Introduction
The work of the Rosa Barba can be read against the background of an expanded notion of sculpture. In addition to issues of composition, the physicality and plasticity of form, time plays a central role. This aspect, combined with her interest in how film articulates space, sets work and viewer in a new relationship that is also mirrored in the content of her films. Each one is a topographical study of the ‘modern unconscious’.
They are spaces of memory and uncertainty, which can be read as a reassuring myth despite the instability of the reality they depict. Barba’s filmic works alternate between experimental documentary film and fictional narratives and are not clearly fixed in time. They frequently focus on natural landscapes and human interventions in the environment and examine the relationship between historical records, personal anecdotes and filmic depictions.