ADRIÁN VILLAR ROJAS’S ANTIMONUMENTS seem always to exist in the aftermath of catastrophe, conjuring a sense of dark ecology and yet also of lively, vibrant matter. They evince a cosmic expansiveness of vision, such that distinctions between institutions and places cease to seem germane. Perhaps this is why I find it impossible to discuss one of Villar Rojas’s exhibitionshis recent show in London at the Serpentine Sackler Gallerywithout first discussing another.
At MoMA PS1 in New York this past summer, as part of “Expo 1: New York” (a multivenue project loosely organized around ecological themes), Villar Rojas proposed La inocencia de los animales, a sculptural-architectural intervention that suggested an ancient amphitheater, a chimera, a fusion of antique ruin and twentieth-century institutional architecture. The interpenetration of structures and temporalities appeared
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