Adrián Villar Rojas develops his exhibitions as temporary, collaborative productions.

Together with his team, he sets up on-site studios that operate as collective workshops—where materials are sourced, decisions are improvised, and forms emerge in direct response to context. His work is process-based, transient, and often monumental, yet rooted in fragility and decay. Central to this method is an ongoing visual documentation: photographs are taken throughout the working process, then selectively printed and reworked—painted or drawn over by collaborators. These altered images form a parallel narrative that reflects and fictionalizes the making of the exhibition.

The resulting works combine memory, projection, and transformation. Past installations, current production, and imagined futures fold into one another. Reality and fiction, authorship and collaboration become indistinguishable. For Villar Rojas, art is not a final product but a continuous experiment in how things come into being—and how they disappear.

This working model is the focus of Films Before Revolution at Museum Haus Konstruktiv. The exhibition presents, for the first time, the painted-over photographs and watercolors as central elements. They are displayed in an environment built from reconstructed furniture, fragments of earlier works, church-glass windows, and neon tubes—a spatial system that mirrors the logic of his previous installations.

Adrián Villar Rojas, born in Argentina in 1980, has developed this approach over the past two decades. His work has been shown at dOCUMENTA (13), the Venice and Istanbul Biennales (2011), and in solo exhibitions at institutions such as MoMA PS1 in New York and the Serpentine Sackler Gallery in London.