Rosa Barba

Por ocasião da Berlin Gallery Weekend tive o prazer de conferir, na Galeria Meyer-Riegger o trabalho de Rosa Barba. artista italiana que inspira minha pesquisa acerca da dimensão escultórica do cinema. Barba explora de forma muito sutil e ao mesmo tempo muito potente os planos do discurso, da narrativa, da imagem e do texto, depurando a forma cinema como nunca vi. Emocionante.

Rosa Barba Spacelength Thought (Ed. 3+2), 2012 projector, typewriter, 16mm film dimension variable

Pensei: O que pode nos fazer espectadores, no sentido que lhe atribui Flusser, é uma relacao objetual com a imagem.  Neste sentido, mesmo em obras ditas interativas, nas quais o interator está supostamente co-criando a obra no momento de sua fruicao, é possível que se estabeleca o paradigma objetual; dito de outro modo, a interativiade tecnologica nao é garantia de relacao de irmandade que ultrapassa a objetualidade. O objeto é outro, é fora, é dado, é manipulado. A co-criacao pode assim, ao contrário, ocorrer com trabalhos onde nao ha interacao prevista.

Destaco do texto que apresenta a exposição: “The work of Rosa Barba is based on radical experimentation with the medium of film, proposing a new language. Her pieces not only dissect cinema itself (celluloid, light, colour, sound, image, movement, time) but also fragment narration into different layers, implying a level of abstraction in which imagination and a conceptual approach play a decisive role.”

Gastei uma bos meia hora lendo os textos disponiveis sobre seu trabalho e fiquei feliz de encontrar esta entrevista on line.

JJ You also make kinetic objects where you give more attention to form, but the objects are performative as well.

RB With the objects, I am interested in a specific absence of image and in a balancing act. I use my camera the same way when I record images. I decide for a frame but then, when I point my camera to it, I have no control anymore over what actually happens inside the frame. So the sculptures are situated in the frame I prepare for them, and then they start a conversation with the different parts of the object and with the observer.

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Installation view of Sight Enables Us to Appreciate Distance, 2013, Turner Contemporary, Margate, England, 70mm film, aluminum, neon lamps, and motors.

RB Using my film camera allows me to be synced with or to be close to time, especially when I film in wide-open spaces where time seems to exist endlessly in every direction—it’s almost three-dimensional. Looking through the camera, I often feel that the process of capturing time requires a specific perspective. I’m very interested in film also, because you never really know when the film actually happens. Does it happen when the light hits the camera lens? Does it happen when it is developed? Or does it actually happen when it comes out of the projector and is thrown into a space?

About paoleb

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