#Adrián Villar Rojas

[mentaltimetraveller]

Adrián Villar Rojas, The End of Imagination VI, 2024

[diagonaluwu]

sin título (serie Me sangra la nariz)

fotografía digital, toma directa, impresión analógica

82,5 cm x 110 cm

Adrián Villar Rojas

2006

[cosmicanger]

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: Mark Niedermann

[orchidblack]

Glimpses of Adrián Villar Rojas' The End of Imagination

[aire1111]

“The End of Imagination VI” sculpture by Adrián Villar Rojas (2024) video via @vernissagetv photos via @kurimanzutto

[datuizm]

Adrián Villar Rojas

The End of Imagination

[bound4travel81]

Paid a visit to The Bass Museum of Art while in Miami, it's a smaller museum, which is nice if you're in a time crunch, and it's a fantastic museum to visit. They have a few exhibits to see currently. Upstairs there is an out of this world exhibit from Adrián Villar Rojas with Mariana Telleria titled El Fin de la Imaginación. And a great exhibit on the main floor titled Phraseology, showing art involving language from a variety of different artists.

[anaflordelviento]

Ballenas    

remakes de la obra de Adrián Villar Rojas ¨Mi familia muerta¨

🐋Ballena de Jabón

Año: 2021.02.05

Autor: Ana María Cobos Serrano

Material: Jabón Rey 

Técnica: Escultura, remake, tallado

Tamaño: 3 cm x 8,5 cm x 6 cm

.

.

.

🐋Ballena de plastilina

Año: 2021.02.05

Autor: Ana María Cobos Serrano

Material: Plastilina de diferentes colores​ 

Técnica: Escultura, remake, tallado

Tamaño: 2.5 cm x 9 cm x 6 cm

.

.

.

🐋Ballena de Harina de trigo

Año: 2021.02.05

Autor: Ana María Cobos Serrano

Material: Harina de trigo y agua​

Técnica: Escultura, remake, tallado

Tamaño: 4 cm x 13 cm x 11 cm

[lilysresearchportfolio]

3D Week 2: Artist Research

Image 1: Adrián Villar Rojas The End of Imagination 2022

Adrian Villar Rojas's "The End of Imagination" utilised sculptures to transform its surrounding environment, creating a surreal landscape that pushes the boundaries of our understanding of place and imagination. His work emphasises the role of light and movement in shaping our sensory experience, making the viewer aware of the space around us.

Image 2: Francis Upritchard Land 2010

Francis Upritchard's "Land" is, at first glance, a domestic setting. It presents the viewer with an ambiguous scene, encouraging the audience to make their own interpretation of the scenario. Her sculptures invite viewers to reflect on the connections between a place and its history, traditions, and stories.

Image 3: Vajiko Chachkhiani’s Living Dog Among Dead Lions 2017

Vajiko Chachkhiani's "Living Dog Among Dead Lions" is a space with furniture that is exposed to rain and water. Eventually, the space will begin to rot and disintegrate, and mould might grow over them, emphasising the impact of weathering in a space. This is emblematic of impermanence in life. Although you're standing outside, you are still able to sense what it would be like inside. This work is quite anxiety-inducing, chaotic and unnerving, triggering an emotional response for viewers.

[zhaolinchenaudioblog]

Project Dark Space

My project, DARK SPACE, draws inspiration from Adrián Villar Rojas's The End of Imagination and my personal experiences. This project explores the relationship between sound and space, where sound becomes the primary tool for guiding and perceiving spatial experiences as visual elements are significantly reduced. I am particularly fascinated by how sound alone can stimulate the imagination and spatial awareness in an almost completely dark environment.

If you look back at my previous blogs, you'll find that Sound Walk was where my inspiration initially started. I literally walked through a construction site to the seaside, amidst various natural sounds. It was the most unprocessed project that reminded me of that walk whenever I listened to the recording.

In my purely auditory project, Sound Ecology, I described a sound journey from one space to another by editing together sounds from two different spaces. However, the prolonged waiting and transitions between the two distinct sounds made me lose sight of their spatial representations. This led me to desire a more immersive and surreal experience, prompting me to think, why not create such a space?

Screenshot from Dark Space

DARK SPACE is a project that explores sound and space, based on a VR platform. In an environment that is dark and nearly invisible, sound serves as the most important and sole point of interest, guiding the audience's actions. Initially, the audience is located in a corridor connecting two rooms, where they can hear two different sounds depending on whether they move towards a space filled with mechanical noise or natural sea waves.

In the early stages of the project, I experimented with tools like Unity and Construct 3, trying to integrate landscape elements and interactive designs into my project. However, I found that these visual elements actually detracted from the power of sound. Consequently, I shifted my focus to creating an almost entirely dark space, guided solely by sound. Using hubs.mozilla for the final implementation, I was able to create an immersive and unrealistic experience that relies entirely on sound to guide the audience.

As an artist, I have always been fascinated by the interaction between sound and space. In DARK SPACE, I explore how sound can be used as the sole tool for constructing and perceiving space. This project challenges traditional methods of spatial perception and offers a new way of experiencing, where sound is not just a supplementary element but the core of the entire experience. DARK SPACE is an experiment in audience perception, inviting people to navigate and experience space through hearing in the absence of visual references. My goal is to create an immersive experience that stimulates the audience's imagination through sound, redefining their understanding of space.

Through DARK SPACE, I began to contemplate the role of sound in creating and defining space. Different sounds - mechanical noise and natural sea waves - create distinctly different sensations of space in the dark. In my previous projects, Sound Walk and Sound Ecology, I had already started to explore these concepts, but DARK SPACE takes them to a new level. I am excited by the concept of defining and experiencing space through sound rather than sight.

If you have VR equipment, that would be the best experience. If not, you can still walk using the WASD keys and choose the direction by holding down the left mouse button and moving. For a better experience, please wear headphones.

[mrcaneteblogposts]

eyal weizman escribe el prologo de la muestra que elevó para sepultar a adrián villar rojas

[mentaltimetraveller]

Adrián Villar Rojas, Untitled IV (from the series Rinascimento), 2015-2021, organic, inorganic, human and machine-made matter

[imogen-kerr]

AGNSW Visit

On we go, 1996

Jim Hodges

When exploring the gallery I stumbled upon this work, its very easy to miss as it hangs in the corner. It's hard to tell through photos but in person the work was glittering and looked absolutely stunning. I enjoyed how Hodges Took everyday material like chain and created something so intonate and affective.

 The End of Imagination, 2022 Adrián Villar Rojas

I've made the voyage down into the "Tank" of the AGNSW about 5 times now and I've also made the choice to not read anything about this work. every time I've gone down I've noticed something new about the structures that makes me return how they are mechanical and insect-like and how they are dystopian and beautiful. I would like to incorporate some of the light effects into my own work in future.

[cosmicanger]

Adrián Villar Rojas, The End of Imagination VII, 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: Mark Niedermann

[aangussca]

Lecture notes: Robyn Backen and Beyond the White Cube (2.5.23)

“Beyond the White Cube” = outside of a ‘typical’ modernist gallery/museum space (neutral lighting, white colours, works isolated from context, etc.)

To summarise, the “white cube” space removes an artwork from its context, and the processes that produced it.

Therefore, artists may deviate from the “white cube” by having a building (interior/exterior) as part of the artwork (unique approach and/or materials) instead of a backdrop. 

Examples:

Robyn Backen:

Purdah in the Kitchen (1999) in Sanskriti Kendra in New Delhi (exhibited there in 2000).

Rice Talk (2003) in an abandoned traditional house in Matsunoyama, Japan.

Nomanslanding (2015) in the former railroad harbour of Germany’s Duisburg-Ruhrort (created with four other international artists).

Anthony McCall’s Line Describing a Cone (1973)

Lis Rhodes’ Light Music (1975)

Godron Matter Clarke’s Conical Intersect (1975)

Brigita Ozolins’ Kryptos (2008-2011) in MONA.

Adrián Villar Rojas’ The End of Imagination (2022) in AGNSW.

Katharina Grosse’s The Horse Trotted Another Couple of Metres, Then it Stopped (2017) in Carriageworks.

[joulupuuro]

“ What does the archeologist of the future find?”

Trashed sneakers, pieces of meat, broken prosthetics, disemboweled electronics, parts of robots and birds, collections of feathers, skeletons, lobsters, roots, tubers, bird nests, shark skin, spiders, beetles, mushrooms, papaya, bread, seashells, palm fronds, amphorae, layered columns, a bicycle wheel, pendants, a cross, seahorses, bones, blood, lianas, cod fish, a sickle, a broken egg, coral, amber, random erratic boulders, vertebrae, petrified wood, seed pods, a sandwich, a prosthetic hand holding bones. “Out of the fragments, our archeologist begins to piece together a story, a history, about our times.”

“that the present as we had conceived it was actually over. It was, in fact, now the past. They claimed that human beings had so transformed Earth that our impact would not only be visible in geological strata in the future, but would mark a distinctive boundary in the history of the planet. This was a new epoch, which they called the Anthropocene, the human age.”

“the Holocene had ended around the beginning of the Industrial Revolution and the invention of the steam engine. Since then, the burning of fossil fuels, especially in the period of the “Great Acceleration” after World War II, along with exponential population growth, nitrogen production and deposition, deforestation, biodiversity loss, and climate change have all left distinct traces around the world that will be readable in the geological strata by future geologists.”

“It has become a shorthand for not only human dominance of vast portions of Earth and its life-forms, but also for a fundamental shift in the relationship between people and nature.”

“has come to mean two quite different things. For pessimists, the Anthropocene is a new version of what environmental historians call a declensionist narrative — an old story template about decline, end times, the fall from grace”

“the Anthropocene has engendered an equal and quite opposite reaction — an odd celebration of our awesome powers.”

“we control our own legacy. We’re not passive, we’re not helpless. We’re earth-movers. We can become Earth-restorers and Earth-guardians. We still have time and imagination, and we have a great many choices […] [O]ur mistakes are legion, but our talent is immeasurable”

“there is plenty of room for middle ground”

“It is not ruined. It is beautiful still, and can be even more beautiful, if we work together and care for it.”

“posits “human beings” as a species and as the “we” who are responsible for this altered planet. But the one billion wealthiest inhabitants on Earth have contributed most to the problems and reaped the greatest benefits, too, while the bottom three billion have added very little to the burden, benefited hardly at all, and will suffer most from the consequences of the Anthropocene. Many of us have come to understand that what makes us different — nationality, race and ethnicity, gender, class, religion, culture, language, and other facets of our existence, identity, and experience — may be just as important to who “we” are as our biological species, and in some cases much more important.”

“But where do the optimists of the Anthropocene get their confidence? What makes them think that in the future, we’ll be able to manage the planet so much better than we have in the past?”

“It’s especially curious when you consider that some of the most fundamental human transformations of the planet were unintended consequences.”

“They are all side effects of other activities.”

“much of nature and its processes remain resolutely nonhuman”

“implicitly acknowledges what Anthropocene optimists still deny — the elements of this story that are beyond our control.”

““Housekeeping,” then, refers to all of that invisible labor which allows the show to exist.”

“”One of the things that I feel certain will survive in one hundred years,” she says, “is that somebody is still going to have to clean up.””

“one important feature of the Anthropocene is that people have domesticated nearly the entire world”

“So while we may not be gods, we are, at least, household gods in the Anthropocene, charged with caring for our thoroughly domesticated planet — if you think about our role charitably. Perhaps a more realistic framing would include cleaning up the mess we’ve made.”

“Housekeeping occupies no position of privilege in any narrative.”

“whether we’re even capable of thinking about and telling stories about the Anthropocene.”

“modern literature, and the novel in particular, has left us ill-equipped to think about the world we live in now”

“The novel, with its focus on individual protagonists and realistic plots and settings, cannot help us think about a world shaped not by individuals but by our collective actions and their unintended consequences.”

“Science fiction, on the other hand, is a genre that has had no trouble encompassing grand scales of time and space, and incorporating unrealistic settings as well as the agency of the nonhuman.”

“the function of SF futures is to put readers in the position of seeing themselves and their own times — that is, the present — as the past of a future yet to come”

our present is “unavailable to us for contemplation in its own right [because] the sheer quantitative immensity of objects and individual lives it comprises” makes our postmodern condition “so untotalizable and hence unimaginable.”

“Science fiction thus provides, enables, and, indeed, enacts for the reader “a structurally unique ‘method’ for apprehending the present as history.””

“In SF that is not set in some distant future or on some distant planet, we encounter near-future scenarios in a world that is nearly identical to our own and yet changed in fundamental and momentous ways”

“In this version of science fiction, our world is presented as if it were science fiction. This feeling is best captured by William Gibson’s oft-quoted quip: “The future is already here — it’s just not evenly distributed yet.””

“He notes how central ancient Greece has been to a certain idea of Western civilization, and how that idea was constructed and designed at the same time as archeology developed in the area. So “who is the designer?” he asks. “Obviously, the digger.””

“At the same time, all these excavations erased the “undesirable” Ottoman past. The excavations were intended to recover — to design — this white, Western culture. And yet the Persian and Ottoman cultures crossed all over Greece and are so deep inside its history. This kind of deletion happens all the time, all over the world”