Published 12.11.2010
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Printed Cinema is an ongoing attempt to reveal and unravel the cinematic organism, stressing the ephemeral nature of the image's surface by remaking it as printed matter.
Rosa Barba has been publishing Printed Cinema alongside her film projects since 2004, as a kind of secondary literature, sourced from film stills, text and photographs. The publications are intended not as companion pieces to the installation event that they coincide with, but rather as a way to set experiments in word and image alongside cinematic still-image relationships, transferring them to an asynchronous realm.
The book is acknowledged as the 'home' of narrative; Printed Cinema adopts its format, only to direct us down other possible paths, reshaping the fragments of text and images from the films into a momentary stillness. The result is intended as a 'free screening' wherever it is found, as it slips through (and is edited by) the viewer's own hands.
Here, Barba adapts this format for the web, working from an edition that was published for her current show, on at Tate Modern through 8 January 2011. Taking images from the show, curator Ben Borthwick and writer Melissa Gronlund reflect on Barba's practice as well as on the difference in experiencing projected, printed and digitally published images.
