Just as we are witnessing the pre-eminence of digital animation, Rosa Barba turns her gaze back and begins to experiment with the cinematographic language and its most traditional and obsolete constituent elements. Her work, which includes film, kinetic sculpture and site-specific interventions, in fact exploits some of the material components of this expressive medium. The projector, the film spool, the beam of light that crosses the theatre and the square of images formed on the opposite wall are displayed without hierarchy, so as to make up a single installation capable of modelling the space in plastic terms. And while film is only a part of the whole, the projection device is always made visible, even when the viewers find themselves looking at nothing more than unexposed film going around and around in the projector. [...]
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