Adrián Villar Rojas
From the series 'Return the World' (Bells, 2), 2012
3 parts, clay (unfired), cement, wood, metal
74 13/16 x 78 3/4 in (190 x 200 cm) 55 1/8 x 72 13/16 in (140 x 185 cm) 63 x 61 in
From the series 'Films Before Revolution', 2013
Wood, metal, glass, stain glass, inkjet on paper, watercolor, fluorescent lamp, cable
53 3/4 x 72 5/8 x 77 3/16 in(136.5 x 184.5 x 196 cm) 81 1/2 in (207 cm)(height when opened)
From the series 'Los Teatros de Saturno', 2014
Iron, gesso, clay and pigments
34 3/4 x 69 9/16 x 19 5/8 in
The Most Beautiful of All Mothers (XII), 2015
Site-specific installation; organic and inorganic materials
133 13/16 x 114 1/8 x 129 1/8 in (340 x 290 x 328 cm) Option 1: 163 3/8 x 114 1/8 x 129 1/8 in
The Most Beautiful of All Mothers (IX), 2015
102 5/16 x 70 1/16 x 85 3/8 in (260 x 178 x 217 cm) Option 1: 131 7/8 x 85 3/8 x 74 3/4 in (335 x 217 x 190 cm) Option 2: 102 3/8 x 85 3/8 x 74 3/4 in
Two Suns (II), 2015
Site-specific installation
David: 43 5/16 x 57 1/16 x 185 1/16 in (110 x 145 x 470 cm) Base: 40 3/16 x 9 13/16 x 41 5/16 in (102 x 25 x 105 cm) (each)
From the series The Theater of Disappearance (XII), 2017-2018
85 3/8 x 133 1/2 x 93 1/4 in (217 x 339 x 237 cm) (overall)
The Theatre of Disappearance, 2017
Nylon-printed and polyurethane cnc-milled reproductions of human and non-human animal figures, food and artefacts from The Metropolitan Museum of Art’s permanent collection, coated in bespoke automotive paint, porcelain tiles, diamond plate flooring, hollybush hedges, public bar, signage, benches, adapted and repainted pergola
Installation view, The Roof Garden Commission at The Metropolitan Museum of Art, New York, 2017
The Most Beautiful of All Mothers, 2015
Cement, resin, white polyurethane paint, lacquer, stratified organic, inorganic, human and machine-made matter collected in Istanbul, Kalba, Mexico City and Ushuaia
Installation view on the shore of Leon Trotsky’s former house on Büyükada Island, 14th Istanbul Biennial, 2015
The Theater of Disappearance, 2017
Ivy, coloured lights, recreation 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
Installation view at Kunsthaus Bregenz, Austria (ground floor), 2017
