On a merely intuitive basis, when thinking about an accumulation of physical stuff we automatically look for a fluid relationship between parts, along a pattern of relative frequencies. This metaphorical space of thought enables us to shift from real space to imaginary space, in a state of endless wonderment about the possibilities and magical dumbness of objects and their accumulation. It is when trying to assemble such accumulation of physical stuff that we realise the infrastructure of this unpredictable conversation between parts. The mise-en-scène of an accumulation of physical stuff is not a productive space, but rather a "spatial practice," for which we need imagination. Spatial imagination is not limited by the physics of Newton and the geometry of Euclid. Impossible topologies abound in mythologies, that defy the paradigm of homogeneous, uniform, three-dimensional spatiality. This enigmatic quality of an impossible space has progressive options in a narrative complex, in which every environment is supported by an idea or set of ideas.

"In the room with dead acoustics, ritual is a matter of fuzzy logic," Barbu produces his objects according to the reference manual of an assemblage. Found or discarded objects and scraps. A conglomeration of existing things in an overspill of materials entangled by their formal antithesis. Barbu deconstructs his own mythology of a post-Dota universe, which embodies the genesis of a world ruled by beings, creatures and deities, in three-dimensional models, arranged in specific spatial systems. Our eye is engaged in a world of peculiarities, demanding their attention, as visual puzzles. Barbu lends presence to the assemblages, animating the social dimension of their materials. As they lose their function, history and definition, the materials acquire a new course of action. There is no consensus in representation. Although, in appearance, they give the impression of comprehensibility, the assemblages seem full of impossible life.

And an impossible life can only live in an impossible space.

Barbu stages an elastic space-time, whose logic implies multiple stages of truth, which evolve and crystallize like a ritual understood as strategy - as a strategic cultural way of acting in the world, following Catherine Bell. Or as a strategic way to assemble an accumulation of assemblages. This dynamic system depends on the spectator/observer, whose gaze stirs the narrative, facing a dilemma of direction, in a spatial practice that functions as a whole, rather than as a particularity. The exhibition is an open structure, which absorbs time in the narrative space through the viewer's gaze. It creates a fluid relationship of options and probabilities, stimulated by the field of experience of each spectator/observer.