Adrián Villar Rojas

How the artist’s work finds ends in beginnings and beginnings in ends

By Oliver Basciano

The Theater of Disappearance, 2017 (installation view). Photo: Thierry Bal. © the artist. Courtesy the artist and Marian Goodman Gallery, London The Theater of Disappearance, 2017 (installation view, Metropolitan Museum of Art, New York). Photo: Jörg Baumann. © the artist. Courtesy the artist and Marian Goodman Gallery, London The Theater of Disappearance, 2017 (installation views, National Observatory of Athens). Photos: Panos Kokkinias. Courtesy Neon, Athens The Theater of Disappearance, 2017 (installation views, National Observatory of Athens). Photos: Panos Kokkinias. Courtesy Neon, Athens Unknown Soldier (still), 2016, video, 21 min. Courtesy the artist and Kurimanzutto, Mexico City

In March 2015 I walked through the lanes of Büyükada, an island that lies an hour’s slow ferry ride from Istanbul, eventually coming to the track that leads down to the ruins of the villa in which Leon Trotsky lived between 1929 and 33. The garden, its grass long and pocketed with wild alliums, ends at the shoreline. I walked to the edge and stared out to the Sea of Marmara. I remember thinking this place had a strange, almost…

Want to read more?

As an unregistered user you can view 5 articles per month.

You can register free to get a further 15 free articles

and access to 2 digital editions per month

or subscribe for unlimited access

If you have already signed up access you account here