When you enter Adrián Villar Rojas’s Los Teatros de Saturno (2014), you enter a mode of being in the world akin to what Walter Benjamin called ‘the adorable detail’, and, I might add, the generous detail. In Villar Rojas’s works there is an overabundance that is lavishly baroque and at the same time as simple as dirt: everything starts with clay and mutates forth from there. One might even borrow the term neobarroso, coined by Argentinean poet Néstor Perlongher (with…
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