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adrián villar rojas

adrián villar rojas

adrián villar rojas

1980, Rosario, Argentina

Adrián Villar Rojas has built his practice across numerous media to create immersive environments and experiences that seem to be in a state of perpetual space-time travel. Evolving over the years towards the design of topography-based, mutant, organic-inorganic systems, he invites viewers to explore an unpredictable microcosmos of his own creation. There, the future, the past, and alternate versions of our own present interact as a constantly changing totality. By way of this world-building, Villar Rojas posits the question: what if we could see and think of ourselves—humanity—from an alien perspective? That is, from a detached, unprejudiced, even amoral perspective? What if we could see and think of ourselves from the edge of our own completed path?

He is the recipient of numerous awards, including the Sharjah Biennial Prize, awarded by the Sharjah Art Foundation (2015); the Zurich Art Prize at the Museum Haus Konstruktiv (2013); the ninth Benesse Prize at the 54th Venice Biennale (2011); the Nuevo Banco de Santa Fe Scholarship for Young Artists (2006); and first prize at the Bahía Blanca Biennial, held at the Contemporary Art Museum of Bahía Blanca, Argentina (2005).

Adrián Villar Rojas lives and works nomadically.

Selected Works

Selected Works Thumbnails
the end of imagination iv, 2024. installation view at fondation beyeler & luma foundation's summer exhibition, 2024

fondation beyeler, riehen/basel, 2024. adrián villar rojas, the end of imagination vi, 2024, live simulations of active digital ecologies, and layered composites of organic, inorganic, human and machine-made matter, courtesy the artist. © adrián villar rojas. photo: stefan bohrer

 

 

the end of imagination iv, 2024. installation view at fondation beyeler & luma foundation's summer exhibition, 2024

fondation beyeler, riehen/basel, 2024. adrián villar rojas, the end of imagination vi, 2024, live simulations of active digital ecologies, and layered composites of organic, inorganic, human and machine-made matter, courtesy the artist. © adrián villar rojas. photo: stefan bohrer

 

 

the end of imagination iv, 2024 (detail). installation view at fondation beyeler & luma foundation's summer exhibition, 2024

fondation beyeler, riehen/basel, 2024. adrián villar rojas, the end of imagination vi, 2024, live simulations of active digital ecologies, and layered composites of organic, inorganic, human and machine-made matter, courtesy the artist. © adrián villar rojas. photo: stefan bohrer

 

 

 

the end of imagination iv, 2024 (detail). installation view at fondation beyeler & luma foundation's summer exhibition, 2024

fondation beyeler, riehen/basel, 2024. adrián villar rojas, the end of imagination vi, 2024, live simulations of active digital ecologies, and layered composites of organic, inorganic, human and machine-made matter, courtesy the artist. © adrián villar rojas. photo: stefan bohrer

 

 

 

the theater of disappearance, 2017

installation view at the geffen contemporary at moca, los angeles, 2017

the theater of disappearance, 2017

installation view at the geffen contemporary at moca, los angeles, 2017

the theater of disappearance, 2017

installation view at the geffen contemporary at moca, los angeles, 2017

 

the theater of disappearance, 2017

installation view at the geffen contemporary at moca, los angeles, 2017

 

from the series the theater of disappearance (xiii), 2017

freezer, organic and inorganic materials

80.71 x 55.12 x 35.04 in.

installation view at the geffen contemporary at moca, los angeles, 2017

from the series the theater of disappearance (xiii), 2017

freezer, organic and inorganic materials

80.71 x 55.12 x 35.04 in.

installation view at the geffen contemporary at moca, los angeles, 2017

the theater of disappearance, 2017

hand-painted reproduction of piero della francesca’s madonna del parto, transparent film on glass walls, mirror-clad column

on site installation

installation view of adrián villar rojas: the theater of disappearance, kunsthaus bregenz, austria, 2017 

 

the theater of disappearance, 2017

hand-painted reproduction of piero della francesca’s madonna del parto, transparent film on glass walls, mirror-clad column

on site installation

installation view of adrián villar rojas: the theater of disappearance, kunsthaus bregenz, austria, 2017 

 

the theater of disappearance, 2017

ivy, coloured lights, recreations of parietal pictographs, pixacao and roman period graffiti, floor tiles and blocks of moroccan marble encrusted with ammonites and orthoceras fossils, fossilized turtle shells, neolithic stone tools, septarian concretions

on site installation

installation view of adrián villar rojas: the theater of disappearance, kunsthaus bregenz, austria, 2017 

 

the theater of disappearance, 2017

ivy, coloured lights, recreations of parietal pictographs, pixacao and roman period graffiti, floor tiles and blocks of moroccan marble encrusted with ammonites and orthoceras fossils, fossilized turtle shells, neolithic stone tools, septarian concretions

on site installation

installation view of adrián villar rojas: the theater of disappearance, kunsthaus bregenz, austria, 2017 

 

the theater of disappearance, 2017
installation view at kunsthaus bregenz, 2017 

 

the theater of disappearance, 2017
installation view at kunsthaus bregenz, 2017 

 

the theater of disappearance, 2017

installation view at kunsthaus bregenz, austria, 2017 

the theater of disappearance, 2017

installation view at kunsthaus bregenz, austria, 2017 

the theater of disappearance, 2017

installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017

installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017

installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017

installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017

installation view at national observatory of athens, hill of the nymphs, 2017

 

the theater of disappearance, 2017

installation view at national observatory of athens, hill of the nymphs, 2017

 

the theater of disappearance, 2017

installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017

installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017

installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017

installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017
installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017
installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017
installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017
installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017
installation view at national observatory of athens, hill of the nymphs, 2017

 

the theater of disappearance, 2017
installation view at national observatory of athens, hill of the nymphs, 2017

 

the theater of disappearance, 2017

inert materials

variable dimensions

installation view of adrián villar rojas: the theater of disappearance, the metropolitan museum of art, new york, 2017 

 

the theater of disappearance, 2017

inert materials

variable dimensions

installation view of adrián villar rojas: the theater of disappearance, the metropolitan museum of art, new york, 2017 

 

the theater of disappearance, 2017

inert materials

variable dimensions

installation view of adrián villar rojas: the theater of disappearance, the metropolitan museum of art, new york, 2017 

the theater of disappearance, 2017

inert materials

variable dimensions

installation view of adrián villar rojas: the theater of disappearance, the metropolitan museum of art, new york, 2017 

the theater of disappearance, 2017

inert materials

variable dimensions

installation view of adrián villar rojas: the theater of disappearance, the metropolitan museum of art, new york, 2017 

the theater of disappearance, 2017

inert materials

variable dimensions

installation view of adrián villar rojas: the theater of disappearance, the metropolitan museum of art, new york, 2017 

rinascimento, 2015

stones, pigments, metal, wood, found objects

variable dimensions

installation view of rinascimento: adrián villar rojas, fondazione sandretto re rebaudengo, turín, italia, 2015

 

rinascimento, 2015

stones, pigments, metal, wood, found objects

variable dimensions

installation view of rinascimento: adrián villar rojas, fondazione sandretto re rebaudengo, turín, italia, 2015

 

rinascimento, 2015

stones, pigments, metal, wood, found objects

variable dimensions

installation view of rinascimento: adrián villar rojas, fondazione sandretto re rebaudengo, turín, italia, 2015

rinascimento, 2015

stones, pigments, metal, wood, found objects

variable dimensions

installation view of rinascimento: adrián villar rojas, fondazione sandretto re rebaudengo, turín, italia, 2015

rinascimento, 2015

stones, pigments, metal, wood, found objects

variable dimensions

installation view of rinascimento: adrián villar rojas, fondazione sandretto re rebaudengo, turín, italia, 2015

detail

rinascimento, 2015

stones, pigments, metal, wood, found objects

variable dimensions

installation view of rinascimento: adrián villar rojas, fondazione sandretto re rebaudengo, turín, italia, 2015

detail

the most beautiful of all mothers (ix), 2015

organic and inorganic materials

102.36 x 85.43 x 70.08 in. installed
installation view at the 14th istanbul biennial, 2015

 

the most beautiful of all mothers (ix), 2015

organic and inorganic materials

102.36 x 85.43 x 70.08 in. installed
installation view at the 14th istanbul biennial, 2015

 

the most beautiful of all mothers (xiv), 2015

organic and inorganic materials
132.28 x 135.43 x 129.53 in. installed

installation view at the 14th istanbul biennial, 2015

the most beautiful of all mothers (xiv), 2015

organic and inorganic materials
132.28 x 135.43 x 129.53 in. installed

installation view at the 14th istanbul biennial, 2015

the most beautiful of all mothers, 2015

variable dimensions

installation view at the 14th istanbul biennial, 2015

 

the most beautiful of all mothers, 2015

variable dimensions

installation view at the 14th istanbul biennial, 2015

 

the end of imagination iv, 2024. installation view at fondation beyeler & luma foundation's summer exhibition, 2024

fondation beyeler, riehen/basel, 2024. adrián villar rojas, the end of imagination vi, 2024, live simulations of active digital ecologies, and layered composites of organic, inorganic, human and machine-made matter, courtesy the artist. © adrián villar rojas. photo: stefan bohrer

 

 

the end of imagination iv, 2024. installation view at fondation beyeler & luma foundation's summer exhibition, 2024

fondation beyeler, riehen/basel, 2024. adrián villar rojas, the end of imagination vi, 2024, live simulations of active digital ecologies, and layered composites of organic, inorganic, human and machine-made matter, courtesy the artist. © adrián villar rojas. photo: stefan bohrer

 

 

the end of imagination iv, 2024 (detail). installation view at fondation beyeler & luma foundation's summer exhibition, 2024

fondation beyeler, riehen/basel, 2024. adrián villar rojas, the end of imagination vi, 2024, live simulations of active digital ecologies, and layered composites of organic, inorganic, human and machine-made matter, courtesy the artist. © adrián villar rojas. photo: stefan bohrer

 

 

 

the end of imagination iv, 2024 (detail). installation view at fondation beyeler & luma foundation's summer exhibition, 2024

fondation beyeler, riehen/basel, 2024. adrián villar rojas, the end of imagination vi, 2024, live simulations of active digital ecologies, and layered composites of organic, inorganic, human and machine-made matter, courtesy the artist. © adrián villar rojas. photo: stefan bohrer

 

 

 

the theater of disappearance, 2017

installation view at the geffen contemporary at moca, los angeles, 2017

the theater of disappearance, 2017

installation view at the geffen contemporary at moca, los angeles, 2017

the theater of disappearance, 2017

installation view at the geffen contemporary at moca, los angeles, 2017

 

the theater of disappearance, 2017

installation view at the geffen contemporary at moca, los angeles, 2017

 

from the series the theater of disappearance (xiii), 2017

freezer, organic and inorganic materials

80.71 x 55.12 x 35.04 in.

installation view at the geffen contemporary at moca, los angeles, 2017

from the series the theater of disappearance (xiii), 2017

freezer, organic and inorganic materials

80.71 x 55.12 x 35.04 in.

installation view at the geffen contemporary at moca, los angeles, 2017

the theater of disappearance, 2017

hand-painted reproduction of piero della francesca’s madonna del parto, transparent film on glass walls, mirror-clad column

on site installation

installation view of adrián villar rojas: the theater of disappearance, kunsthaus bregenz, austria, 2017 

 

the theater of disappearance, 2017

hand-painted reproduction of piero della francesca’s madonna del parto, transparent film on glass walls, mirror-clad column

on site installation

installation view of adrián villar rojas: the theater of disappearance, kunsthaus bregenz, austria, 2017 

 

the theater of disappearance, 2017

ivy, coloured lights, recreations of parietal pictographs, pixacao and roman period graffiti, floor tiles and blocks of moroccan marble encrusted with ammonites and orthoceras fossils, fossilized turtle shells, neolithic stone tools, septarian concretions

on site installation

installation view of adrián villar rojas: the theater of disappearance, kunsthaus bregenz, austria, 2017 

 

the theater of disappearance, 2017

ivy, coloured lights, recreations of parietal pictographs, pixacao and roman period graffiti, floor tiles and blocks of moroccan marble encrusted with ammonites and orthoceras fossils, fossilized turtle shells, neolithic stone tools, septarian concretions

on site installation

installation view of adrián villar rojas: the theater of disappearance, kunsthaus bregenz, austria, 2017 

 

the theater of disappearance, 2017
installation view at kunsthaus bregenz, 2017 

 

the theater of disappearance, 2017
installation view at kunsthaus bregenz, 2017 

 

the theater of disappearance, 2017

installation view at kunsthaus bregenz, austria, 2017 

the theater of disappearance, 2017

installation view at kunsthaus bregenz, austria, 2017 

the theater of disappearance, 2017

installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017

installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017

installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017

installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017

installation view at national observatory of athens, hill of the nymphs, 2017

 

the theater of disappearance, 2017

installation view at national observatory of athens, hill of the nymphs, 2017

 

the theater of disappearance, 2017

installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017

installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017

installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017

installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017
installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017
installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017
installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017
installation view at national observatory of athens, hill of the nymphs, 2017

the theater of disappearance, 2017
installation view at national observatory of athens, hill of the nymphs, 2017

 

the theater of disappearance, 2017
installation view at national observatory of athens, hill of the nymphs, 2017

 

the theater of disappearance, 2017

inert materials

variable dimensions

installation view of adrián villar rojas: the theater of disappearance, the metropolitan museum of art, new york, 2017 

 

the theater of disappearance, 2017

inert materials

variable dimensions

installation view of adrián villar rojas: the theater of disappearance, the metropolitan museum of art, new york, 2017 

 

the theater of disappearance, 2017

inert materials

variable dimensions

installation view of adrián villar rojas: the theater of disappearance, the metropolitan museum of art, new york, 2017 

the theater of disappearance, 2017

inert materials

variable dimensions

installation view of adrián villar rojas: the theater of disappearance, the metropolitan museum of art, new york, 2017 

the theater of disappearance, 2017

inert materials

variable dimensions

installation view of adrián villar rojas: the theater of disappearance, the metropolitan museum of art, new york, 2017 

the theater of disappearance, 2017

inert materials

variable dimensions

installation view of adrián villar rojas: the theater of disappearance, the metropolitan museum of art, new york, 2017 

rinascimento, 2015

stones, pigments, metal, wood, found objects

variable dimensions

installation view of rinascimento: adrián villar rojas, fondazione sandretto re rebaudengo, turín, italia, 2015

 

rinascimento, 2015

stones, pigments, metal, wood, found objects

variable dimensions

installation view of rinascimento: adrián villar rojas, fondazione sandretto re rebaudengo, turín, italia, 2015

 

rinascimento, 2015

stones, pigments, metal, wood, found objects

variable dimensions

installation view of rinascimento: adrián villar rojas, fondazione sandretto re rebaudengo, turín, italia, 2015

rinascimento, 2015

stones, pigments, metal, wood, found objects

variable dimensions

installation view of rinascimento: adrián villar rojas, fondazione sandretto re rebaudengo, turín, italia, 2015

rinascimento, 2015

stones, pigments, metal, wood, found objects

variable dimensions

installation view of rinascimento: adrián villar rojas, fondazione sandretto re rebaudengo, turín, italia, 2015

detail

rinascimento, 2015

stones, pigments, metal, wood, found objects

variable dimensions

installation view of rinascimento: adrián villar rojas, fondazione sandretto re rebaudengo, turín, italia, 2015

detail

the most beautiful of all mothers (ix), 2015

organic and inorganic materials

102.36 x 85.43 x 70.08 in. installed
installation view at the 14th istanbul biennial, 2015

 

the most beautiful of all mothers (ix), 2015

organic and inorganic materials

102.36 x 85.43 x 70.08 in. installed
installation view at the 14th istanbul biennial, 2015

 

the most beautiful of all mothers (xiv), 2015

organic and inorganic materials
132.28 x 135.43 x 129.53 in. installed

installation view at the 14th istanbul biennial, 2015

the most beautiful of all mothers (xiv), 2015

organic and inorganic materials
132.28 x 135.43 x 129.53 in. installed

installation view at the 14th istanbul biennial, 2015

the most beautiful of all mothers, 2015

variable dimensions

installation view at the 14th istanbul biennial, 2015

 

the most beautiful of all mothers, 2015

variable dimensions

installation view at the 14th istanbul biennial, 2015

 

adrián villar rojas - Artists - Kurimanzutto

notable solo exhibitions

Solo exhibitions include: El fin de la imaginación, The Bass Museum of Art, Miami, FL (2023); The End of Imagination, Art Gallery of New South Wales, Sydney (2022); Poems for Earthlings, Oude Kerk, Amsterdam (2019); The Theater of Disappearance, the Geffen Contemporary at MOCA, Los Angeles (2017); The Theater of Disappearance, commissioned and presented by NEON Foundation at National Observatory of Athens, Hill of the Nymphs, Athens (2017); Kunsthaus Bregenz, Austria (2017); the Metropolitan Museum of Art, New York (2017); Rinascimento, Fondazione Sandretto Re Rebaudengo, Turin (2015); Two Suns, Marian Goodman Gallery, New York (2015); Fantasma, Moderna Museet, Stockholm (2015); The Evolution of God, High Line at the Rail Yards, New York (2014); Los teatros de Saturno, kurimanzutto, Mexico City (2014); Films Before Revolution, Museum Haus Konstruktiv, Zurich (2013); Today We Reboot the Planet, Serpentine Galleries, London (2013); The Work of the Ocean, Foundation 11 Lijnen, Belgium (2013); Before My Birth, Arts Brookfield with the New Museum, World Financial Center Plaza, New York (2012); Poems for Earthlings, SAM ART Projects, the Louvre Museum, Paris (2011); among many others.

group exhibitions and biennials

Selected group exhibitions include: Dance with Daemons (Summer Group Show), Fondation Beyeler, Riehen, Switzerland (2024); Lo que la noche le cuenta al día, PAC Padiglione d’Arte Contemporanea, Milan—Fundación Proa, Buenos Aires (2024); Chosen Memories Contemporary Latin American Art from the Patricia Phelps de Cisneros Gift and Beyond, Museum of Modern Art (MoMA), New York (2023); Picasso: Sin Título, La Casa Encendida, Madrid (2023); TODOS JUNTOS (All Together), kurimanzutto, New York (2022); “Carte blanche” to Anne Imhof, Natures Mortes, Palais de Tokyo, Paris (2021); Seismic Movements, Dhaka Art Summit 2020, Bangladesh (2020); La Collezione Cerruti / The Cerruti Collection, Castello di Rivoli, Turin, Italy (2020); Potential Worlds 2: Eco-Fictions, Migros Museum of Contemporary Art, Zurich, Switzerland (2020); DMZ, Culture Station Seoul 284 (2019); No habrá nunca una puerta. Estás adentro. Obras de la Coleção Teixeira de Freitas, Sala de Arte Santander, Boadilla del Monte, Madrid (2019); Au diapason du monde (In Tune with the World), Fondation Louis Vuitton, Paris (2018); Into Nature, organized by Drents Museum, Kunst & Cultuur Drenthe, Kunst in Kolderveen (KiK), and Museum De Buitenplaats, The Netherlands (2018); The Willfulness of Objects, The Bass Museum of Art, Miami, FL (2018); Death is Irrelevant, Hudson Valley MOCA, Peekskill, NY (2018); Emerald City, K11 Art Foundation, Hong Kong, China (2018); Like A Moth To A Flame, Officine Grandi Riparaziono and Fondazione Sandretto Re Rebaudengo, Turin, Italy (2017); Jerusalem Lives, The Palestinian Museum, Birzeit (2017); Unfinished Conversation: New Work from the Collection, The Museum of Modern Art, New York (2017); Unpacking: The Marciano Collection, The Marciano Art Foundation, Los Angeles, CA (2017); The Ungestalt, Kunsthalle Basel, Switzerland (2017); Monumentos, anti-monumentos y nueva escultura pública, Museo de Arte de Zapopan (MAZ), Mexico (2017); Everything you are, I am not. Latin American contemporary art from the Tiroche DeLeon Collection, Mana Contemporary, Jersey City, NJ (2016); Towards a Larger World, Moderna Museet Malmö, Sweden (2016); Frozen World of the Familiar Stranger, KADIST, San Francisco, CA, and Khoj Studios, New Delhi, India (2016); Animality, Marian Goodman Gallery, London (2016); Miracle Marathon, Serpentine Gallery, London (2016); Con texto: palabra, escritura y narración en el arte contemporáneo, Museo Universidad de Antioquia (MUUA), Medellín, Colombia (2016); Une Histoire. Art, architecture et design, des années 80 à aujourd‘hui, Centre Pompidou, Paris (2015); Motherland, Storylines: Contemporary Art at the Guggenheim, Solomon R. Guggenheim Museum, New York (2015); United States of Latin America, Museum of Comtemporary Art Detroit (MOCAD), IL (2015); Territories and Subjectivities: Contemporary Art from Argentina, Art Museum of the Americas (AMA), Washington, D.C. (2013); Berni y las representaciones argentinas en la Bienal de Venecia, Colección de Arte Amalia Lacroze de Fortabat, Buenos Aires (2013); El barro y la paja, La Casa Encendida, Madrid (2013); Dark Optimism, as part of EXPO 1: New York, MoMA PS1, Long Island City, NY (2013); Map Marathon 2010, Serpentine Gallery, London (2010); Panamericana, kurimanzutto, Mexico City (2010); The return of the landscape, Akademie der Künste, Berlin (2010); Moby Dick, CCA Wattis Institute for Contemporary Arts, San Francisco, CA (2009); Panorama das Artes Brasileira, Museu de Arte Moderna de São Paulo, Brazil (2009); Periférica / Arte de Base, Club del Dibujo, Centro Cultural Borges, Buenos Aires (2005); among others.

Villar Rojas has participated in numerous international biennials, notably: New Directions May Emerge, Helsinki Biennial 2023, Helsinki Art Museum (HAM) (2023); 12th Gwangju Biennale, South Korea (2018); Riga International Biennial of Contemporary Art (RIBOCA I), Latvia (2018); 14th Istanbul Biennial (2015); 12ª Bienal de La Habana (2015); Sharjah Biennial 12, United Arab Emirates (2015); 9th Shanghai Biennale (2012); dOCUMENTA (13), Kassel and Kabul (2012); New Museum Triennial, New York (2012) and The 54th Venice Biennial, ILLUMInations, Italy (2011).

His 2013 film Lo que el fuego me trajo (32', produced by Rei Cine) screened at the 2013 Locarno International Film Festival. His 2017 film trilogy The Theater of Disappearance, (1h58'37", produced by Rei Cine) screened at the 67th Berlin International Film Festival (2017).