After serving in the Israeli army, he developed a successful real estate business, while at the same time, beginning in 1980, he started producing films and studied at the Camera Obscura School in Tel Aviv.

In Cuba, he built the Miramar Trade Center, a major business complex in the city of Havana, which he still runs to this day.

Among the most important series are: Self-portraits (2011–2014), The Family (2011–2013), Forgotten (2013), Cuts (2013–2014) as well as large format works such as The Line (2014), Centipede (2014) and photo installations: 19 women and one bed (2012) and The dance (2014).

The photographic work of Enrique Rottenberg may be considered controversial, satirical, manic-melancholic, lewd, empathic, alarming...The reasons behind the attraction that it causes, whether it be of allure or tension, laughter or pain, surprise or rejection, beauty and horror, are diverse, but they all seem to be gathered in a certain way under the Schelling's definition of the term: the disturbing oddness or the ominous (unheimlich): "(...) everything that being intended to remain a secret, hidden, has come to light."

There is a movement that doesn't stop within Rottenberg's work, repeated and distressing, which builds its multiple layers, all the way from the greatly theatrical to the edge of reality, from the shadows of dreams to the brutal light of the vigil, from self-narcissism to mass psychology, to find the way out at any cost, reaching the encounter with what cannot be reconciled.

Rottenberg's language is paradoxical, whence that feeling of surprise and perplexity: on one side he's directly affective unwilling to re-create metaphors; his images are cries, onomatopoeias, moans, silences; on the other hand, he makes poetry, creating metaphors as a side effect, immanent to affectionate, self-produced.

The disruption of the compositional syntax, the variety of colors found, the exposed textures, the bluntness, are what create a style, and at the limit, an enigma.