★★★★☆
If we were to name the twisting language of the contemporary art world we might call it Serpentine, after the twin galleries in Kensington Gardens that speak such fluent jargon. There’s plenty of it here: “situated and embodied form of knowledge”, “looking to bioindicators”, “investigates planetary mobility and ethics” and so on. Serpentine-speak aside, Tomás Saraceno in Collaboration: Web(s) of Life is a barmily charming and often beautiful exhibition from the Argentine artist.
The “collaborators” in Saraceno’s Web(s) of Life are what the Serpentine calls “non-human species” and what normies might call birds, beasts and other relatives. In the first room we meet Bolle Pierre Tadios, a spider diviner from Somié in Cameroon. He consults the ngam dù, a spider that lives in the
