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{{Short description|Italian visual artist and filmmaker}}
{{More citations needed|date= November 2021}}
{{Infobox artist
{{Infobox artist
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| birth_date = 1972
| birth_date = 10 December 1972
| birth_place = [[Agrigento]], [[Sicily]], [[Italy]]
| birth_place = [[Agrigento]], [[Sicily]], [[Italy]]
| death_date =
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{{Resume-like|date=October 2024}}

'''Rosa Barba''' (born 1972, [[Agrigento]], [[Italy]]) is a German-Italian [[visual artist]] and filmmaker. Barba is known for using the medium of film and its materiality to create cinematic film installations, sculptures and publications, which inquire into the ambiguous nature of reality, memory, landscape and their role in their mutual constitution and representation.<ref>{{Cite web|url=https://bordercrossingsmag.com/article/tracing-meaning-from-scratch|title=Rosa Barba interview bordercrossingmag|last=|first=|date=|website=|url-status=live|archive-url=|archive-date=|access-date=}}</ref> Her engagement with analogue film has been linked to the work of other contemporary practitioners such as [[Matthew Buckingham]], [[Tacita Dean]], [[Luke Fowler]], and [[Ben Rivers]].<ref>''Film: Tacita Dean (The Unilever series)'' (London: Tate Publishing, 2011)</ref> Barba currently lives and works in [[Berlin]], [[Germany]].<ref name="Gallery">[http://www.vistamare.com/en/artisti/rosa-barba/biografia/ "Rosa Barba Biography"], Vistamare Gallery, Retrieved 30 October 2018.</ref>
'''Rosa Barba''' (born 1972, [[Agrigento]], [[Italy]]) is an Italian [[visual artist]] and filmmaker. Barba is known for using the medium of film and its materiality to create cinematic film installations, sculptures and publications, relate to avant-garde film and speculative fiction,<ref>{{Cite web|url=https://www.afterall.org/articles/rosa-barba-changing-cinema/|title=Rosa Barba: Changing Cinema |last=|first=|date=|website=|archive-url=|archive-date=|access-date=}}</ref> and which inquire into the ambiguous nature of reality, memory, landscape and their role in their mutual constitution and representation.<ref>{{Cite web|url=https://bordercrossingsmag.com/article/tracing-meaning-from-scratch|title=Rosa Barba interview bordercrossingmag|last=|first=|date=|website=|archive-url=|archive-date=|access-date=}}</ref>
Suspended between dichotomies—permanent and impermanent, real and fictional, obsolescent and modern, conceptual and concrete, alien and familiar, Rosa Barba’s multiform practice encompasses films, sculptures, installations, live-performances, text, sound.<ref>{{Cite web|url=https://www.e-flux.com/announcements/583038/rosa-barbaevoking-a-space-beyond-cinema/|title=Rosa Barba: Evoking a Space Beyond Cinema |last=|first=|date=|website=|archive-url=|archive-date=|access-date=}}</ref>
Barba currently lives and works in [[Berlin]], [[Germany]].<ref name="Gallery">[https://www.estherschipper.com/artists/118-rosa-barba/ "Rosa Barba Biography"], Esther Schipper</ref>


==Early life and education==
==Early life and education==
Rosa Barba was born in 1972 in the town of [[Agrigento]], on the Italian island of [[Sicily]].<ref name="Gallery"/> She began at a young age to work with film. She very soon began experimenting with moving images using [[super 8 film|super 8]] film. From 1993 to 1995 she studied Theater and Film Studies in [[Erlangen]], [[Germany]].<ref name="Gallery"/> She continued her studies in film between 1995 and 2000 at the [[Academy of Media Arts Cologne]] in [[Cologne]], [[Germany]].<ref name="Gallery"/> Barba made her first 16mm film while at the Academy, titled ''Panzano'' (2000), in which three characters struggle to assign parts among themselves.<ref>Alemani, Cecilia: ''Rosa Barba interview by Cecilia Alemani''. klat, no. 2 (Spring 2010): 18–35</ref> In 2018, Barba acquired her PhD at the Malmö Art Academy at Lund University, under the supervision of Sarat Maharaj, professor for Visual Arts and Knowledge Systems.<ref>{{Cite web|url=https://www.khm.lu.se/en/article/rosa-barba-has-obtained-a-doctorate|title=Rosa Barba doctorate|last=|first=|date=|website=|url-status=live|archive-url=|archive-date=|access-date=}}</ref>
Rosa Barba was born in 1972 in the town of [[Agrigento]], on the Italian island of [[Sicily]].<ref name="Gallery"/> She started practicing photography before experimenting with moving images using [[super 8 film|super 8]] film. From 1993 to 1995 she studied Theater and Film Studies in [[Erlangen]], [[Germany]].<ref name="Gallery"/> She continued her studies in film between 1995 and 2000 at the [[Academy of Media Arts Cologne]] in [[Cologne]], [[Germany]].<ref name="Gallery"/> Barba made her first 16mm film while at the academy, titled ''Panzano'' (2000), in which three characters struggle to assign parts among themselves.<ref>Alemani, Cecilia: ''Rosa Barba interview by Cecilia Alemani''. klat, no. 2 (Spring 2010): 18–35</ref> In 2018, Barba acquired her PhD at the [[Malmö Art Academy]] at Lund University, under the supervision of Sarat Maharaj, professor for Visual Arts and Knowledge Systems.<ref>{{Cite web|url=https://www.khm.lu.se/en/article/rosa-barba-has-obtained-a-doctorate|title=Rosa Barba doctorate |last=|first=|date=|website=|archive-url=|archive-date=|access-date=}}</ref>


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The various professional and educational experiences have brought Barba to teaching and she currently holds a Professorship in Art in Space and Time at the Department of Architecture of [[ETH Zurich|ETH Zürich]].<ref>{{Cite web|url=https://ethz.ch/staffnet/en/organisation/who-is-who/arch/details.MzMyOTU2.TGlzdC8xOTA1LDE1NDQ1OTI5NDA=.html|title=Prof. Dr. Rosa Barba|last=|first=|date=|website=|archive-url=|archive-date=|access-date=}}</ref>
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Barba has actively continued to study film through a number of fine arts institutions and residencies, including the two-year residency program at [[Rijksakademie van Beeldende Kunsten]] in Amsterdam (2003-2004), Production-in-Residence program, Baltic Arts Center Visby (2006), [[Villa Aurora]], Pacific Palisades, Los Angeles, USA (2006), [[IASPIS]] Stockholm (2007-2008) and the Artists-in-Residence-Programm of [[Chinati Foundation]], Marfa, Texas (2013).<ref>[http://rosabarba.com/cv.php''www.rosabarba.com''] {{webarchive|url=https://web.archive.org/web/20131015111452/http://rosabarba.com/cv.php |date=2013-10-15 }}''Official Website''</ref><ref>{{Cite web|title = Grant Recipient Details - Rosa Barba - Villa Aurora (en)|url = http://www.villa-aurora.org/en/grant-recipient-details/grant/130-rosa-barba.html|website = www.villa-aurora.org|accessdate = 2015-12-08}}</ref>


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==Work==
Later residencies include a stay at the [[EMPAC|Curtis R. Priem Experimental Media and Performing Arts Center EMPAC]]<ref>{{Cite web|title=EMPAC|url=https://empac.rpi.edu/program/residencies|last=|first=|date=|website=|url-status=live|archive-url=|archive-date=|access-date=}}</ref> at Rensselaer Polytechnic Institute, Troy (NY) in 2014-15 and a residency at [[Headlands Center for the Arts]] in San Francisco (CA) in the spring of 2017.<ref>{{Cite web|title=Headlands|url=http://www.headlands.org/2017-awardees/|last=|first=|date=|website=|url-status=live|archive-url=|archive-date=|access-date=}}</ref> At EMPAC, Barba was commissioned a new work production in collaboration with [[Hirsch Observatory|Rensselaer’s Hirsch Observatory]], which resulted in two site-specific installations spanning different media formats, ''The Color out of Space'' and ''White Museum''.<ref>{{Cite web|title=empac|url=https://empac.rpi.edu/events/2015/color-out-space-and-white-museum|last=|first=|date=|website=|url-status=live|archive-url=|archive-date=|access-date=}}</ref>
Barba interrogates the industry of cinema and regards it in her work in an architectural sense and as an instrument, where the environment, the screen and the projection can be pushed forward to create another spatiotemporal dimension that is concurrent with and points beyond the context of interior or exterior space. She “contests and recasts truth and fiction, myth and reality, metaphor and material, to a disorienting degree that ultimately extends into a conceptual practice that also recasts the viewer’s own staging as an act of radical and exhilarating reversal—from being the receiver of an image (a subject of control) to being in and among its engine room(s), looking out.”<ref>Rosa Barba, ''White is an Image'', 2011, Ian White, And Idea in Three Dimensions.</ref>


She exhibits in galleries and museums internationally.<ref>[https://www.zeit.de/2023/20/rosa-barba-kunst-film-installation ''How does she do that?'']</ref> She has exhibited at [[Museum of Modern Art|MoMA]], New York, (2024),<ref>[https://www.moma.org/collection/works/420751?artist_id=133225&page=1&sov_referrer=artist Rosa Barba, Aggregate States of Matters]</ref> [[MAXXI]], Rome, (2023, 2025), MALI, Lima (2024),<ref>[https://mali.pe/portfolio-item/rosa-barba-evocando-un-espacio-mas-alla-del-cine/ Rosa Barba. Evocando un espacio más allá del cine]</ref> [[Depot Museum Boijmans Van Beuningen|Depot Museum Boijmans]], Rotterdam (2024),<ref>[https://www.boijmans.nl/en/rosa-barba Rosa Barba, Voice Engine]</ref> [[Centre Pompidou]], Paris (2023-2024),<ref>[https://www.centrepompidou.fr/en/program/festival-evening/moviment/in-the-spotlight Rosa Barba, Hear, There, Where the Echoes Are, 2023]</ref> [[Tate Modern]], London (2023),<ref>[https://www.tate.org.uk/visit/tate-modern/display/tanks/rosa-barba Rosa Barba, The Hidden Conference]</ref> PICA, Perth Australia (2023),<ref>[https://pica.org.au/whats-on/rosa-barba/ Rosa Barba, Emanations]</ref> Villa Medici, Rome (2022),<ref>[https://www.villamedici.it/en/exhibits/rosa-barba-art-club-36/ Rosa Barba – Art Club #36]</ref> [[Neue Nationalgalerie]], Berlin (2021-2022),<ref>[https://www.smb.museum/ausstellungen/detail/rosa-barba-in-a-perpetual-now/ Rosa Barba. In a Perpetual Now]</ref> Cukrarna, Ljubljana (2021, 2022) Tabakalera, International Centre for Contemporary Culture, San Sebastián, and at [[Kunsthalle Bremen]]. Other recent solo shows include the [[Museo Nacional Centro de Arte Reina Sofía]], [[Palacio de Cristal]], Madrid (2017); [[HangarBicocca|Pirelli HangarBicocca]], Milan (2017); [[Malmö Konsthall]] (2017); [[CAPC musée d'art contemporain de Bordeaux]] (2016-2017); [[Schirn Kunsthalle Frankfurt]] (2016); MIT Visual Arts Center, Cambridge, MA; [[Albertinum]] in Dresden; Center of Contemporary Art, Vilnius (2014); MAXXI, Rome (2014); [[Turner Contemporary]], Margate (2013); Bergen Kunsthall (2013); [[MUSAC]] in Castilla y Leon (2013); [[Kunsthaus Zürich]] (2012), [[Jeu de Paume]], Paris, (2012);<ref>[https://jeudepaume.org/evenement/rosa-barba-vu-de-la-porte-du-fond/ ROSA BARBA : "VU DE LA PORTE DU FOND"]</ref> [[Contemporary Art Museum St. Louis]]; Fondazione Galleria Civica, Trento, and MART, Rovereto (2011); Kunstverein Braunschweig (2011) and Tate Modern, London (2010).<ref>{{cite web | url=https://www.tate.org.uk/whats-on/tate-modern/level-2-gallery-rosa-barba | title=Level 2 Gallery: Rosa Barba &#124; Tate Modern }}</ref>
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The various professional and educational experiences have brought Barba to teaching and she currently holds a Professorship in Fine Arts at the [[University of the Arts Bremen|University of the Arts, Bremen]].<ref>{{Cite web|url=https://www.hfk-bremen.de/en/profiles/n/rosa-barba|title=Rosa Barba University of the Arts of Bremen|last=|first=|date=|website=|url-status=live|archive-url=|archive-date=|access-date=}}</ref>


Barba has participated in the 52nd, 53rd and [[56th Venice Biennale]]. At the 56th Biennale ''All the World's Futures'', curated by Okwui Enwezor (2015),<ref>{{cite web | url=https://www.labiennale.org/en/art/2015/biennale-arte-2015-artisti | title=Biennale Arte 2015 2015 &#124; Biennale Arte 2015 - Artisti | date=23 October 2017 }}</ref> Barba exhibited ''Bending to Earth'' (2015). She participated in the Liverpool Biennale in 2010,<ref>{{cite web | url=https://www.biennial.com/artists/rosa-barba/ | title=Rosa Barba }}</ref> in the 2nd Thessaloniki Biennale of Contemporary Art, Performa13, New York (2013),<ref>{{cite web | url=https://archive.performa-arts.org/archive/13b-pc-0003 | title=Performa Archive }}</ref> the Beaufort Triennale (2021),<ref>{{cite web | url=https://www.e-flux.com/announcements/402638/2021-beaufort-triennial/ | title=2021 Beaufort Triennial - Announcements - e-flux }}</ref> as well as in various festivals and other biennials. She participated in the inaugural Malta Biennale in 2024. In 2010 she curated the group show ''A Curated Conference'' at the Museo Nacional Centro de Arte Reina Sofia, Madrid with works from the collection.<ref>{{cite web | url=https://bombmagazine.org/articles/2015/03/18/rosa-barba/ | title=BOMB Magazine &#124; Joan Jonas by Rosa Barba }}</ref> Afterwards, the exhibition was the inspiration for the films ''The Hidden Conference I-III'', which were performatively filmed in various museum depots.<ref>{{cite web | url=https://www.artnews.com/art-in-america/aia-reviews/rosa-barba-hidden-conference-storage-museums-arter-istanbul-1202674221/ | title=Rosa Barba Reveals the Secret Lives of Artworks | date=3 January 2020 }}</ref>
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==Work==
She exhibits in galleries and museums internationally.<ref>[http://dyn3.hannover.de/madeingermanyzwei/kuenstler/barba.html ''Rosa Barba'']''Made in Germany 2'', 08 Feb 2012</ref> In 2018, solo shows of her work will be presented, amongst others, at Tabakalera, International Centre for Contemporary Culture, San Sebastián, and at Kunsthalle Bremen. Other recent solo shows include the Museo Nacional Centro de Arte Reina Sofía, Palacio de Cristal, Madrid (2017); Pirelli HangarBicocca, Milan (2017); Malmö Konsthall (2017); CAPC musée d'art contemporain de Bordeaux (2016-2017); Schirn Kunsthalle Frankfurt (2016); MIT Visual Arts Center, Cambridge, MA; Albertinum in Dresden; Center of Contemporary Art, Vilnius (2014); [[MAXXI]], Rome (2014); Turner Contemporary in Margate (2013); Bergen Kunsthall (2013); [[MUSAC]] in Castilla y Leon (2013); [[Kunsthaus Zürich]] (2012), [[Jeu de Paume]], Paris, (2012); [[Contemporary Art Museum St. Louis]]; Fondazione Galleria Civica, Trento, and MART, Rovereto (2011); Kunstverein Braunschweig (2011) and [[Tate Modern]], London (2010).{{citation needed|date= October 2021}}


The idea of preservation is further mined through her exploration of nature and the cosmos, which are both capable of preserving documents regarding the relationship between human beings and nature and the influence that they have exerted on it. They also share the encounter between old and new technologies, a coming together prompted by how they are used, as happens with deserts, or by the need to what is out of sight, as is the case with astronomy. In The Color out of Space (2015) she draws parallel between artistic and scientific investigations which reveal themselves as essentially speculative endeavours.<ref>{{Cite web|url=https://arts.cern/article/rosa-barba-interesting-thing-about-machines-and-algorithms-too-you-can-never-exactly-tame|title=Rosa Barba: The interesting thing about machines |last=|first=|date=|website=|archive-url=|archive-date=|access-date=}}</ref>
Barba has participated in the 52nd and 53rd and 56th Venice Biennale. At the 56th Biennale ''All the World's Futures'', curated by Okwui Enwezor (2015), Barba exhibited ''Bending to Earth'' (2015). She participated in the Liverpool Biennale in 2010, in the 2nd Thessaloniki Biennale of Contemporary Art as well as in various festivals and other biennials. In 2010 she curated the group show ''A Curated Conference'' at the Museo Nacional Centro de Arte Reina Sofia, Madrid with works from the collection. Afterwards the exhibition was the inspiration for the films ''The Hidden Conference I-III'', which were performatively filmed in various museum depots.{{citation needed|date= October 2021}}


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Barba has been actively developing her practice through a number of international residencies, including the two-year residency program at [[Rijksakademie van beeldende kunsten|Rijksakademie van Beeldende Kunsten]] in Amsterdam (2003-2004); Production-in-Residence program, Baltic Arts Center Visby (2006); [[Villa Aurora]], Pacific Palisades, Los Angeles, USA (2006);<ref>{{cite web | url=https://www.vatmh.org/de/stipendiaten-details/grant/130-rosa-barba.html | title=Stipendiaten Details - VATMH (De) }}</ref> [[IASPIS]] Stockholm (2007-2008) and the Artists-in-Residence-Programme of [[Chinati Foundation]], Marfa, Texas (2013).<ref>{{cite web | url=https://chinati.org/collection/rosa-barba/ | title=Rosa Barba – the Chinati Foundation }}</ref>
Amongst other references, her work relates to avant-garde film and Speculative fiction.{{citation needed|date= October 2021}}


Later residencies include a stay at the Curtis R. Priem [[Experimental Media and Performing Arts Center|Experimental Media and Performing Arts Center EMPAC]] at Rensselaer Polytechnic Institute, Troy (NY) in 2014-15, a residency at [[Headlands Center for the Arts]] in San Francisco (CA)<ref>{{cite web | url=https://www.headlands.org/artist/rosa-barba/ | title=Rosa Barba - Headlands Center for the Arts | date=3 February 2017 }}</ref> and Denniston Hill, Glen Wild in 2017,<ref>{{cite web | url=https://www.dennistonhill.org/residents | title=Residents }}</ref> Guest Artist programme of Arts at CERN, Geneva<ref>{{cite web | url=https://arts.cern/article/rosa-barba-begins-her-stay-cern-guest-artist | title=Rosa Barba begins her stay at CERN as Guest Artist }}</ref> and Atelier Calder, Saché, France in 2021,<ref>{{cite web | url=https://en.atelier-calder.com/rosa-barba | title=Rosa Barba }}</ref> Callie’s, Berlin in 2022<ref>{{cite web | url=https://www.callies.berlin/en/residents/99-rosa-barba | title=Rosa Barba }}</ref> and Schaufler Residency @TU Dresden in 2023.<ref>{{cite web | url=https://tu-dresden.de/gsw/schauflerlab/schaufler-residency/residency-kuenstlerin-2023 | title=Artist in Residence 2023: Rosa Barba }}</ref>
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Barba's works belong to collections such as [[Louisiana Museum of Modern Art]], Humlebæk, [https://www.smb.museum/en/museums-institutions/hamburger-bahnhof/home.html] Hamburger Bahnhof - Museum für Gegenwart, Berlin], Museo Centro de Arte Reina Sofía, Madrid, [[Barcelona Museum of Contemporary Art|MACBA]], Barcelona and [[Kunsthaus Zürich]].{{citation needed|date= October 2021}}
At EMPAC, Barba was commissioned a new work production in collaboration with Rensselaer's [[Hirsch Observatory]], which resulted in two site-specific installations spanning different media formats, The Color out of Space and White Museum.


At Callie’s, Berlin, Barba developed ''Voice Engine'', a performance installation which has been presented at Centre Pompidou in 2023<ref>{{cite web | url=https://www.centrepompidou.fr/en/program/festival-evening/moviment/in-the-spotlight | title=Moviment au Centre Pompidou, chap 3, 17-21 mai 2023 }}</ref> and Depot Boijmans Van Beuningen, Rotterdam in 2024.<ref>{{cite web | url=https://www.e-flux.com/announcements/582070/rosa-barbavoice-enginehear-there-where-the-echoes-are/ | title=Rosa Barba: VOICE ENGINE / Hear, There Where the Echoes Are - Announcements - e-flux }}</ref>
Speaking about her participation in Performa 2013, Rosa Barba explains how she feels about live performance versus film/cinema: "My Performa piece brought a film to a live performance by using cinema as a new kind of stage. I created a new 35mm film, which was performed as a live event on the cinema screen in Anthology Film Archives’ screening theatre, whilst being fragmented around the space on 16mm films and filmic sculptures, which repeated an individual formal aspect, such as a sentence or a sound. Whilst almost behaving like characters, or stand-ins for the viewer, these films also interact with one another as though they were a splintered ensemble, fading in and out, and accompanied by an electronic musical accompaniment created by Jan St Werner of Mouse on Mars, and a group of professional voiceover actors who were performing live dialogue from various points in space. Subconscious Society – Live is an attempt to archive the last century, suggesting a paradigm shift, which is represented in the form of a social community, inhabiting a transitional realm, as they make a final attempt at assigning and archiving objects from the past. Here the past exists only as a reference to itself and the details of the present are not fully decipherable yet."<ref name="Elmquist">{{Cite web|url=http://www.thestylecon.com/2014/03/21/marfa-rosa-barba/|title=Real Talk in Marfa with Rosa Barba -|last=Elmquist|first=About the Author Becky|date=2014-03-21|website=The Style Con|access-date=2017-03-11}}</ref> Also in this interview, she talks about her influences: "Literature has influenced personal and is exposed in my various work. I like to situate my work in a timeless, more precise space – space with a lot of layered time, so the exact time can’t be deciphered anymore, acted out by sound, images and text."<ref name="Elmquist"/>


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Barba's works belong to collections such as [[Louisiana Museum of Modern Art]], Humlebæk, [https://www.smb.museum/en/museums-institutions/hamburger-bahnhof/home.html Staatliche Museen zu Berlin: Home] Hamburger Bahnhof - Museum für Gegenwart, Berlin], Museo Centro de Arte Reina Sofía, Madrid, [[Barcelona Museum of Contemporary Art|MACBA]], Barcelona and [[Kunsthaus Zürich]].<ref name="Gallery"/>
One of her works, ‘PARACHUTABLE’ was donated to the Rijksakademie and sold by auction at Sotheby’s Amsterdam ‘Global Contemporary, Rijksakademie’ – a big fundraising sale of approximately 120 Contemporary works of art, for the benefit of the Rijksakademie Artists' Endowment Fund, which will support present and future generations of talented artists working at the Rijksakademie by covering their research and production cost.<ref>{{Cite web|url=http://www.sothebys.com/en/auctions/2010/global-contemporary-rijksakademie-am1096.html|title=Global Contemporary Rijksakademie|archive-url=https://web.archive.org/web/20171222162602/http://www.sothebys.com/en/auctions/2010/global-contemporary-rijksakademie-am1096.html|archive-date=2017-12-22|url-status=dead}}</ref>


===Film===
===Film===
Barba's films develop from situations that form societies and landscapes. By using her film camera like a drawing instrument, she outlines and relates directly with the formal properties of an object. She investigates environments and weaves stories of place and people into fictitious narratives that open up new possibilities for interpretation.{{citation needed|date= October 2021}}
Barba's films develop from situations that form societies and landscapes. By using her film camera as a drawing instrument, she outlines and relates directly to the formal properties of an object. She investigates environments and weaves stories of place and people into fictitious narratives that open up new possibilities for interpretation.<ref>{{cite web | url=https://www.parra-romero.com/rosa-barba-2/ | title=Rosa Barba – Parra & Romero }}</ref>


For example, in the film ''Outwardly from Earth's Center'' that was produced on the Swedish island [[Gotland]] during the winter 2006 as a Production-in-Residence project for the Baltic Art Center in Sweden, Barba collaborated with the local inhabitants, who also performed in the film, to create narratives and form characters as the filming progressed. ''Outwardly from Earth's Center'' is constructed around a fictitious society living on the truly existing island of [[Gotska Sandön]], which drifts approximately one meter per year and. The depiction of the small society trying to hold up the disappearance of the island develops into a surrealistic atmosphere that slowly but surely replaces the experience of what one might consider a beautiful documentary with a more abstract and somewhat absurd picture of people's struggle and vulnerability.{{citation needed|date= October 2021}}
For example, in the film ''Outwardly from Earth's Center'' that was produced on the Swedish island [[Gotland]] during the winter of 2006 as a Production-in-Residence project for the Baltic Art Center in Sweden, Barba collaborated with the local inhabitants, who also performed in the film, to create narratives and form characters as the filming progressed. ''Outwardly from Earth's Center'' is constructed around a fictitious society living on the truly existing island of [[Gotska Sandön]], which drifts approximately one meter per year and. The depiction of the small society trying to hold up the disappearance of the island develops into a surrealistic atmosphere that slowly but surely replaces the experience of what one might consider a beautiful documentary with a more abstract and somewhat absurd picture of people's struggle and vulnerability.<ref>{{cite web | url=https://www.balticartcenter.com/archive/rosa-barba | title=Rosa Barba, 2006 }}</ref> In 2019, she produced ''Aggregate States of Matters'',<ref>{{Cite web |title=Rosa Barba’s Cinema of Transformation {{!}} Magazine {{!}} MoMA |url=https://www.moma.org/magazine/articles/1096 |access-date=2024-12-06 |website=The Museum of Modern Art |language=en}}</ref> a 35mm film shot in the Peruvian Andes which deals with the increasing impact of climate change on remote areas. At its core, the film pivots on the ambivalent negotiation between the binary idea of nature and culture, oscillating within the contemporary discourse on the environment, and its complex layers based on scientific, philosophical, spiritual and cultural approaches. Barba worked with communities that are affected by glacier melting and its geological time becoming present today. In a cautious, yet scrutinised exploration, the film illustrates blurring and melding boundaries between human and non-human actors.<ref>{{Citation |title=Q&A's with Rosa Barba director of "Aggregate States of Matters" | date=19 November 2020 |url=https://www.youtube.com/watch?v=3Np0X5bPDYM |access-date=2024-02-10 |language=en}}</ref>


===Sculpture and installation===
===Sculpture and installation===
Barba's sculptures and installations are created from the physical and conceptual components of film which become dissected, abstracted, compiled and arranged anew. The roles and relations of the various components are questioned and newly defined: the mechanical objects move, speak and become main protagonists in the exhibition space.{{citation needed|date= October 2021}}
Barba's sculptures and installations are created from the physical and conceptual components of the cinema which become dissected, abstracted, compiled and arranged anew. The roles and relations of the various components are questioned and newly defined: the mechanical objects move, speak and become the main protagonists in the exhibition space.<ref>{{cite web | url=https://www.sleek-mag.com/article/rosa-barba/ | title=Rosa Barba }}</ref>


For example, the piece ''Boundaries of Consumption'' (2012) features a 16&nbsp;mm projector directed at film cans with silver globes balancing while the film runs through. The shadow of this spatial set-up is projected as moving images on the wall, changing in colour and appearance over time.{{citation needed|date= October 2021}}
For example, the work ''Boundaries of Consumption'' (2012) features a 16&nbsp;mm projector directed at film cans with silver globes balancing while the film runs through. The shadow of this spatial set-up is projected as moving images on the wall, changing in colour and appearance over time.<ref>{{cite journal | url=https://www.frieze.com/article/suspended-animation | title=Suspended Animation | journal=Frieze | date=May 2011 | issue=139 | last1=Bell | first1=Kirsty }}</ref>


===Publications===
===Publications===
Since 2004 Barba has been publishing a series of printed editions parallel to her films as another form to express and dismantle the cinematic organism. She conjugates its repertoire while she disbands and defines the relationships and hierarchies between image and word and like between image and viewer anew. The series ''Printed Cinema'' which won the artist book award 2006 at the [[Ontario Association of Art Galleries]] is published for specific exhibition spaces and accompanies her films as secondary literature for a limited time. The printed editions present an extended and free form of the exhibited film which reveal the filming process including research material and unused filmic fragments. The edition exists beyond the duration of the film. The filmic projection is translated into printed material and confronted with its conditions, its materiality and temporality. Through the comparison of both media the emphasis on image, language and text and their relationships and overlapping themes are shifted into a new light.{{citation needed|date= October 2021}}
Since 2004 Barba has been publishing a series of printed editions parallel to her films as another form to express and dismantle the cinematic organism. She conjugates its repertoire while she disbands and defines the relationships and hierarchies between image and word and like between image and viewer anew. The series ''Printed Cinema'' which won the artist book award 2006 at the [[Ontario Association of Art Galleries]] is published for specific exhibition spaces and accompanies her films as secondary literature for a limited time. The printed editions present an extended and free form of the exhibited film which reveal the filming process including research material and unused filmic fragments. The edition exists beyond the duration of the film. The filmic projection is translated into printed material and confronted with its conditions, materiality and temporality. Through the comparison of both media, the emphasis on image, language and text and their relationships and overlapping themes are shifted into a new light.<ref>{{cite web | url=https://dfpress.org/editions/rosa-barba-printed-cinema/ | title=Rosa Barba: Printed Cinema | date=26 August 2021 }}</ref>

Barba has published several monographic books, including her last one: “On the Anarchic Organization of Cinematic Spaces – Evoking Spaces beyond Cinema” 2021 which develops a new thinking by destabilising traditional cinema structures.<ref>{{cite web | url=https://leonardo.info/review/2023/08/on-the-anarchic-organization-of-cinematic-spaces | title=On the Anarchic Organization of Cinematic Spaces | date=31 July 2023 }}</ref>


===Awards (selected)===
===Awards (selected)===
*PIAC - Prix International d’Art Contemporain (International Contemporary Art Prize), Fondation Prince Pierre de Monaco (2016)<ref>http://www.fondationprincepierre.mc/en/prix/international-prize-of-contemporary-art/003/international-prize-of-contemporary-art.html {{Dead link|date=February 2022}}</ref>
*PIAC - Prix International d’Art Contemporain (International Contemporary Art Prize), Fondation Prince Pierre de Monaco (2016)<ref>{{cite web |url=http://www.fondationprincepierre.mc/en/prix/international-prize-of-contemporary-art/003/international-prize-of-contemporary-art.html |title=International Prize of Contemporary Art {{!}} Fondation Prince Pierre |website=www.fondationprincepierre.mc |url-status=dead |archive-url=https://web.archive.org/web/20150921165020/http://www.fondationprincepierre.mc/en/prix/international-prize-of-contemporary-art/003/international-prize-of-contemporary-art.html |archive-date=2015-09-21}}</ref>
*Experimental Film Award (''Bending to Earth''), 24th Curtas Vila do Conde International Film Festival (2016)<ref>{{Cite web|last=|first=|date=|title=vila do conde award|url=http://festival.curtas.pt/1993-2019/palmares/?edition=2016|url-status=live|archive-url=|archive-date=|access-date=|website=}}</ref>
*Experimental Film Award (''Bending to Earth''), 24th Curtas Vila do Conde International Film Festival (2016)<ref>{{Cite web|last=|first=|date=|title=vila do conde award|url=http://festival.curtas.pt/1993-2019/palmares/?edition=2016|archive-url=|archive-date=|access-date=|website=}}</ref>
*No Violence Award, 54th Ann Arbor Film Festival (2016)<ref>{{Cite web|last=|first=|date=|title=ann arbor film festival award|url=https://www.aafilmfest.org/54th-information|url-status=live|archive-url=|archive-date=|access-date=|website=}}</ref>
*No Violence Award, 54th Ann Arbor Film Festival (2016)<ref>{{Cite web|last=|first=|date=|title=ann arbor film festival award|url=https://www.aafilmfest.org/54th-information|archive-url=https://web.archive.org/web/20200624205049/https://www.aafilmfest.org/54th-information|archive-date=2020-06-24|access-date=|website=|url-status=dead}}</ref>
*Experimental Film Award (''From Source to Poem''), 25th Curtas Vila do Conde International Film Festival (2017)<ref>{{Cite web|last=|first=|date=|title=vila do conde|url=http://festival.curtas.pt/pesquisa/film/?id=2017022|url-status=live|archive-url=|archive-date=|access-date=|website=}}</ref>
*Experimental Film Award (''From Source to Poem''), 25th Curtas Vila do Conde International Film Festival (2017)<ref>{{Cite web|last=|first=|date=|title=vila do conde|url=http://festival.curtas.pt/pesquisa/film/?id=2017022|archive-url=|archive-date=|access-date=|website=}}</ref>
*Italian Council, 3rd Edition, Ministry of Cultural Heritage and Activities and Tourism, Rome (2018)<ref>{{Cite web|last=|first=|date=|title=ministry of cultural heritage and activities and tourism|url=http://www.aap.beniculturali.it/eng/italian-council-2018_3_vincitori.html|url-status=live|archive-url=|archive-date=|access-date=|website=}}</ref>
*Italian Council, 3rd Edition, Ministry of Cultural Heritage and Activities and Tourism, Rome (2018)<ref>{{Cite web|last=|first=|date=|title=ministry of cultural heritage and activities and tourism|url=http://www.aap.beniculturali.it/eng/italian-council-2018_3_vincitori.html|archive-url=|archive-date=|access-date=|website=}}</ref>
*The Calder Prize, Calder Foundation, New York (2020)<ref>{{Cite web|last=|first=|date=|title=Art Forum|url=https://www.artforum.com/news/rosa-barba-wins-50-000-calder-prize-82142|url-status=live|archive-url=|archive-date=|access-date=|website=}}</ref>
*The Calder Prize, Calder Foundation, New York (2020)<ref>{{Cite web|last=|first=|date=11 February 2020|title=Art Forum|url=https://www.artforum.com/news/rosa-barba-wins-50-000-calder-prize-82142|archive-url=|archive-date=|access-date=|website=}}</ref>


==References==
==References==
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* Manacorda, Francesco and Malasauskas, Raimundas: ''Rosa Barba's Unfilmed Films'' in Rosa Barba, ''White is an Image''. Eds. Chiara Parisi and Andrea Viliani, Ostfildern: Hatje Cantz Verlag, 2011, p.&nbsp;97-110
* Manacorda, Francesco and Malasauskas, Raimundas: ''Rosa Barba's Unfilmed Films'' in Rosa Barba, ''White is an Image''. Eds. Chiara Parisi and Andrea Viliani, Ostfildern: Hatje Cantz Verlag, 2011, p.&nbsp;97-110
* Marchand, Antoine: 02 n° 63. Rosa Barba. Revue d'art contemporain trimestrielle et gratuite. (Autumn 2012): 18-24
* Marchand, Antoine: 02 n° 63. Rosa Barba. Revue d'art contemporain trimestrielle et gratuite. (Autumn 2012): 18-24
* [[José-Carlos Mariátegui|Mariátegui, José-Carlos]]: Review ''[https://leonardo.info/review/2023/08/on-the-anarchic-organization-of-cinematic-spaces On The Anarchic Organization of Cinematic Spaces by Rosa Barba]'' . ''Leonardo'', Vol. 56, no. 6, 2023, p. 641-643.<ref>{{Cite journal |last=Mariátegui |first=José-Carlos |date=2023 |title=On The Anarchic Organization of Cinematic Spaces by Rosa Barba (review) |url=https://muse.jhu.edu/pub/6/article/916047 |journal=Leonardo |volume=56 |issue=6 |pages=641–643 |doi=10.1162/leon_r_02457 |issn=1530-9282}}</ref>
* Micucci, Marjorie: 'Rosa Barba. Les Tempos d'un paysage choral'. Revue trimestrielle Mouvement (mars-avril 2013.
* Micucci, Marjorie: 'Rosa Barba. Les Tempos d'un paysage choral'. Revue trimestrielle Mouvement (mars-avril 2013.
* Petresin-Bachelez, Natasa: ''On Performing the Traces That People Leave Behind in History'' in Rosa Barba, ''White is an Image''. Eds. Chiara Parisi and Andrea Viliani, Ostfildern: Hatje Cantz Verlag, 2011, p.&nbsp;133-155
* Petresin-Bachelez, Natasa: ''On Performing the Traces That People Leave Behind in History'' in Rosa Barba, ''White is an Image''. Eds. Chiara Parisi and Andrea Viliani, Ostfildern: Hatje Cantz Verlag, 2011, p.&nbsp;133-155
* White, Ian: ''Rosa Barba''. Camera Austria, no 101 (2008): 21-26.
* White, Ian: ''Rosa Barba''. Camera Austria, no 101 (2008): 21–26.
* White, Ian: ''An Idea in Three Dimensions'' in Rosa Barba, ''White is an Image''. Eds. Chiara Parisi and Andrea Viliani, Ostfildern: Hatje Cantz Verlag, 2011, p.&nbsp;7-39
* White, Ian: ''An Idea in Three Dimensions'' in Rosa Barba, ''White is an Image''. Eds. Chiara Parisi and Andrea Viliani, Ostfildern: Hatje Cantz Verlag, 2011, p.&nbsp;7-39


==External links==
==External links==
*{{Official website}}
*{{Official website}}
* Rosa Barba, "In a Perpetual Now", in the art journal "Brooklyn Rail" (New York) (September 2021 issue): [https://brooklynrail.org/2021/09/criticspage/In-a-Perpetual-Now In a Perpetual Now]
*[http://awp.diaart.org/barba/barba.html Vertiginous Mapping (web based project)]
*[http://awp.diaart.org/barba/barba.html Vertiginous Mapping (web-based project)]
*[http://bombmagazine.org/article/353833/rosa-barba 2015 ''BOMB Magazine'' interview of Rosa Barba by Joan Jonas]
*[http://bombmagazine.org/article/353833/rosa-barba 2015 ''BOMB Magazine'' interview of Rosa Barba by Joan Jonas]
* Watch Rosa Barba in conversation with Francesca Pietropaolo (Brooklyn Rail, May 17, 2022): [https://www.youtube.com/watch?app=desktop&v=jxxjnjAsEa4 NSE #561 | Rosa Barba with Francesca Pietropaolo]

{{Authority control}}
{{Authority control}}


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[[Category:Italian contemporary artists]]
[[Category:Italian contemporary artists]]
[[Category:People from Agrigento]]
[[Category:People from Agrigento]]
[[Category:Academic staff of the University of the Arts Bremen]]
[[Category:Academic staff of ETH Zurich]]

Latest revision as of 04:22, 22 December 2024

Rosa Barba
Born10 December 1972
Agrigento, Sicily, Italy
NationalityItalian
Known forvideo art, installation art
Websitewww.rosabarba.com

Rosa Barba (born 1972, Agrigento, Italy) is an Italian visual artist and filmmaker. Barba is known for using the medium of film and its materiality to create cinematic film installations, sculptures and publications, relate to avant-garde film and speculative fiction,[1] and which inquire into the ambiguous nature of reality, memory, landscape and their role in their mutual constitution and representation.[2] Suspended between dichotomies—permanent and impermanent, real and fictional, obsolescent and modern, conceptual and concrete, alien and familiar, Rosa Barba’s multiform practice encompasses films, sculptures, installations, live-performances, text, sound.[3] Barba currently lives and works in Berlin, Germany.[4]

Early life and education

[edit]

Rosa Barba was born in 1972 in the town of Agrigento, on the Italian island of Sicily.[4] She started practicing photography before experimenting with moving images using super 8 film. From 1993 to 1995 she studied Theater and Film Studies in Erlangen, Germany.[4] She continued her studies in film between 1995 and 2000 at the Academy of Media Arts Cologne in Cologne, Germany.[4] Barba made her first 16mm film while at the academy, titled Panzano (2000), in which three characters struggle to assign parts among themselves.[5] In 2018, Barba acquired her PhD at the Malmö Art Academy at Lund University, under the supervision of Sarat Maharaj, professor for Visual Arts and Knowledge Systems.[6]

The various professional and educational experiences have brought Barba to teaching and she currently holds a Professorship in Art in Space and Time at the Department of Architecture of ETH Zürich.[7]

Work

[edit]

Barba interrogates the industry of cinema and regards it in her work in an architectural sense and as an instrument, where the environment, the screen and the projection can be pushed forward to create another spatiotemporal dimension that is concurrent with and points beyond the context of interior or exterior space. She “contests and recasts truth and fiction, myth and reality, metaphor and material, to a disorienting degree that ultimately extends into a conceptual practice that also recasts the viewer’s own staging as an act of radical and exhilarating reversal—from being the receiver of an image (a subject of control) to being in and among its engine room(s), looking out.”[8]

She exhibits in galleries and museums internationally.[9] She has exhibited at MoMA, New York, (2024),[10] MAXXI, Rome, (2023, 2025), MALI, Lima (2024),[11] Depot Museum Boijmans, Rotterdam (2024),[12] Centre Pompidou, Paris (2023-2024),[13] Tate Modern, London (2023),[14] PICA, Perth Australia (2023),[15] Villa Medici, Rome (2022),[16] Neue Nationalgalerie, Berlin (2021-2022),[17] Cukrarna, Ljubljana (2021, 2022) Tabakalera, International Centre for Contemporary Culture, San Sebastián, and at Kunsthalle Bremen. Other recent solo shows include the Museo Nacional Centro de Arte Reina Sofía, Palacio de Cristal, Madrid (2017); Pirelli HangarBicocca, Milan (2017); Malmö Konsthall (2017); CAPC musée d'art contemporain de Bordeaux (2016-2017); Schirn Kunsthalle Frankfurt (2016); MIT Visual Arts Center, Cambridge, MA; Albertinum in Dresden; Center of Contemporary Art, Vilnius (2014); MAXXI, Rome (2014); Turner Contemporary, Margate (2013); Bergen Kunsthall (2013); MUSAC in Castilla y Leon (2013); Kunsthaus Zürich (2012), Jeu de Paume, Paris, (2012);[18] Contemporary Art Museum St. Louis; Fondazione Galleria Civica, Trento, and MART, Rovereto (2011); Kunstverein Braunschweig (2011) and Tate Modern, London (2010).[19]

Barba has participated in the 52nd, 53rd and 56th Venice Biennale. At the 56th Biennale All the World's Futures, curated by Okwui Enwezor (2015),[20] Barba exhibited Bending to Earth (2015). She participated in the Liverpool Biennale in 2010,[21] in the 2nd Thessaloniki Biennale of Contemporary Art, Performa13, New York (2013),[22] the Beaufort Triennale (2021),[23] as well as in various festivals and other biennials. She participated in the inaugural Malta Biennale in 2024. In 2010 she curated the group show A Curated Conference at the Museo Nacional Centro de Arte Reina Sofia, Madrid with works from the collection.[24] Afterwards, the exhibition was the inspiration for the films The Hidden Conference I-III, which were performatively filmed in various museum depots.[25]

The idea of preservation is further mined through her exploration of nature and the cosmos, which are both capable of preserving documents regarding the relationship between human beings and nature and the influence that they have exerted on it. They also share the encounter between old and new technologies, a coming together prompted by how they are used, as happens with deserts, or by the need to what is out of sight, as is the case with astronomy. In The Color out of Space (2015) she draws parallel between artistic and scientific investigations which reveal themselves as essentially speculative endeavours.[26]

Barba has been actively developing her practice through a number of international residencies, including the two-year residency program at Rijksakademie van Beeldende Kunsten in Amsterdam (2003-2004); Production-in-Residence program, Baltic Arts Center Visby (2006); Villa Aurora, Pacific Palisades, Los Angeles, USA (2006);[27] IASPIS Stockholm (2007-2008) and the Artists-in-Residence-Programme of Chinati Foundation, Marfa, Texas (2013).[28]

Later residencies include a stay at the Curtis R. Priem Experimental Media and Performing Arts Center EMPAC at Rensselaer Polytechnic Institute, Troy (NY) in 2014-15, a residency at Headlands Center for the Arts in San Francisco (CA)[29] and Denniston Hill, Glen Wild in 2017,[30] Guest Artist programme of Arts at CERN, Geneva[31] and Atelier Calder, Saché, France in 2021,[32] Callie’s, Berlin in 2022[33] and Schaufler Residency @TU Dresden in 2023.[34]

At EMPAC, Barba was commissioned a new work production in collaboration with Rensselaer's Hirsch Observatory, which resulted in two site-specific installations spanning different media formats, The Color out of Space and White Museum.

At Callie’s, Berlin, Barba developed Voice Engine, a performance installation which has been presented at Centre Pompidou in 2023[35] and Depot Boijmans Van Beuningen, Rotterdam in 2024.[36]

Barba's works belong to collections such as Louisiana Museum of Modern Art, Humlebæk, Staatliche Museen zu Berlin: Home Hamburger Bahnhof - Museum für Gegenwart, Berlin], Museo Centro de Arte Reina Sofía, Madrid, MACBA, Barcelona and Kunsthaus Zürich.[4]

Film

[edit]

Barba's films develop from situations that form societies and landscapes. By using her film camera as a drawing instrument, she outlines and relates directly to the formal properties of an object. She investigates environments and weaves stories of place and people into fictitious narratives that open up new possibilities for interpretation.[37]

For example, in the film Outwardly from Earth's Center that was produced on the Swedish island Gotland during the winter of 2006 as a Production-in-Residence project for the Baltic Art Center in Sweden, Barba collaborated with the local inhabitants, who also performed in the film, to create narratives and form characters as the filming progressed. Outwardly from Earth's Center is constructed around a fictitious society living on the truly existing island of Gotska Sandön, which drifts approximately one meter per year and. The depiction of the small society trying to hold up the disappearance of the island develops into a surrealistic atmosphere that slowly but surely replaces the experience of what one might consider a beautiful documentary with a more abstract and somewhat absurd picture of people's struggle and vulnerability.[38] In 2019, she produced Aggregate States of Matters,[39] a 35mm film shot in the Peruvian Andes which deals with the increasing impact of climate change on remote areas. At its core, the film pivots on the ambivalent negotiation between the binary idea of nature and culture, oscillating within the contemporary discourse on the environment, and its complex layers based on scientific, philosophical, spiritual and cultural approaches. Barba worked with communities that are affected by glacier melting and its geological time becoming present today. In a cautious, yet scrutinised exploration, the film illustrates blurring and melding boundaries between human and non-human actors.[40]

Sculpture and installation

[edit]

Barba's sculptures and installations are created from the physical and conceptual components of the cinema which become dissected, abstracted, compiled and arranged anew. The roles and relations of the various components are questioned and newly defined: the mechanical objects move, speak and become the main protagonists in the exhibition space.[41]

For example, the work Boundaries of Consumption (2012) features a 16 mm projector directed at film cans with silver globes balancing while the film runs through. The shadow of this spatial set-up is projected as moving images on the wall, changing in colour and appearance over time.[42]

Publications

[edit]

Since 2004 Barba has been publishing a series of printed editions parallel to her films as another form to express and dismantle the cinematic organism. She conjugates its repertoire while she disbands and defines the relationships and hierarchies between image and word and like between image and viewer anew. The series Printed Cinema which won the artist book award 2006 at the Ontario Association of Art Galleries is published for specific exhibition spaces and accompanies her films as secondary literature for a limited time. The printed editions present an extended and free form of the exhibited film which reveal the filming process including research material and unused filmic fragments. The edition exists beyond the duration of the film. The filmic projection is translated into printed material and confronted with its conditions, materiality and temporality. Through the comparison of both media, the emphasis on image, language and text and their relationships and overlapping themes are shifted into a new light.[43]

Barba has published several monographic books, including her last one: “On the Anarchic Organization of Cinematic Spaces – Evoking Spaces beyond Cinema” 2021 which develops a new thinking by destabilising traditional cinema structures.[44]

Awards (selected)

[edit]
  • PIAC - Prix International d’Art Contemporain (International Contemporary Art Prize), Fondation Prince Pierre de Monaco (2016)[45]
  • Experimental Film Award (Bending to Earth), 24th Curtas Vila do Conde International Film Festival (2016)[46]
  • No Violence Award, 54th Ann Arbor Film Festival (2016)[47]
  • Experimental Film Award (From Source to Poem), 25th Curtas Vila do Conde International Film Festival (2017)[48]
  • Italian Council, 3rd Edition, Ministry of Cultural Heritage and Activities and Tourism, Rome (2018)[49]
  • The Calder Prize, Calder Foundation, New York (2020)[50]

References

[edit]
  1. ^ "Rosa Barba: Changing Cinema".
  2. ^ "Rosa Barba interview bordercrossingmag".
  3. ^ "Rosa Barba: Evoking a Space Beyond Cinema".
  4. ^ Alemani, Cecilia: Rosa Barba interview by Cecilia Alemani. klat, no. 2 (Spring 2010): 18–35
  5. ^ "Rosa Barba doctorate".
  6. ^ "Prof. Dr. Rosa Barba".
  7. ^ Rosa Barba, White is an Image, 2011, Ian White, And Idea in Three Dimensions.
  8. ^ How does she do that?
  9. ^ Rosa Barba, Aggregate States of Matters
  10. ^ Rosa Barba. Evocando un espacio más allá del cine
  11. ^ Rosa Barba, Voice Engine
  12. ^ Rosa Barba, Hear, There, Where the Echoes Are, 2023
  13. ^ Rosa Barba, The Hidden Conference
  14. ^ Rosa Barba, Emanations
  15. ^ Rosa Barba – Art Club #36
  16. ^ Rosa Barba. In a Perpetual Now
  17. ^ ROSA BARBA : "VU DE LA PORTE DU FOND"
  18. ^ "Level 2 Gallery: Rosa Barba | Tate Modern".
  19. ^ "Biennale Arte 2015 2015 | Biennale Arte 2015 - Artisti". 23 October 2017.
  20. ^ "Rosa Barba".
  21. ^ "Performa Archive".
  22. ^ "2021 Beaufort Triennial - Announcements - e-flux".
  23. ^ "BOMB Magazine | Joan Jonas by Rosa Barba".
  24. ^ "Rosa Barba Reveals the Secret Lives of Artworks". 3 January 2020.
  25. ^ "Rosa Barba: The interesting thing about machines".
  26. ^ "Stipendiaten Details - VATMH (De)".
  27. ^ "Rosa Barba – the Chinati Foundation".
  28. ^ "Rosa Barba - Headlands Center for the Arts". 3 February 2017.
  29. ^ "Residents".
  30. ^ "Rosa Barba begins her stay at CERN as Guest Artist".
  31. ^ "Rosa Barba".
  32. ^ "Rosa Barba".
  33. ^ "Artist in Residence 2023: Rosa Barba".
  34. ^ "Moviment au Centre Pompidou, chap 3, 17-21 mai 2023".
  35. ^ "Rosa Barba: VOICE ENGINE / Hear, There Where the Echoes Are - Announcements - e-flux".
  36. ^ "Rosa Barba – Parra & Romero".
  37. ^ "Rosa Barba, 2006".
  38. ^ "Rosa Barba's Cinema of Transformation | Magazine | MoMA". The Museum of Modern Art. Retrieved 2024-12-06.
  39. ^ Q&A's with Rosa Barba director of "Aggregate States of Matters", 19 November 2020, retrieved 2024-02-10
  40. ^ "Rosa Barba".
  41. ^ Bell, Kirsty (May 2011). "Suspended Animation". Frieze (139).
  42. ^ "Rosa Barba: Printed Cinema". 26 August 2021.
  43. ^ "On the Anarchic Organization of Cinematic Spaces". 31 July 2023.
  44. ^ "International Prize of Contemporary Art | Fondation Prince Pierre". www.fondationprincepierre.mc. Archived from the original on 2015-09-21.
  45. ^ "vila do conde award".
  46. ^ "ann arbor film festival award". Archived from the original on 2020-06-24.
  47. ^ "vila do conde".
  48. ^ "ministry of cultural heritage and activities and tourism".
  49. ^ "Art Forum". 11 February 2020.

Further reading

[edit]
  • Barba, Rosa (2017). From Source to Poem. with contributions by Manuel Borja-Villel, Giuliana Bruno, Joan Jonas, Elisabeth Lebovici, Roberta Tenconi. Hatje Cantz/Pirelli HangarBicocca with Malmö Konsthall. ISBN 9783775743266
  • Alemani, Cecilia: Rosa Barba interview by Cecilia Alemani, klat no. 2 (Spring 2010): 18-35
  • Barba, Rosa (2012). Back Door Exposure. Jeu De Paume. ISBN 978-29-15704-32-7.
  • Barba, Rosa (2016). The Color Out of Space. Eds. Henriette Huldisch, Karen Kelly, Barbara Schroeder, MIT List Visual Arts Center/Dancing Foxes Press. ISBN 9780985337797.
  • Barba, Rosa (2011). White Is an Image. Eds. Chiara Parisi and Andrea Viliani, Ostfildern: Hatje Cantz. p. 293. ISBN 978-3-7757-3019-8.
[edit]
  1. ^ Mariátegui, José-Carlos (2023). "On The Anarchic Organization of Cinematic Spaces by Rosa Barba (review)". Leonardo. 56 (6): 641–643. doi:10.1162/leon_r_02457. ISSN 1530-9282.
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