"Adrián Villar Rojas transforms Art Sonje Center into an experimental stage adrift in time and space, reimagining the museum as a post-Anthropocene site that transcends the constraints of our contemporary conditions. The Language of the Enemy brings together a constellation of large-scale site-specific installations and sculptural works from his ongoing series The End of Imagination, begun in 2022, to configure a fully immersive environment that envelops the entire museum."
"In his materials-based practice, the Argentinian artist has long examined the complex relationships between diverse life forms in the face of global crisis. Here, he combines soil, pumice stone and wood ash, along with inorganic and synthetic matter such as recycled plastics and waste foundry sand, into hulking masses that connote a world beyond the limits of human imagination."
"The exhibition's transportive affect begins at the entrance, which is blocked by a mound of earth, and continues into the galleries, where all the partition walls, signage and institutional infrastructure are stripped away. Even the museum's environmental control systems are disabled, returning the venerable Art Sonje Center to a pseudo-primordial state. Amid this unstable environment marked by cycles of collapse, evolution and regeneration, Villar Rojas challenges visitors to re-examine the structures of the world they consider real."
The Language of the Enemy converts Art Sonje Center (3 September–1 February 2026) into a fully immersive post-Anthropocene environment using works from The End of Imagination series (begun 2022). Large-scale, site-specific installations combine soil, pumice, wood ash, recycled plastics and waste foundry sand to form hulking masses that suggest a world beyond human imagination. The entrance is obstructed by a mound of earth, partition walls and signage are removed, and environmental controls are disabled to create a pseudo-primordial setting. The resulting unstable environment emphasizes cycles of collapse, evolution and regeneration and prompts visitors to reassess perceived structures of reality.
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