KUB 2017.02  
Adrián Villar Rojas
The Theater of Disappearance
13 | 05 — 27 | 08 | 2017
   

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Adrián Villar Rojas
Mi familia
muerta, 2009
Installation view
2. Bienal
del Fin del Mundo,
Ushuaia
Courtesy of the
artist and Ruth
Benzacar Gallery,
Buenos Aires
© Carla Barbero

 
»Adrián Villar Rojas is presenting The Theater of Disappearance, one of the most impressive and elaborate exhibitions in the KUB history, on the occasion of its 20th anniversary, in the summer.«
Thomas D. Trummer
 

The ground floor provides Adrián Villar Rojas’ exhibition with a completely empty stage. Even the ticket counter has been removed. Colored light streams through the windows. A reproduction of the painting Madonna del Parto (1450–1475) by Piero della Francesca extends across the floor, depicting a pregnant Madonna.

Villar Rojas’ exhibition has already secured its place in the history of Kunsthaus Bregenz. The artist has conceived a passage through human culture from its origins to its apotheosis, transforming Kunsthaus Bregenz into a concrete bunker, in which ultimately the art objects are rescued.

   
 
   
         
 
 
1 Adrián Villar Rojas
Ahora estaré con mi hijo, el asesino de tu herencia, 2011
Argentinischer Pavillon auf der 54. Biennale di Venezia, Venedig
Courtesy of the artist and
Ruth Benzacar
Art Gallery, Buenos Aires
© Oliver C. Haas
2 Adrián Villar Rojas
Return the world, 2012
Weinbergterrassen,
dOCUMENTA (13) Kassel, Germany
Courtesy of the artist,
Marian Goodman
Gallery, New York |
Paris | London, and
kurimanzutto, Mexiko-Stadt
© Jörg Baumann
3 Adrián Villar Rojas
Two Suns, 2015
Marian Goodman
Gallery, New York
Courtesy of the artist and Marian Goodman Gallery, New York
© Jörg Baumann
 
Villar Rojas, born in 1980 in Rosario, Argentina, has become renowned for his site-specific work. At the Bienal del Fin del Mundo 2009 in Patagonia, a lithic whale lay stranded in a forest. For the 2011 Venice Biennale, the artist erected a forest of stone creatures, extending to the ceiling like surreal pillars. He thinks in terms of geological periods, equating prehistoric history and the distant future in his imagery.

The first floor is darkened, flora hanging from its ceiling, the floor space paved in brown marble, the fossils within it meticulously exposed. Is this an ancient place of worship, at the origins of man, or the vaults of his tragic existence?
 
   
 
   
             
   
 
Adrián Villar Rojas
Sick of Goodbyes,
2010 — 2012
Courtesy of the
artist and Ruth
Benzacar Gallery,
Buenos Aires
© Laura Glutzmann
  The second floor is likewise darkened, a copy of Picasso’s Guernica (1937) located in the middle. Villar Rojas adds a bar of fire, flickering along its lower edge. An image of a bearded hunter is displayed adjacent to one of two dinosaurs. An iron basket hangs from the ceiling. Humans exist in the world and, with them, carnage and violence.

The atmosphere changes on the predominantly white upper floor. The legs of Michelangelo’s David (1501—1504) are enthroned on a ramp. Humanity has arrived in Olympus, abandoning Earth, a cyber spider is the last remaining witness to humanity’s disappearance — a post-apocalyptic scenario. Thomas D. Trummer
   
         
         
       
         
Adrián Villar Rojas, 2017
Photo: Rudolf Sagmeister
  Adrián Villar Rojas was born in 1980 in Rosario, Argentinia. He studied at Escuela de Bellas Artes de Rosario and was awarded a grant to Clinica de Artes Visuales in Buenos Aires. Villar Rojas lives and works in Rosario. Rojas? recent solo exhibitions include Rinascimento, Fondazione Sandretto Re Rebaudengo, Turin (2015); Two Suns, Marian Goodman Gallery, New York (2015); Fantasma, Moderna Museet, Stockholm (2015); Films Before Revolution, Museum Haus Konstruktiv, Zürich (2013); and Poems for Earthlings, SAM Art Projects, Jardin des Tuileries, Paris (2011). In 2011 he represented Argentina at the 54th Venice Biennale, in 2012 he participated in dOCUMENTA (13) in Kassel as well as the 2015 Istanbul Biennial. Adrián Villar Rojas has received numerous awards, such as the Sharjah Biennial Prize (2015) from the Sharjah Art Foundation and the Zurich Art Prize (2013) from Museum Haus Konstruktiv.    
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