Rosa Barba
Durch die Etagen

2022

EB112

Silkscreen print on maculature, framed, Various sheet dimensions and motifs, frame: 109,4 x 79,4 cm

Edition of 20 + 12 AP, signed and numbered (1/20 – 20/20, I/XII – XII/XII)

2.850 Euro

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Screen print by Rosa Barba with a white translucent film object (Color Clock) printed on an exhibition poster. The poster shows the Mona Lisa on a yellow background. The text on the poster reads “The Readymade Boomerang: Vertain Relations in 20th Century Art”.
Screen print by Rosa Barbara. A large green object (Color Clock) overlays a print sheet with eight pages for a catalog with colorful photos and illustrations, arranged on a white background.
The screen print by artist Rosa Barba shows a semi-transparent white film object printed over a dark-tinted exhibition poster. The text on the poster reads John Cage Nam June Paik and contains details about the exhibition.
Collage by artist Rosa Barba of several layers: A white semi-transparent photo with an excavator shovel is printed over the print POLARIS by Lawrence Weiner: a blue surface with a white border. On the blue surface is a yellow oval with a black border and bold black text reading POLARIS SOUTH WILD BLUE YONDER. There is also a dark rectangle and an upside down photo of two people semi-transparent on the blue area.
A screen print by artist Rosa Barbara. An object consisting of a film strip winding around spools in a circular segment-shaped glass display (Color Clock) is printed on a light background. The background consists of horizontal columns of text printed over 12 light gray reproduced telegrams by On Kawara.

    As an artist and filmmaker, Rosa Barba combines films, sculptures, installations, live performances, text works and publications based on the material and conceptual qualities of cinema. The publication project Printed Cinema, which she has been publishing since 2004, continues her audiovisual work as a personal reflection on images. It is about the gaps, ellipses, dialectics – essentially concepts of modernity – that are articulated in the space between the images. In the context of this group of works, a series of screenprints on maculature was created for Edition Block. Block had occasionally kept a few copies of the multi-printed sheets, which are produced during the printing process when excess or faulty prints are printed over again to test the color regulation of the printing press, because he was interested in the randomly created combinations of arbitrary motifs – an interest that he shares with the artist Rosa Barba, who also works with maculature for Printed Cinema.
    Rosa Barba has now used these already exciting random products from Block’s collection, which represent different decades and of which there are many different combinations, as backgrounds for screenprints in white or dark green with motifs from her own work in multiple variations. Thus, a motif from Color Clocks: Verticals Lean Occasionally Consistently Away from Viewpoints (2012) – an installation consisting of a total of three kinetic film sculptures, each representing a color based on text – appears as a white shadow on a printed sheet of I Am Still Alive telegrams by On Kawara (see EB45) and Berlin city maps; the detail of a film drawing from the 35-mm film object Uncertain Themes ¬– and Therefore Abstract (2021) on the poster print for the exhibition John Cage, Nam June Paik at the daadgalerie in Berlin, which in turn was printed on illustrated calendar pages in 1982; or the film still of an excavator shovel from the 16-mm film Somnium (2011) inspired by Johannes Keppler’s science fiction novel of the same name, about Lawrence Weiner’s contribution Polaris for the graphic portfolio The Readymade Boomerang, produced in the context of the 8th Sydney Biennale. Icons from readymade, conceptual art and Fluxus enter into multi-layered relationships with the themes and motifs that recur in Barba’s own work: Film as subject and medium, cultivated landscape, time, sound, writing and color.
    Text: Eva Scharrer