Design Art Papers 2025 | No. 13

a three-dimensional spider web. For spiders, the walled- off world of our homes is not a border, and the web they build is an extension of their own nervous system. Among his latest challengeswas to capture and record the sounds of a spider building its web, showing us that the world is full of sounds and thingswe can't perceive, and revealing thatwhat humans perceive and construct belongs only to a limited spectrum accessible to us (representing just one possible mode of perception amongmany). „Much of Saraceno’s work renders visible our interconnectedness with one another and the world and ecosystems in which we exist, and delves into critical and urgent questions about how we coexist with other forms of life, and how technology intersects with the climate [14] .” The personal site-specific intervention, Con(-)Centric Spatialities , was configured in the form of a spatial structure with architectural implications, which contained the transposition of specific images with the evolution of life on Earth, from the vast archive of the Internet, by laser engraving elements on the facets of the building blocks of the structure, bringing together multiple levels of existence and knowledge. Yet, us humans, who both make our homes in the world and are contained in it alike, only know a fraction of what the intelligence of nature, matter, and the ecosystems behold. The two circles drawn on the ground, through the arrangement of the pillars embedded in the ground, which intersect with each other and penetrate the gallery wall at the same time, suggest the structure of the DNA, becoming a kind of imaginative extended archival space. Human DNA cannot be perceived unaltered by that of the many entities withwhich it coexists. It exists in our own bodies, as biologist Richard Dawkins observes – we are all symbiotic colonies of genes [15] . The created penetrable space can be discovered with the viewer's spatial displacement, accessing step by step the visual landmarks that bring science together with archaic or magical levels of circularity or totemic poles. The title of the work thus refers to the center, but a common center, of a world divided by genes and the matter that builds us and transcends us. The chromatic nuance at the time of movement, given by the different colors of the pillars' facets, refers to multiple levels of perception that need to be discovered. Claude Levi-Straus showed us that science is materialized in things, in material objects (talking about the mythology of matter). Logic is also prefigured in nature, and man can be understood outside of his consciousness. In La pensee sauvage , he presents a thought without thinkers and a logic without logicians [16] . This, as Mircea Eliade observes, “means neopositivism and neonominalism, but at the same time it means something more. It means a reabsorption of the human into nature—obviously not a Dionysian or romantic nature, or even Freud's blind, passionate erotic drive, but nature that is dominated by nuclear physics and cybernetics, a nature reduced to its fundamental structures; and these structures are the same both in the cosmic substance and in the human mind [17] .” NOTE / END NOTES [1] Mădălina Brașoveanu, O singurătate destul de zgomotoasă , Editura Idea, Cluj-Napoca, 2022, pp. 244-255 [2] Ferreira Gullar, „Theory of the Non-Object, 1959”, re-published in Marta Dziewanska, Dieter Roelstraete, Abigail Winograd (eds.), The Other Trans-Atlantic. Kinetic and Op Art in Eastern Europe and Latin America , Books N 14, Warsaw, 2017, pp. 321-324 [3] Edward W. Soja, „Thirdspace: Expanding the Scope of the Geographical Imagination”, in Human Geography Today , Polity Press, Cambridge, 1999, pp. 265-269 [4] Mădălina Brașoveanu, op. cit. , pp. 244-255 [5] ***, „Jerzy Bereś”, last accessed on November 26 at URL: https://culture.pl/pl/tworca/jerzy- beres [6] Ibidem [7] Ibidem [8] Ibidem [9] ***, „Wladyslaw Hasior och Jerzy Bereś Av Jerzy Bereś, Wladyslaw Hasior”, interview given by Jerzy Bereś in 1972 in Sweden, digitized by Anneli Karlsson, Södertälje Konsthalls Archive, last accessed on November 26 at URL: https://www.sodertaljekonsthall.se/exhibitions/wladyslaw- hasior-och-jerzy-beres/ ***, „Jerzy Bereś (1930-2012)- Sculptor and Actionist. A Student of the Eminent Sculptor Xawery Dunikowski”, CC Maria Pinińska-Bereś and Jerzy Bereś Foundation, 2022, last accessed on November 26 at URL: https://beresfoundation.pl/o-nim/ [10] ***, „Jerzy Bereś”, last accessed on November 26 at URL: https://culture.pl/pl/tworca/jerzy- beres [11] Agata Jakubowska, „Ambiguous Liberation: The Early Works of Maria Pinińska-Bereś”, in Konsthistorisk tidskrift/Journal of Art History , no. 83:2, 2014, pp. 168-182 [12] ***, „Jerzy Bereś (1930-2012)- sculptor and actionist. A student of the eminent sculptor Xawery Dunikowski”, CC Maria Pinińska-Bereś and Jerzy Bereś Foundation, 2022, last accessed on November 26 at URL: https://beresfoundation.pl/o-nim/ [13] Ibidem [14] Klara Kemp-Welch, Antipolitics in Central European Art. Reticence as Dissidence under Post- Totalitarian Rule 1956-1989 , Bloomsbury Publishing, London, 2014, pp. 227-229 [15] ***, „Wladyslaw Hasior och Jerzy Bereś Av Jerzy Bereś, Wladyslaw Hasior”, last accessed on November 26 at URL: https://www.sodertaljekonsthall.se/exhibitions/wladyslaw-hasior-och-jerzy- beres/ [16] Jerzy Hanusek, „O polityczności sztuki Jerzego beresia na tle Politycznym”, in Sztuka i dokumentacja , nr. 16, 2017, p. 64 [17] Edit Sasvári, „Autonómia és kettős beszéd a hatvanas–hetvenes években”, in Edit Sasvári, Sándor Hornyik, Turai Hedvig (coord.), Művészet Magyarországon 1956-1980, Túl a kettősbeszéden , Vince Kiadó, Budapest, 2018, pp. 8-21 335 334 / / / / Caiete de Arte și Design / nr. 13 / 2025 / / / / Publicație a Centrului de Cercetare și Creație în Artele Decorative și Design / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / /