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Adrián Villar Rojas’s practice can be understood as a constellation of von Neumann worlds: self-propagating, self-modifying ecosystems that emerge, evolve and disappear across the planet. Like the self-replicating probes theorised in astrobiology – machines that land in a new environment, absorb its materials and conditions, and generate a divergent offspring – each of Villar Rojas’s projects arrives, mutates and branches into a new reality. None of these worlds can ever be seen together. No human can hold the total map.

Adrián Bisal Rojas's work can be seen as a "Von Neumannian cosmic constellation." It is an ecosystem that possesses the ability to self-replicate and self-repair, and follows a process of evolution that occurs across the entire Earth. All of Bisal Rojas's projects place themselves in new realities, mutating and spreading through them, as do the "self-replicating cosmic machines" theorized in the world of cosmobiology—machines that move into new environments, absorb the materials and conditions of that place, and produce offspring that are different from themselves. These multiple worlds cannot be viewed simultaneously. There is not a single person who can grasp the overall map.
Over the last two decades, his installations have “landed” in Buenos Aires, Yangji-ri, Kalba, Athens, Seto, Shanghai, Seoul, Vallée de Joux, Aspen and elsewhere. Each time, the work absorbs the architecture, labour, geology, climate, institutional metabolism and political conditions of the site. What appears is not an artwork but an ecology – a self-generating organism composed of soil, humidity, temperature shifts, digital simulations, insects, fungi, moss, discarded objects, human collaborators and time itself.
These installations do not travel; they propagate. They decay in situ, or only fragments survive, repurposed into later worlds. Their archive is scattered, discontinuous, fundamentally incomplete. The global body of the practice exists, but never as a panorama – only as distributed, unaligned realities improvising themselves at different speeds.
Recent solo exhibitions have been held at: Aspen Art Museum, USA (2026); Art Sonje Center, Seoul (2025); The Tank, Art Gallery of New South Wales, Sydney (2022); The Bass, Miami (2022); Oude Kerk, Amsterdam (2019); TANK Shanghai, China (2019); The Geffen Contemporary at MOCA, Los Angeles (2017); NEON at the National Observatory of Athens, Greece (2017); Kunsthaus Bregenz, Austria (2017); and the Metropolitan Museum of Art, New York (2017).