Rosa Barba

Agrigento, 1972. Lives in Berlin

Barba uses her installations to explore film and its capacity for immateriality and information, while also focusing on the sculptural potential of the physical film itself. Through a process of expansion and abstraction, film is taken to the extreme, overcoming the narrative use of its fundamental components: celluloid, projector, image. These are the starting points for the artist’s verification of the ontological characteristics of film, and its material nature. In this sense, projectors are exhibited as mechanical objects that act as generators of information, almost denying their primary function and revising cinematic conventions. Sculptures that break down the formal conventions of the projection on the screen, bringing into question not only the function, but also the way in which a surface usually ought to receive information.

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