A, 6B ｜Supervisor｜New Taipei City Government ｜Organizer｜New Taipei City Art Museum ｜Sponsor｜Friends of the Museum Association
"Tomás Saraceno: Interwoven"
Tomás Saraceno: Interwoven
"Interwoven" is Tomás Saraceno's first major solo exhibition in Taiwan. The exhibition invites audiences to perceive the world with the "Web of Life," learning from air, spiders, clouds, spores, seeds, dark matter, soot and pollutant particles, and the universe itself. In immersive installations, the structures of spiders and their webs, as well as a "flying museum" composed of recycled materials, become vehicles for imagining multiple futures; at the same time, audiences will also see the results of the artist's long-term collaboration with indigenous communities in the Salinas Grandes of northern Argentina.
This collaboration centers on eco-social justice, learning from ancestral knowledge, and resisting the socio-political and economic structures behind ecological crises and resource exploitation dynamics between the global majority and minority. In this context, "sustainability" is no longer merely an abstract ideal, but a co-existence issue that requires continuous questioning, thinking, and practice.
〈Museo Aero Solar〉 at the Thailand Biennale, Chiang Rai, Thailand, 2023. Photo: Joaquín Ezcurra. Image courtesy of Aerocene Foundation, licensed under CC BY-SA 4.0. Museo Aero Solar at the Thailand Biennale, Chiang Rai, Thailand, 2023. Photo: Joaquín Ezcurra. Courtesy Aerocene, licensed under CC BY-SA 4.0 by Aerocene Foundation.
The environmental movement that emerged in the 1970s carried a strong redemptive tone, viewing "nature" as something to be protected and restored, and attempting to return the world to a pristine state before industrialization. However, entering the 21st century, scholars in humanities and social sciences proposed the concept of the "Anthropocene," pointing out that humans no longer merely affect the environment but have become a geological force changing the Earth. Climate, oceans, land, and life are now tightly interwoven with human history and actions. Therefore, environmental issues have shifted from prevention and remediation to a more fundamental question: when we cannot return to an unpolluted world, how can we coexist with this world and with other life forms?
Some scholars also argue that the contemporary era should be called the "Capitalocene." This concept emphasizes that the current global crisis does not stem from "all humanity," but is closely related to the capitalist system's endless pursuit of profit, growth, and resource extraction—climate change, mass species extinction, and pollution. This critique also challenges the imagination of "pristine nature," pointing out that this view has long overlooked the worldview of indigenous peoples, which is the understanding that humans and nature have never been separate, but have always been interdependent.
〈Fly with Aerocene Pacha〉, 2020. Artwork provided by Aerocene Foundation, the Indigenous Communities of Salinas Grandes and Laguna de Guayatayoc, and neugerriemschneider gallery (Berlin). Image courtesy of Aerocene Foundation, licensed under CC BY-SA 4.0. Fly with Aerocene Pacha, 2020. Courtesy Aerocene, the Indigenous Communities of Salinas Grandes and Laguna de Guayatayoc and neugerriemschneider. Berlin. Licensed under CC BY-SA 4.0 by Aerocene Foundation.
Along the exhibition route, visitors will traverse between microscopic and planetary scales—from the spatial perception abilities of spiders to the thermodynamic movements of the atmosphere—feeling the invisible threads that connect our shared existence. Saraceno proposes a shift in perspective: from a capital-centric understanding to an "Aero(s)cenic" state of perception—a way of viewing centered on the atmosphere and all things interwoven within it (whether biological or non-biological).
The exhibition invites audiences into a relational field, to rethink how we interact with the world, with other life, and with matter itself, through art, sensory experience, and collective imagination. It encourages us to reflect on how every action and "response-ability" shapes the future of the Earth, and guides us to learn from diverse knowledge, moving towards a more just, ecologically conscious, and planet-like interconnected way of coexistence.
Good to know
📌Museum Opening Hours:
▶️Weekdays: 10:00-17:30 ▶️Weekends/Holidays: 10:00-18:00 ▶️Closed every Monday, and from New Year’s Eve to the first day of the Lunar New Year; if Monday falls on a national holiday, the museum will open as usual and close on the following day. ▶️Open as usual during winter/summer vacations, national holidays, and consecutive holidays.
🚗During holidays, the museum can be crowded, and nearby parking lots may be full. To avoid long waits, visitors are encouraged to use public transportation. For parking information, please refer to the museum’s official website (https://ntcart.museum/info#traffic).
📌In case of large crowds, admission control will be implemented. Visitors holding online tickets still need to enter in sequence according to the instructions of on-site staff.
🔔To maintain a good visiting experience and a safe environment, visitors are requested to observe the following guidelines: (https://ntcart.museum/info)
- Please keep quiet when visiting the museum. Set your mobile phone to vibrate or silent mode, and answer calls outside the exhibition area.
- Children under 12 years old must be accompanied by an adult aged 18 or above to enter the museum.
- Please do not touch the exhibits. Maintain a safe distance from the artworks when visiting. For interactive exhibits, please follow the guidance of on-site staff or the instructions provided.
- Eating, drinking, smoking, chewing betel nuts, or chewing gum are not allowed in the exhibition area. Please store water bottles in your personal bag. If you need to drink water, please go to the visitor rest area outside the exhibition hall.
- Please do not bring food, drinks, long-handled umbrellas, flammable or corrosive liquids, sharp instruments, or animals into the museum (except for service dogs); short (folding) umbrellas, water bottles, and small personal items should be placed in your personal bag; plants (including bouquets, fruits, and vegetables) must be checked in. If not retrieved on the same day, the museum will dispose of them. For other items that the museum deems necessary to check in or remove, please follow the guidance of on-site staff.
- Any size of backpack or items exceeding 40x30x20 cm must be checked in. Large luggage exceeding the locker size should be handled at the service desk.
- To protect the exhibits, please do not wear roller skates or use skateboards, bicycles, push-type children's tricycles, etc., inside the museum. Wheelchairs and baby strollers are available for loan at the service desk.
- Please do not enter the museum shirtless, wearing undershirts, indoor slippers, or inappropriate attire.
- To avoid irreversible damage to the exhibits, when sketching or taking notes in the exhibition area, please do not use drawing boards, clipboards, sketchbooks, etc., exceeding 40x30x20 cm. Only pencils are allowed, and pencils are available for loan at the service desk.
- Non-commercial photography is allowed in the museum unless otherwise specified, but flash, tripods, selfie sticks, or handheld stabilizers, and other professional equipment or auxiliary devices are not permitted. To respect the intellectual property rights of creators, please do not photograph video works in the exhibition area.
- Commercial photography (e.g., wedding photos, product catalogs, photography lessons) or other photography that may affect the safety of the venue and the quality of the visit is not allowed in the museum.
- Selling, distributing advertisements, promotional materials, or other commercial, religious, and political propaganda is prohibited in the museum.
- In the event of force majeure (including but not limited to typhoons, earthquakes, heavy rain, and other natural disasters), the museum will prioritize visitor safety and reserves the right to adjust, postpone, or cancel opening hours and related activities. Relevant information will be announced in advance. The museum also reserves the right to modify, change, or terminate activity content.
Refund and Change Policy
- Online tickets are valid only until September 6, 2026. Expired tickets are not eligible for refunds. A 10% handling fee will be charged for refunds. For refunds, please contact Klook customer service.
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Introduction to Tomás Saraceno
Tomás Saraceno (born 1973) is an Argentine-born, Berlin-based artist whose practice is dedicated to creating eco-social, participatory, and installation-based platforms for exchange, carrying and amplifying regenerative forms of knowledge. His work spans different scales and spectra – from the almost inaudible vibrations transmitted along spider silk threads, to the aerostatics of floating sculptures, to the filamentous cosmic web – thereby building bridges of "response-ability," guiding audiences to establish deeper reciprocal relationships and perceptual attunement with other beings in the web of life.
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