While the marble comes from the same Italian quarry as the original, the two legs have been carved by machine. On its plinth, designed specifically for the exhibition, the piece imposes its strange presence, which is reinforced by two 3D-printed kittens playing at the feet of the colossus. Is it the remains of a lost civilisation? A fugitive fragment of another planet? A commemoration of suspended time, or a prophetic image? This mysterious ruin seems to feed into the scenario of a post-apocalyptic world in which mankind has been annihilated, along with his works of art: only fragments remain to evoke their memory.
© Adrian Villar Rojas. Photo © Fondation Louis Vuitton / Marc Domage
Drawing from science-fiction, comic strips, grunge and classical culture, Adrián Villar Rojas creates gigantic sculptures and installations featuring the remains of a hybrid world.
As if fossilised in clay, his works take natural, human and robotic forms, bringing prehistory into contact with futurism. Born in 1980, Villar Rojas represented Argentina at the 2011 Venice Biennale.
Buste d'homme (Lotar II), 1964
Alberto Giacometti
Homme qui pointe, 1951
Alberto Giacometti
Tête sur tige, 1947
Alberto Giacometti
Femme de Venise III, 1957
Alberto Giacometti
Nightlife, 2015
Cyprien Gaillard
Entrare nell 'Opera, 1971
Giovanni Anselmo
Water Cast 6, 2015
Matthew Barney
Animitas, 2014
Christian Boltanski
Après, 2010
Christian Boltanski
La ballata di Trotski, 1996
Maurizio Cattelan
Spermini, 1997
Maurizio Cattelan
Cambrian Explosion 10, 2014
Pierre Huyghe
