source: escanson

Adrián Villar Rojas has been the recipient of numerous awards including The Zurich Art Prize at the Museum Haus Konstruktiv, (2013); the 9th Benesse Prize in the 54th Venice Biennial, (2011); the Nuevo Banco de Santa Fe Scholarship for Young Artists, and the first prize in the Bienal Nacional de Arte de Bahía Blanca at the Contemporary Art Museum of Bahía Blanca, Argentina, (2005). He has participated in various residences: SAM Art Projects, Paris, France, (2011); Banff Centre Institute, Alberta, Canada, (2010); La Residencia, Bogotá, Colombia, (2010); and at the Panorama Brasileiras das Artes, Sao Paulo, Brazil, (2009).Villar Rojas’ latest solo exhibitions include La inocencia de los animales, EXPO 1, MoMA PS1, New York, USA (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, USA, (2012); and Poems for Earthlings, SAM ART Projects, the Louvre Museum, Paris, France, (2011). He also represented Argentina in the 54th Venice Biennial, ILLUMInations, Italy, (2011). Recent group exhibitions include the 2012 Shanghai Biennial, China; dOCUMENTA(13), Kassel, Germany, and Kabul, Afghanistan, 2012; The 2012 New Museum Triennial, The Ungovernables, New York, USA; the 2011 Istanbul Biennial, Turkey.
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source: modernamuseetse

Adrián Villar Rojas (born 1980) is based in Rosario, Argentina, but works and travels incessantly with his team of collaborators. Following a period of conceptual work and research a team is tailored for the production at hand, an endeavour that may require months of on-site work. Several of the team members have a background as artists; others are craftsmen – fuelling the developing project with their own creativity. Altering the position of his nomadic studio to that of a theatre stage or film set, Villar Rojas has compared his role to an artistic director or leader of an ensemble. Carefully casting and writing the role of his crew into the script of the work; meanwhile questioning and challenging notions of both ownership and authorship.
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source: kurimanzutto

Adrián Villar Rojas’ artistic production exists in an imaginary dimension where men face their obsolescence and eventual extinction, playing with perceptions of time and its representation in human culture. Villar Rojas uses aspects of drawing, sculpture, music, science fiction and installation to create dream-like alternate realities that allude to an apocalyptic or mythological end of the world. Often working in clay, his installations are colossal and immersive, provoking sensations of unease for their embodiment of both physical and temporal immensity; the objects he creates seem at once timeless and ancient, relics from an ambiguous future or past that question our notions of time, history, and modernity. Villar Rojas provocatively merges reality and illusion to produce situations of overwhelming strangeness that test the limits of the imagination. However, the use of clay and elements from the natural world offer an opportunity to re-connect with the basic humanity of the material on a more modest scale. The process of creation is often mimicked in the work itself, resulting in objects that embrace all things realized and unrealized, imagined and performed, possible and impossible.

Adrián Villar Rojas has been the recipient of numerous awards including The Zurich Art Prize at the Museum Haus Konstruktiv (2013), and the 9th Benesse Prize in the 54th Venice Biennial (2011). He has participated in various residences: SAM Art Projects, Paris, France (2011); Banff Centre Institute, Alberta, Canada (2010); La Residencia, Bogotá, Colombia (2010); and at the Panorama Brasileiras das Artes, Sao Paulo, Brazil (2009).

His most important exhibitions include: Adrián Villar Rojas – Fantasma, Moderna Museet, Stockholm, Sweden (2015); The Evolution of God, High Line at the Rail Yards, New York United States (2014); Adrián Villar Rojas – Films Before Revolution, Museum Haus Konstruktiv, Zürich, Switzerland (2013); Today We Reboot the Planet, Serpentine Sackler Gallery, London, United Kingdom (2013); Adrián Villar Rojas: La inocencia de los animales, Expo 1, MoMA PS1, New York, United States (2013); Return the world, dOCUMENTA (13), Kassel Germany (2012); Before my birth, Arts Brookfield with The New Museum triennial “The Ungovernables” and World Financial Center Plaza New York, USA (2012); El asesino de tu herencia (The Murderer of Your Heritage), 54th Venice Biennial, Argentinian pavilion, Venice, Italy (2011); Poems for Earthlings, SAM ART Projects, Jardin des Tuileries, Musée du Louvre Paris, France (2011). Moreover, his work has been included in group exhibitions at institutions such as The New Museum, New York, United States (2012); Serpentine Gallery, London, United Kingdom (2010); Akademie der Künste, Berlin, Germany (2010); CCA Wattis Institute for Contemporary Arts, San Francisco, United States (2009); Sao Paulo Museum of Modern Art, São Paulo, Brazil (2009) among others.

He has participated in various biennials, including: the Sharjah Biennial 12, Sharjah, United Arab Emirates (2015); Bienal de la Habana, Havana, Cuba (2015); the 12th and 14th Istanbul Biennial, Istanbul, Turkey (2011-2015); the 5th Moscow Biennial, Moscow, Russia (2013); the Shanghai Biennial, China (2012).

Adrián Villar Rojas currently lives and works between Rosario, Argentina and New York.
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source: li-macorg

Adrián Villar Rojas nació en 1980 en Rosario, Argentina. Vive y trabaja en Rosario.

Según Thomas Jean, periodista de Beaux-Arts Magazine: “Alejado de la fragilidad del papel, Adrián Villar Rojas se enmarca en lo monumental. Con unas esculturas de aspecto hormigonado que nos dejan petrificados como visiones post-apocalípticas. Como este bosque de postes monstruosos, de setas gigantes, que imagina en 2011 para la bienal de Venecia, donde representó a su país. O este enorme cono que hace aterrizar, cual cohete abatido, en las Tullerías ese mismo año. O incluso estas concreciones de cemento, residuos y malas hierbas que dispersa en 2014 por la baldía High Line de Nueva York. Cuando se arma de lápiz o del chorro de tinta, se apagan las sonrisas. Aunque, sobre la hoja, tras una forma inquietante surja una nota de color. Aunque, detrás de las grietas que traza, la utopía asome la nariz. Así, podemos discernir unos mundos paralelos al estilo de Antoine Volodine, unas ruinas llenas de promesas como en Mad Max. Como si la ligereza del dibujo dotase a este gran amante de la ciencia ficción de los arrebatos de fantasía que la escultura le restringe. ”
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source: li-macorg

Adrián Villar Rojas nasceu em 1980, em Rosario, na Argentina, onde vive e trabalha.

Segundo Thomas Jean, jornalista da revista francesa Beaux-Arts: “Longe da fragilidade do papel, Adrián Villar Rojas se ilustra no monumental com esculturas de concreto assustadoras como visões pós-apocalípticas, como esta floresta de colunas monstruosas e cogumelos gigantes imaginada por ele em 2011 para a Bienal de Veneza, onde representou seu país. Ou este enorme cone que fez encalhar, tal um foguete abatido, no Jardin des Tuileries, no mesmo ano. Ou, ainda, estas concreções de cimento, lixo e ervas daninhas que dispersou em 2014 no parque público nova-iorquino High Line. Quando se apossa do lápis ou do jato de tinta, também nada de muito alegre aparece, embora sobre a folha, ao desviar o olhar de uma forma inquietante, um pouco de cor apareça. Mesmo se por detrás das rachaduras que traça, seja possível entrever uma ponta de utopia. Detectamos mundos paralelos como na obra do escritor Antoine Volodine, ruínas cheias de promessas como em Mad Max. Como se a leveza do desenho autorizasse a este aficionado de ficção científica os ímpetos de fantasia que a escultura lhe nega.”