“Adrián Villar Rojas: 消失剧场” 模糊了时间在过去、现在、和未来的样子，又像是挖掘出了某一个平时世界里的时间积层。艺术家只为具体的环境设计唯一的雕塑装置方案，几乎不在第二个地点重复某一视觉效果。Villar Rojas对洛杉矶的全面研究将他引向好莱坞工业里的电影科技，所以在MOCA Geffen设置了永远保持在零下10度的冰柜，里面装置着带有隐晦赛博朋克色彩的人类遗迹。这和同期在纽约大都会顶楼花园的同名作品看起来是大相径庭，但都融会贯通了作品所在地的特点、历史、以及人文风貌，将不同场地转化为一间间剧场，上演时间无所遁形和烟消云散的定格剧。
"Adrián Villar Rojas: The Theater of Disappearance" blurs the appearance of time from the past, at the present, and in the future, or it seems to have excavated layers of time from a parallel world. The artist only make specific proposals of sculptural installations and never repeats the same idea at different locations. Villar Rojas became interested in technology used in the Hollywood industry during his local research, so he set up freezers with a mixture of organic and high-tech objects that are seemingly discarded by human beings, which somehow reflect a flavor of cyber punk. The whole exhibition is dramatically different from Villar Rojas's other installation currently showing on the rooftop garden at the MET in NYC (under the same exhibition title), but both of them embody its physical locations' characteristics, history, and cultural landscapes. These sculptures turn exhibition spaces into theaters, opening up silent shows of the appearance and disappearance of time.
Image courtsey of Anqi Li.
