Evoking an Architecture of Passage is a project proposed and initiated by artist and filmmaker Rosa Barba consisting of two parts: a film and a long-term open-air cinema installation. The project received the first prize at the international competition of the Italian Council (Third Edition) in 2018 and was awarded a grant from DGAAP (Directorate General for Contemporary Art and Architecture and Urban Peripheries), Italy. This undertaking is being realized in collaboration with the Point Centre for Contemporary Art, directed by Andre Zivanari, and the curator Mirjam Varadinis. Barba’s film is exclusively shot in Cyprus, including underwater shots of the Mazotos Hellenistic shipwreck, as well as aerial shots from archaeological sites and will be screened in Spring 2021 at the open-air cinema installation in the Buffer Zone. Barba originally planned to build the open-air cinema installation in the area around Mammari. After the UN and the Italian Embassy approached the municipality of Deryneia, mayor Andros Karayiannis friendly welcomed the idea of realizing the artistic sculpture in Deryneia, where it is currently being built. In Evoking an Architecture of Passage Barba deals with the 180-kilometers “Dead Zone,” the area that divides the Turkish from the Greek part of the island. The project is a result of a seven years process, when Barba first proposed to build a cinema sculpture in the Buffer Zone of Cyprus. The artist initiated the idea of an amphitheater with a permeable screen, on which the film could be watched from both sides, and accessed from all communities. Working within a political landscape, Barba sought to counterbalance existing images of conflict with a strong position expressing solidarity and openness. The Open-Air Cinema For the construction, the artist focused on incorporating the theatre in Deryneia’s natural environment, avoiding materials alien to the landscape. In exchange with local architects, and under the supervision by the architect and project manager Maya Shopova, Barba worked exclusively with earth materials on site. Only the screen supporting structure and the drainage system had to be imported to the overall construction. The metal structure of the screen will be the only visible part above ground, while the seats will be integrated in the natural terrain. This extraordinary architectural technique allows the theatre to endure within the environment for the next ten years without any further necessary restoration—deteriorating gradually, as a subject to the area‘s weather conditions. Barba envisions the location of this open-air installation to function as a meeting point for the members of all communities on the island. Her intention is to highlight the capacity of the art to create spaces of interaction and coexistence. The inaugurational screening will take place at Deryneia in Spring 2021. Upon completion of Barba’s project, the open-air site will subsequently be extended and made available to Deryneia Municipality and to other cultural professionals as to initiate a multifaceted dialogue. Acknowledgements: The project was realized with the kind support of the officials involved in the negotiations with the municipalities and the UN, who made the final permission for a construction in the Buffer Zone possible. Rosa Barba is an artist and filmmaker who balances conceptualism with a distinctly personal vision in her work. She merges films, sculptures, installations, live-performances, text pieces, and publications that are grounded in the material and conceptual qualities of cinema. She also creates installations and site-specific interventions to analyze the ways film articulates space, placing the work and the viewer in a new relationship. Questions of composition, physicality of form and plasticity play an important role in the perception of her work. She interrogates the industry of cinema with respect to various forms of staging by inviting the viewers to participate in her cultural observations. This happens through shifting of gesture, genre, information and documents, that she takes often out of the context in which they are normally seen and reshapes and represents them anew. Her film works are situated between experimental documentary and fictional narrative, and are indeterminately situated in time. They often focus on natural landscapes and human interventions into the environment and probe into the relationship of historical record, personal anecdote, and filmic representation, creating spaces of memory and uncertainty, more legible as reassuring myth than the unstable reality they represent. Her work has been exhibited at prestigious institutions and biennials worldwide. She has had solo exhibitions at Wäinö Aaltonen Museum of Art, Turku, Finland (2020) (upcoming), Tate Modern (2021) (upcoming), CCA Kitakyushu (2019); Armory Park Avenue, New York (2019) Kunsthalle Bremen (2018); Remai Modern, Saskatoon (2018); Tabakalera, International Centre for Contemporary Culture, San Sebastián (2018); Museo Nacional Centro de Arte Reina Sofía, Palacio de Cristal, Madrid (2017); Pirelli HangarBicocca, Milan (2017); Vienna Secession (2017); Malmö Konsthall (2017); CAPC musée d’art contemporain de Bordeaux (2016); Schirn Kunsthalle, Frankfurt (2016); Albertinum, Dresden (2015) and at the MIT List Visual Arts Center, Cambridge, MA (2015). Barba participated in 32nd São Paulo Biennial; 53rd and 56th Biennale di Venezia: Making Worlds (2009; curated by Daniel Birnbaum) and All the World’s Futures (2015; curated by Okwui Enwezor); 8th Berlin Biennale for Contemporary Art (2014); 19th Biennale of Sydney (2014); Performa, New York City (2013); International Biennial of Contemporary Art of Cartagena de Indias, Colombia (2014); Liverpool Biennale (2010). Barba has had residencies at the Rijksakademie van Beeldende Kunsten, Amsterdam; the Chinati Foundation, Marfa, Texas; Iaspis, Stockholm; and Artpace, San Antonio, among others. She studied at the Academy of Media Arts Cologne and has completed her PhD with the title "On the Anarchic Organisation of Cinematic Spaces: Evoking Spaces beyond Cinema" at the Malmö Faculty of Fine and Performing Arts, Lund University in 2018. She has been a visiting professor at MIT, ACT (Program in Art, Culture and Technology), in Cambridge, Massachusetts. Barba holds a professorship in Fine Arts at the University of the Arts, Bremen. Her work is part of numerous international collections and has been widely published, amongst others in the monographic books Rosa Barba: From Source to Poem (2017), Rosa Barba: Time as Perspective (2013), and Rosa Barba: White Is an Image (2011), published by Hatje Cantz; Rosa Barba: In Conversation With (2011; Mousse Publishing) and Rosa Barba: The Color Out of Space (2016), published by MIT List Visual Arts Center/Dancing Foxes. Barba has had residencies at the Rijksakademie van Beeldende Kunsten, Amsterdam; the Chinati Foundation, Marfa, Texas; Iaspis, Stockholm; and Artpace, San Antonio, among others. She was awarded various prizes, i.e. the 46th PIAC, International Prize for Contemporary Art, of the Fondation Prince Pierre de Monaco both in 2015 and the Calder Prize in 2020.