Artpaper. #16

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ART MARKET Artissima 2022: the Italian art fair, home of the slow sales movement and good food

E X H I B IT ION A retrospective of Isabelle Borg’s most iconic work to be held at Spazju Kreattiv

DES IGN Outdoor furniture that questions Maltese development’s impact on the environment





Mouth agape Literally and visually, lips are meant to be the most sensuous of facial features. Models and sitters are often asked to bite or wet their lips, and to part them, ever so slightly, when posing – perhaps in an attempt at making them look more plump, inviting and luscious. Better still, to mimic a sigh or a gentle moan, or even to allude to the possibility of pausing, mid-sentence, hence denoting an inherent motion of sorts. A suspended moment, perhaps. The connotation, decidedly sexual. >> Interview with CO-MA, pg. 17

Installation view, Trans Mercurial Vapor Bb, Roxman Gatt, football boots, soft toy, plaits, chains, 2021. Photo by Niels Plotard

Untitled 03, CO-MA, Charcoal on CANSON 180gr “C” A grain paper, 50 x 70cm, 2020. >> pg.17

Romeo Roxman Gatt

Q&A Francesca Balzan presents her sculpture exhibition, Impossible Conversations REVIEWS Re-imagining a Landscape at Marie Gallery5 + Two high calibre exhibitions by Romeo Roxman EXHIBITIONS Debut exhibition of pencil drawings by Glen Ellul + Images linking Gatt & Matthew Attard DESIGN Doorknobs and knockers past and present at Spazju Kreattiv + African art exhibition at Christine X collaboration + Artist inspired rug collection + Outdoor furniture questioning Malta’s developments EVENTS Discussing trans men, non-binary and LBQI + Highlights in Malta and around the world DIRECTORY List of creative services in Malta

“I think allowing myself to be vulnerable is what makes the work more powerful and true to itself. I am laying myself out there so that people can learn about certain issues that are important and matter considerably to me and should also matter considerably to them. Art has helped me a lot in my life and I truly belief that it could be a remarkable tool for many of us.” >> Interview by Joanna Delia, pg. 25


Welcome / Team / Inside November - December 2021


e are finally blessed with a variety of thoughtprovoking exhibitions and events in Malta, mostly by those who seek individuality and repel conformity.

Editor Lily Agius (+356) 9929 2488 Graphic Designer Nicholas Cutajar

Joanna Delia reviews the solo shows of Romeo Roxman Gatt and Matthew Attard – both Maltese artists who are making waves internationally. In their shows, they offer a new perspective on the world, re-imagining concepts of oneself, events, and of objects around us. (Page 25)

Sales Manager Lily Agius (+356) 9929 2488 Sales Person Sam Vassallo (+356) 9902 2398 Printing Press Print It

Romeo Roxman Gatt has also unveiled a new project called Rosa Kwir – an experimental virtual and physical archive, bringing together stories of trans men, non-binary and LBQI masculine presenting people. (Page 7)

Contributors Luke Azzopardi Francesca Balzan Charlie Cauchi CO-MA Lisa Gwen Joanna Delia Ann Dingli Glen Ellul Maria Galea Anna Horvath Bruce Micallef Eynaud Margerita Pulè Christine Xuereb Seidu

Lisa Gwen interviews an emerging Maltese artist called CO-MA, whose debut show recently opened. CO-MA presents 11 figurative charcoal drawings created over the last two years with commendable speed and attention to detail. (Page 17)

Those who have followed Francesca Balzan on social media over the last year have been patiently waiting to see her latest collection of sculptures in the flesh. The artist researched early 20th century passport applications at the National Archives of Malta, looking for individuals who lived in or around the Ta’ Liesse area and sculpted them as she imagined them, in conversation. (Page 12) The destruction of iconic buildings in Malta is an ongoing sad story, however a project by architect and designer Anna Horvath aims to not only remind us of the loss of such heritage, but has also found a simple solution with site specific designs by turning construction waste into interactive outdoor furniture for Maltese public places. (Page 22) The next issue of Artpaper will be out just before Christmas, on 19 December. Feel free to contact us to contribute, or even comment.

Supported by AP Valletta ArtHall Gozo Arts Council Malta Artz ID Birgu Blue Camilleri Parois Mode E Gallery



05. NEW A new art collective,

05. ARCHITECTURE Debut exhibition of Pencil drawings by Glen Ellul

07. PERFORMANCE Discussing trans men, non-binary and LBQI

30. AFRICA African art exhibition at Christine X in Malta

09. ITALY Review of art fair, Artissima

32. PHOTOGRAPHY Images linking past and present at Spazju Kreattiv

10. REMEMBERENCE Remembering the late artist Isabelle Borg

36. EVENTS Highlights around the globe 38. EVENTS Highlights in Malta

Edwards Lowell Fimbank Heritage Malta La Bottega Art Bistro Lily Agius Gallery Malta Society of Arts Malta Tourism Authority Marie Gallerie 5 Ministry for National Heritage, the Arts & Local

INTERVIEWS + REVIEWS 12. Q&A with Francesca Balzan for her sculpture exhibition, Impossible Conversations 14. EXHIBITION Re-imagining a Landscape at Marie Gallery5 17. EXHIBITION Interview with charcoal artist CO-MA 25. REVIEW Two high calibre exhibitions by Romeo Roxman Gatt & Matthew Attard

Governance MPM Arts Hub . MUZA People & Skin


Spazju Kreattiv

06. BRONZE Doorknobs and knockers collaboration

Studio 87 Vee Gee Bee Art Shop Vitra

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21. INTERIORS Artist inspired rug collection 22. ARCHITECTURE Outdoor furniture questioning Malta’s developments

DIRECTORY 35. LOCALIST List of creative services in Malta


Go Figure! by Bruce Eynaud Can you guess the 3 artworks that make up this figure? Send your answers by email to by 30 November 2021, with ‘Competition’ as the subject, for a chance to win: First Prize: A pass to all Heritage Malta sites Second Prize: €20 voucher from VeeGeeBee Art Shop Third Prize: €20 voucher from Sistina Art Shop

Winners from previous issue: (1) Bridget Bugeja has won a month’s pass to all Heritage Malta sites, (2) Neville Bezzina has won a €20 voucher from VeeGeeBee Art Shop and (3) Kathrine Maj has won a €20 voucher from Sistina Art Shop

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Art News / On the Scene November - December 2021



ON the SCENE. “I was not my mum’s daughter but son” Romeo Roxman Gatt











The Malta Pavilion at The Venice Biennale 2022 The project Diplomazija Astuta was selected for the Malta Pavilion at the 59th International Art Exhibition - La Biennale di Venezia 2022. The Pavilion Commissioner is Arts Council Malta, under the auspices of the Ministry for the National Heritage, the Arts and Local Government. Curators Keith Sciberras (MT) and Jeffrey Uslip (NY), through the creative collaboration of Giuseppe Schembri Bonaci (MT), Arcangelo Sassolino (IT) and the composition of renowned Maltese conductor and musician Brian Schembri (MT), will be re-articulating Caravaggio’s seminal altarpiece ‘The Beheading of St. John the Baptist’ (1608). For the Malta Pavilion, they will be creating a conceptual, immersive, site-specific installation that bridges biblical narratives with contemporary culture. Through their signature artistic visions, Schembri Bonaci and Schembri, together with Sassolino, shall transpose the zeitgeist of the Oratory of the Decollato in Valletta onto the Malta Pavilion, re-situating Caravaggio’s immanent themes within modern life. The 59th International Art Exhibition will take place from 23rd April to 27th November 2022 and will be curated by Cecilia Alemani. It will be titled The Milk of Dreams, a name borrowed from a book by Leonora Carrington.


Structures of the Mind Structures of the Mind is an exhibition that presents a selection of seventeen exquisite artworks by the artist Glenn Ellul. The show will feature an exclusive solo exhibition, showcasing a series of pen drawings by this young, emerging artist. The artworks explore imaginative architectonic ethereal edifices and structures, presenting intriguing, fine and meticulous graphic works that disclose the artist’s fascination for visionary architecture and appealing constructions, inspired by local and international architecture. The exhibition is held at The Palm Court Lounge, the Phoenicia Hotel in Floriana, until 29 November, curated by Roderick Camilleri.


The new Duo The art collective known as duopunctumstud. io, is a collaboration between artists Nadette Clare-Talbot and Caroline O’Callaghan. The duo recently launched their debut collection of work, entitled Elective Affinity. The collection showcases twelve individual bodies of work centred around the subject of still life, captured in a photographic style more traditionally seen within classic portraiture. Each of the twelve works began with a visual idea, which was typically developed into a three-dimensional botanically themed sculpture, followed by a live installation and, finally, a photographic image that captures the theatrical magic of their unique artistic approach. With the duo’s interest in perception and illusion, each body of work seeks to juxtapose disparate subjects. It is this jarring visual experience that the duo seeks to explore, from the inception of each individual idea through to the creation of the installation, and ultimately a powerful photographic image. To learn more about each piece and to view the full collection visit www.

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Art News / Malta November - December 2021 MALTA



he door knocker has a long, complicated, and somewhat dark history, which originates as far back as Ancient Greek times. Although it is a staple on the doors of traditional Maltese builds and houses, it is by no means a feature exclusively present on our islands – just like ‘our’ cement tiles, for instance. The door knocker, or habbata, also comes in a knob or handle version on some doors, as it is generally the door style and timber panelling which dictates what design option to use, as well as the size of the desired accessory. Knobs, knockers and handles generally come in a wide variety of shapes, sizes and materials – the most common being brass, but occasionally also in ceramic, glass and in bronze. It is rare however, to come across an uncommon or customised design for a doorknob or knocker – and these are generally found on the doors of larger palazzos, band clubs or high end businesses. The dolphin, the

elephant head, the hand, and motifs incorporating the eight-pointed cross are just a few of the prevalent and most-recognised designs adorning Maltese doors. This is the context in which the collaboration between Lisa Gwen from MaltaDoors and Funderija Artistika Chetcuti was born. As the only artistic foundry on the islands, with a solid repertoire and portfolio of making and impeccably

replicating door knockers for boutique hotels, banks or band clubs, the Foundry had insofar never produced its own series of creations. After years of documenting Maltese houses and facades, Lisa identified an interesting niche to develop contemporary design for door knobs and knockers that were still contextually relevant yet aesthetically appealing. The collaboration made perfect sense to both, on several levels.


BIRGU BLUE ATELIER-BOUTIQUE X LUKE AZZOPARDI STUDIO Birgu Blue and Luke Azzopardi Studio are celebrating their close collaboration through the launch of a Limited-Edition collection of leather bags, just in time for the Christmas season. Each bag is stitched to perfection by Ozzy Chien, to the designs of Luke Azzopardi. These unique signature pieces are crafted using the finest vegetable-tanned leather in an exclusive cobalt blue. The limited-edition bags will be on sale from the historic Concept Store at 66, Hilda Tabone Street, Birgu. The Atelier-Boutique will showcase the entire leather bag collection of Luke Azzopardi Studio, including the Iscariot Bag, the 0% croco mini bag, as well as the LA Hero Bag.

of the Boutique. “We are extremely happy with this collaboration with Luke Azzopardi Studio, which adds prestige and value to our store, and brings a touch of elegance and class to our showcased collections”.

This creative project is an artistic collaboration between Luke Azzopardi and Birgu Blue’s inhouse Taiwanese designer Ozzy Chien. “With Luke Azzopardi’s addition to the curated selection of objets d’art presented at the boutique, Birgu Blue continues to affirm its position and reputation as the Three Cities’ most novel exclusive concept boutique”, explains Claude Zammit-Trevisan, founder

A launch party by invitation will be held on Thursday 25 November to celebrate this artistic collaboration and launch the Luke Azzopardi Studio brand spotlight at Birgu Blue.

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Established in 2019, the concept boutique already stocks premium fine wines from Ta’ Betta wine estate, exquisite jams and chutneys locally prepared from seasonal fruit by With Love from Our Kitchen, and premium handwoven cushion covers, throws and shawls from Sri Lanka’s Academy of Design flagship store - Urban Island. Finally, Birgu Blue remains Malta’s foremost atelier for bespoke leather accessory creations.

Birgu Blue Rendez-Vous, Atelier - Boutique, 66, Hilda Tabone Street, Birgu,

Dubbed Contemporary Traditions, this ongoing collaboration aims to produce various series of doorknobs and knockers that kicked off with the Monstera Deliciosa (Swiss Cheese Plant) Leaf and the Scallop Shell - both designs being customisable as both knobs or knockers. Before Christmas, another two designs will be unveiled, featuring an eye (the pair will be asymmetrical), and seahorses. Research is still ongoing, and more designs will be added to the collection in the coming months. The beauty of bronze doorknobs and knockers is perhaps their raw and hand-made feel and finish. A process that takes weeks to complete, from preparation of the mould ahead of casting, to finishing and patination, each piece is unique, and no two are ever identical. More than just an accessory for one’s front door, the knockers are functional fine art sculptures. For more information please contact:

Art News / Malta November - December 2021 MALTA


AN EXPERIMENTAL ARCHIVE Artist Romeo Roxman unveils his latest project, Rosa Kwir, on 18 November 2021 at 38, Main Street Balzan, Malta. Rosa Kwir is an experimental virtual and physical archive, bringing together stories of trans men, non-binary and LBQI masculine presenting people. The title of this project was inspired by a story dating back to 1774 when Rosa Mifsud, a 17-year-old intersex person, petitioned for a change in sex from female to male. Romeo Roxman has been working on the project with collaborator Charlie Cauchi for the past year. The archive is made up of ephemera, objects, live testimony, and other material collected from the many participants that took part in this project. The artist will showcase some of the material gathered through this project, as well as officially launching a new publication, Rosa Kiwr: A Family Album, and the online archive. Rosa Kwir enabled the artist to open a dialogue about alternative notions of masculinity. “Personally,” Romeo Roxman explains, “this project has been a big learning experience. I’ve had so many heartfelt and honest interactions and discovered so much beauty in each one of the people I met. The few negative encounters I had also provided an opportunity for reflection. I can’t help but worry about the damage society has inflicted on transgender and gender non-conforming people and how most of us must really work hard not to internalise these negative attitudes and beliefs about being transgender/ gender non-conforming in the form of internalised transphobia or trans negativity.” This project is supported by Arts Council Malta. It opens on 18 November between 6pm - 10pm. Exhibition dates – 19 November – 30 December 2021. Opening times – Wed- Friday, 5 - 8pm or by appointment. Venue – 38, Main Street Balzan, BZN 1259, Malta. Free Admission, subject to Covid-19 measures.

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JOANNA DELIA is a medical doctor who specialises in cosmetic medicine. She is also a cultural consumer and art collector who tirelessly supports local contemporary art and culture.

Art News / Art Fair / Italy November - December 2021 ITALY




rtissima, which was held this year on the first weekend of November in Turin, is Italy’s first Contemporary art fair, now in its 28th edition and possibly one of the top art fairs in Europe. Attracting over 30,000 visitors, including international collectors, to visit booths by both historic galleries and more cutting edge outfits, such as Venice’s first contemporary art galleries Michela Rizzo – which is showing none other than Maltese artist Matthew Attard and his most recent works – to spaces on the activist edge. The offering was anything from stills from Marina Abramovic’s The Kiss, to new work by Yemeni artist Sara Abud – Now that I have lost you in my Dreams, where do we meet? (2021). Gallery Apart in Rome was showing, among others, works by Gea Casolaro – an artist and activist particularly interested in issues surrounding asylum … But My Love Does Not Die, Marcello Maloberti, Inkjet printing, 2019. Photo by Lorenzo Palmieri

Carpet # 52 There Is No Change Without Risk, Loredana Longo, Carpet, 2020

seekers. Her work Chi Utilizza piu letters Vince with scrabble tiles spelling ‘Ostilita/Ospitalita’ truly struck a chord. Casolaro was also part of a programme of events, giving an interview where she also described her project Mare Magnum – a platform inviting people to post both historic as well as contemporary photos of our lives at sea, connecting time and space and highlighting the uniting factor that it is and how easy it is to forget the people desperately seeking to cross it.

The fair also contains a curated section, headed by a board of international curators and museum directors, devoted to emerging artists (Present Future), drawings (Disegni) and rediscovering the great pioneers of contemporary art (Back to the Future). The fair itself is curated by Artissima Srl, a company connected with the Fondazione Torino Musei.

Saturday 6 November was also the Notte Delle Arte Contemporanee a Torino, with the GAM (Galleria Civica d’Arte Moderna e Contemporanea) and the Castello di Rivoli and its incredible collections open until late. Check out the online catalogue and only show on the Artissima XYZ digital platform on



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Art News / Rememberence / Malta November - December 2021 MALTA


When lovers were painted inside a bull


The Streak. Perhaps the reference may be elusive. That is, to those who did not know the formidable woman behind the painter and artist. Her appearance was as distinctive as her art: classy, whimsical, almost French in flavour; with her tight black jeans, black and white stripey tops, leather jacket, quirky accessories, and a brilliant white streak in her ebony black hair.

paintings and thus pointing viewers to her intended subjects. In other works, her titles simply reflected the prevalent chromatic choices. And yet, even her abstract work often blurred boundaries, with several pieces harking back to the style and chromatic preferences of earlier primitive pieces.

Isabelle Borg stood out wherever she went. Highly opinionated, vocal and wonderfully critical; she was a force to be reckoned with, in every sense of the word. Her paintings were a testament to her tenaciousness, her audacity. Having graduated from the Camberwell School of Art (London), with a BA in Fine Art, Isabelle returned to Malta where she set up a studio from her Floriana home. She read for a Masters in History of Art at the University of Malta and she lectured at the Junior College as well as the University of Malta. Her first appearance in the Maltese art scene, came as early as 1982, where she participated in a group show, titled Women Artists of Malta, at the now defunct, Valletta exhibition space, Gallerija Fenici. Isabelle was never averse to being called a female or woman artist; despite her feminist views, she understood the need to ‘tip the scales’ and accentuate the importance of gender within the art context until a rightful balance had been restored. Isabelle organised her first solo exhibition in Malta, in 1985, at the Archaeology Museum in Valletta (her first show having been held in Camberwell, in the same year). Simply titled Paintings & Drawings (although the exhibition also included etchings), she immediately set the tone as well as the style for all her future work. Debuting her ‘primitive’ works, and her most iconic painting to date – Lovers in the Bull – which, together with several other works, possessed the same ‘motif’ that was painted in direct reference to Maltese prehistoric temple culture. From her debut

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shows onwards, Isabelle exhibited her work regularly, almost on an annual basis – participating in various collective shows, as well as organising several one-woman exhibitions. Isabelle’s work oscillated between several genres. In her abstract work, espe-

cially, from the series Sol – which was the title of her 2001 solo show at St James Cavalier (today Spazju Kreattiv) – her paintings were characterised by a very bold and bright palette and simple geometrical forms. Despite being completely visually abstract, she often contextualised her work, giving titles to her

Despite the varying genre and subject matter, there was always a constant with her land and seascapes as well as her portraits. Then there was the combining of the two, which consistently displaced the importance of any one pictorial element – the figure or its surroundings – and instead elevated them both to the same plane. The portraits on the other hand, stand on their own, and especially iconic are her numerous suitcase portraits, where she often combined two connected portraits, or fused two aspects of the same persona into one. The suitcases, more than any other works, speak of her background, heritage and influences. Not unlike portable altarpieces dating back to as early as the13th and 14th century, the vessel encapsulating these portraits also referenced her travels, her roving mind, and her split journey between the UK, Malta, Berlin and Ireland (amongst others). Yet as she herself confessed, “painting portraits is exhausting… a portrait actually says more about the painter than the sitter, and in this way I trust my worst kept-secrets are safe. The unconscious elements of which the sitter is almost always unaware, create a tension, a presence, which the artist then transmits. It is the harmony or dissonance between the intuitive perception of the invisible and an acute observation of the visible, which balances each particular portrait… between solid representation and indulgent psychoanalytical illustration.” Isabelle’s words were carried in the 1989 Portraits exhibition brochure, wherein she exhibited a self-portrait within a suitcase, which dates to 1986 and is possibly the very first of her continued series. Isabelle would paint herself time and again. Always stoic, elegant, powerful, yet different. Two of her last self-por-

LISA GWEN holds a first degree in History of Art and a Masters in Cultural Heritage Management. She is a freelance curator and writer for art and design events.

traits, both exhibited in her final exhibition – Strange Cargo, 2008 – are almost opposite poles, and highly indicative of her personality and personal struggles. Does my Butt Look Big in This, was one of her last suitcase paintings. Cheeky, in every sense of the word, this is a small, intimate piece, in which, on one panel, the artist paints herself applying lipstick in a mirror, whilst in her underwear. The suitcase is otherwise lined in mirrors, every angle, every curve, reflected back and forth, almost as though she were in a changing room; the viewer thus taking on the role of a voyeur or intruder. The other self-portrait – Nimby – is a huge work, in which the artist stands in her art-studio basement, alongside an open window which reveals the outside world which would soon be altered due to impending construction; an outside world which was affecting her health and causing her much distress in the process. In this painting, Isabelle, seems a shadow of her former self. Spirit-like, almost translucent, the application of paint thin and wispy rather than bold and expressive.

Isabelle passed away a little more than 11 years ago. Since then, a proper retrospective covering all aspects of her prolific career has been greatly overdue. Sadly, since her untimely demise, there has been little effort to safeguard her legacy and commemorate her seminal contribution to Malta’s art history. It was a few years back that Isabelle’s then partner, Graham Cooper, with whom she regularly exhibited, sought to entrust her work in the hands of a gallerist, who would not only act as ‘custodian’ but would ensure her continued visibility within the public realm. That is how the Isabelle Borg Collection, managed by Maria Galea, was born. Organising a smaller scale retrospective in 2017, Maria always knew that Isabelle’s work deserved a larger

expanse of space to showcase a fuller and more complete selection of paintings that encompassed her full career. That is what The Streak will attempt to do; divided into thematic sectionals, this exhibition will not only present Isabelle’s most iconic paintings, but also her drawings, sketches, preparatory works as well as sculptures and three-dimensional pieces. Curated by the author, in direct collaboration with Creative Director Maria Galea for The Isabelle Borg Collection, The Streak retrospective exhibition will be held at Spazju Kreattiv, Space C, between 17 December 2021 and 16 January 2022. Sponsored by APS Bank.

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Interview /Exhibition / Malta November - December 2021 MALTA

IMPOSSIBLE CONVERSATIONS Impossible Conversations, a first solo exhibition of terracotta sculptures by Francesca Balzan, will run at Studio 87, Ta’ Liesse Hill, Valletta from 26 November to 11 December 2021. C U R AT E D B Y JUSTINE BALZAN DEMAJO

Fran Balzan with some of her terracotta works

You’re best known as an art historian and curator. When did you start working in sculpture? I’ve been working away quietly on my sculpture for many, many years, mainly in the clay medium, while I developed a more public profile with my museum and research work. In recent years, I’ve tentatively started showing my sculpture on Instagram and in a few collective exhibitions, until I took the decision to dedicate myself entirely to my art and to work on a solo exhibition. I’m not getting any younger and some things cannot be

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put off forever, despite how difficult it is to expose to the public what you truly, deeply care most about. What is this new body of work about? When Justine Balzan Demajo, of Studio 87, floated the idea of an exhibition in her gallery I thought it would be fun to do something site specific. As I’m fascinated by faces, I wanted to create portraits and character studies of people who worked, lived, and passed through the Ta’ Liesse area just outside the gal-

lery itself. This entailed a lot of research devoted to finding historic figures, people from the past who really did have this connection with Ta’ Liesse, and to recreate them in clay and imbue them with animated conversation. Unlike previous work of mine that concentrated only on the face and relied on facial expressions to animate the sculpture, for this collection I wanted to go larger and create busts in painted clay which was then fired to terracotta. This meant that I could include clothing and accessories which gives the viewer a refer-

ence to a time period. The sculptures are coloured, again a new innovation, as my previous work tended to be monochrome.

What are your sources? Who are you depicting? I researched extensively in that fascinating (and huge) collection of early 20th century passport applications at the National Archives of Malta (Santo Spirito Branch). I went through several box files and hundreds of applications

spanning the early decades of the 20th century to find individuals who lived in or around or passed through the Ta’ Liesse area, imagining that the real flesh and blood people would have known the area outside the gallery like the back of their hands. In many cases, the photographs in these passport applications would be the only existing tangible memory of these long-departed people. I wanted to recreate them in this exhibition and bring people from different decades in conversation with each other, even if that would have been impossible in real life. Hence the title Impossible Conversations. By recreating the figures from different time periods, different walks of life, and juxtaposing them together in arrangements that I determine, I am creating imagined conversations, impossible and yet plausible. Who knows what they’d have said to each other had it been possible to meet? Other sources I used were photographs that Justine helped recover from present residents in the Fran Balzan, ‘Il Marilyn ta’ Malta’, terracotta, 35cm (h). Photo by Lisa Attard

area, and we’ve even included the Madonna ta’ Liesse in this cast of ‘Liessian’ characters – after all she gives the name to the entire area. As well as using photographs, I actually create stories based on the information that has come down to us about these people. These stories become part and parcel of the artwork, such that viewers at the exhibition can experience and listen to these imagined narratives that blur the line between fact and fiction. Are there any particular themes running through the exhibition? The most obvious linking factor is of course people who were somehow con-

Fran Balzan, ‘Isn’t it ironic?’ terracotta, 32cm (h). Photo by Lisa Attard

nected with the mercantile and maritime area of Ta’ Liesse, and the idea of imagined conversations between them. A less obvious theme, which is extremely important to me, is female empowerment. My sculpture has so far mostly focused on men, but in this exhibition I introduce women and imbue them with self-determination. They have agency. They have power over their lives and proceed to do as they please. Stereotypes are gently shaken. Even the perfect Madonna has a bit of a grumble about the many sailors who come to ask favours and dump their concerns on her, and then leave relieved and unburdened and proceed to do what they shouldn’t.

The linking factor remains the stories, which have deeper strands of pathos even if the sculptures and anecdotes appear to be coated with humour. Listen deeper, look longer and you’ll discover there is far more than meets the eye. Perhaps, in looking, you’ll find a bit of yourself in these imagined conversations. #franbalzansculpture and #studio87_ malta for more information. Opening hours: Monday to Friday from 13.00 - 19.00, Saturday from 11.00 - 13.00. Mornings by Appointment.

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Interview /Exhibtion / Malta November - December 2021 MALTA


Re-imagining a Landscape Interview with Thea Vella


econstructed Landscapes raises awareness of our surroundings – memories we have lived with and the spaces that have left a mark along the way. Emerging artist, Thea Vella, based in Malta, has immersed herself in a discovery of how her surroundings connect and disconnect each space through patchwork, using texture, colors, and tones. Drawing from photographic memory and imagination, she has fragmented and recreated a series of soft, almost floating-like landscapes, which channel a whole new perspective on her surroundings. Throughout the entire process, she has come to realise and appreciate the time she has allowed her-

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self to observe these landscapes, identify the part that resonates with her, making her more at one with her surroundings, which consequently has led to self-growth and understanding. Thea applied to an open call for proposals at MARIE Gallery5, and has been selected to present this new body of work, which feels relatively new in style and technique to the local art scene. The artist tells us more how this collection came about and why; What prompted you to work with landscapes? For the past two years I’ve had the time to observe my surroundings in ways different than before. I’ve immersed myself in the inconsistent patchwork I see, and the textures and tones that play part of this

scenery. Ultimately, I am deconstructing and reconstructing the landscape I observe. Your pieces seem to play around with memory and perception regarding our islands’ landscape. Can you guide us to where you want the viewer to land on? Through these paintings and collages I want people to reimagine the landscape they live in and be more aware of what surrounds them, possibly even reconstructing their own interpretation of the landscape.

landscapes, I felt very much connected with this tonal palette. As a result, I found that this helped me express and re-create certain textures within the landscape represented. Through this body of work, Thea invites us to reimagine the landscape we live in, to be more aware of what surrounds us, and construct our own interpretations.

Reconstructed Landscape showcased at MARIE GALLERY5, Mosta from the 21 October to 5 November 2021

Your current works at the show utilise a simple, grounded colour palette, was there a particular reason for this approach? I’ve always had an interest in texture and tone especially when it comes to local stone. While discovering these

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Untitled 02, CO-MA, Charcoal on CANSON 180gr “C” A grain paper, 50 x 70cm, 2020

Untitled 03, CO-MA, Charcoal on CANSON 180gr “C” A grain paper, 50 x 70cm, 2020

Untitled 05, CO-MA, Charcoal on CANSON 180gr “C” A grain paper, 70 x 91cm, 2020

Untitled 01, CO-MA, Charcoal on CANSON 180gr “C” A grain paper, 50 x 70cm, 2020

Interview /Exhibition / Emerging Artist

November - December 2021

LISA GWEN holds a first degree in History of Art and a Masters in Cultural Heritage Management. She is a freelance curator and writer for art and design events.







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Interview /Exhibition / Emerging Artist November - December 2021 MALTA Continued


iterally and visually, lips are meant to be the most sensuous of facial features. Models and sitters are often asked to bite or wet their lips, and to part them, ever so slightly, when posing – perhaps in an attempt at making them look more plump, inviting and luscious. Better still, to mimic a sigh or a gentle moan, or even to allude to the possibility of pausing, mid sentence, hence denoting an inherent motion of sorts. A suspended moment, perhaps. The connotation, decidedly sexual. This is precisely the stance in which most CO-MA’s women are portrayed. Each of his paintings exclusively features the fairer sex – a term which has been intentionally selected, despite its outdatedness, as it inexplicably encapsulates the appearance of the maidens inhabiting his seemingly impenetrable voids. Because, despite the subject matter, that is precisely how his women are represented – fair, uncommonly attractive, beautiful even. And yet there is a naturalism within their skin-deep perfection, giving the sitters a warm glow; an aspect which is most pleasant, and almost a necessity, when considering the contradictory context at play amidst the religious overtones, the symbolism, the dark or even perverse elements that overcome the figurative subjects in his works. The mouth and the lips also take on an added importance, seeing as the artist often chooses to mask the eyes. Obstacles and props are presented in an attempt to displace the identity of the sitter, or at the very least, blur it. Winged creatures often inhabit his paintings; they are strewn, overlaid and outrightly juxtapose the female form, whether across the face or body – not entirely unlike Magritte’s Son of Man in intention, yet completely different in execution. Concerning the referenced seminal work, Magritte said; “everything we see hides another thing, we always want to see what is hidden by what we see. There is an interest in that which is hidden and which the visible does not show us. This interest can take the form of quite an intense feeling, a sort of conflict... between the visible that is hidden and the visible that is present”. So much so, that CO-MA’s figures are often ‘ripped apart’, dissected, sliced – almost as though he were a surgeon attempting to deconstruct the body and surgically remove the layers of untruth that encase the spirit, which might again explain the reason behind the shielding of the eyes, at least pictorially. The eyes reveal too much vulnerability; the eyes also create an unprecedented contact and connection with the viewer – a connection that is purposely broken and disrupted on several occasions.

Desolation, CO-MA, Charcoal on CANSON 180gr “C” A grain paper, 65 x 84cm, 2021

J.N.V.X.L.L., CO-MA, Charcoal on CANSON 180gr “C” A grain paper, 88 x 88cm, 2019

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Enchantress, CO-MA, Mixed media on CANSON paper 180gr “C” A grain on wood, 82 x 122cm, 2021 The Fall, CO-MA, Charcoal on CANSON 180gr “C” A grain paper, 70 x 87cm, 2021

CO-MA is the artist’s alter ego or persona, one may say – a persona which he seems to have been honing and harbouring in secret for years. Having never exhibited his work, not even collectively, makes this dark series of interconnected works particularly impressive; kudos must here be given to Lily Agius in recognition of his bravura. His exhibition, titled Black Clouds of Smoke Made the White Clouds Look Dark, will feature 11 works, chiefly in charcoal. Entirely figurative, several works are merely “Untitled”, which is deceivingly abstract in choice yet also clever, as this allows the viewer to impart a very personal meaning to the images before them, rather than glean any underlying conceptual foundation through the title imparted by the author. Despite the open interpretation of several works, COMA’s creations inhabit a world that is devoid of colour. By his own confession, the artist favours a world of black and white – hence, no unnecessary distractions, just plays of light and shadow, which he uses to his advantage, almost effortlessly, to portray textures, surfaces, a healthy, vis-à-vis a decaying or rotting body. Also surprising are the plentiful references to the Old Masters, or to the occupational or psychological portraits as propagated by the Northern Renaissance artists. Mouth agape. Literally. This was more of a personal reaction, rather than a description of all his female bodies. CO-MA’s command of his chosen and preferred medium is quite astonishing; details deserve inspection, scrutiny. He has the ability of the most seasoned of artists at understanding how and where the light hits, and where highlights need to be applied; whether this be on a tuft of hair, on a glistening areola, or on the tip of a nose. His work is deliciously and carefully orchestrated; yet it is done in a surreptitious, rather than overtly discernible manner. And his statement is clear – the body, irrespective of its outwardly beauty, is merely an object, and empty vessel. You can paint it, manipulate it, mask it. But it remains just that. Black Clouds of Smoke Made the White Clouds Look Dark will be showing at Lily Agius Gallery until 4 December 2021. Follow Lily Agius Gallery on Instagram and Facebook for updates. Contact the gallery by email on or call +356 9929 2488.

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Design /Interiors / Malta November - December 2021

CONVERGENCE SERIES at Camilleri Paris Mode

“India is a place where colour is doubly bright. Pinks that scald your eyes, blues that you could drown in.” Kiran Millwood Hargrave, The Girl of Ink and Stars


an ongoing process that started many years ago.

amilleriparismode is proud to be hosting a project involving the unprecedented collaboration between a visual artist and a design practice, in the creation of an exclusive fine rug collection inspired by a series of paintings.

The starting point that led to his current abstract work was the source of light as the one and only focal point, which in turn became a source for all the colour plains surrounding it. In fact, when viewing an art piece, we tend to first want to establish a point of contact, a reference point to which we can relate. Only then, does one feel prepared to explore other parts of the work.

Conceived by DAAA Haus, the idea behind this exclusive rug collection was simple, yet a true testament of the life of someone living art and design ceaselessly.

The work over the past few years led to a collection that formed the main body of paintings for Convergence; a solo exhibition hosted in February 2019. In this latest abstract work, the viewer is now being challenged to assess the work as a whole; a destination constituted by many different plains without a clear reference point. In most works however, there is an interrelation of different masses of colour, which seem to converge to a more specific, yet not so obvious, reference point.

When Keith Pillow was travelling to India for the first time in 2019, exploring the possibility of setting up a satellite design and architecture studio in Mumbai, he immediately fell in love with the country, its traditions and spectacular craftsmanship. Experiencing the production of the exquisite rugs first-hand, he was intrigued by the idea of developing something unique, which would fuse the Maltese and Indian cultures. Whilst pondering on the concept, Keith recalled an art collection of a fellow countryman and friend: artist James Vella Clark. The synergy that follows is a reinterpretation of James’ works, intricately reproduced in an unconventional form of luxurious rugs. This project brought several creatives together with the admirable craftsman-

Details of carpets: Photos by Jean Claude Vancell,

ship of one of the finest hand-knotting rug manufacturers in India – Cocoon Rugs. This collaborative project is a literal convergence of talent, vision and design.

ABOUT THE CONVERGENCE SERIES COLLECTION In 2016, James Vella Clark started exploring the ‘abstracted’ traits in his past works and sought to reinterpret these traits into a completely abstract dimension. Therefore, his abstract work should be viewed as the product of

View the collection at Camilleri Paris Mode, 54 St Catherine Street, Level 3, Rabat.

Paintings by James Vella Clark from the Convergence series

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Design /Heritage / Architecture November - December 2021

. SORGI An outdoor furniture collection by Anna Horvath that questions Malta’s developments and their impact on the environment.

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. . The name of the project, SORGI, is derived from the Maltese verb ‘Sorga’, which means an anchoring ship or a person about to feel tired and sitting down. Curiously, the term was borrowed from the Italian verb that means the exact opposite, to . arise. In this context, SORGI is intended as an invitation to sit down, literally, and observe the ever-changing Maltese built landscape from a different perspective. . SORGI is an ongoing research project about opportunities for circularity in Malta, whose first outcome is an outdoor furniture collection for public spaces, highly critical of the booming construction industry. Six benches inspired by six buildings affected by the local construction frenzy will stand both as a memento of today’s choices and a suggestion for tomorrow’s actions. All pieces are in fact made of recycled construction waste, mainly limestone, encouraging people to question the island’s developments and their impact on the environment, from a social and historical perspective too. Several materials were considered and tested, including fragments of glass, recycled concrete and marble offcuts: all valuable resources currently being dumped in landfill sites, which are at their full capacity already. Local suppliers of marble and glass offered their off-cuts, while a number of individuals proposed construction waste from their private projects. Limestone was eventually chosen for several pieces because of its large availability, as most of the structures being demolished are made of this local stone, and for its structural and aesthetic qualities.

The choice of materials was also greatly informed by the buildings inspiring the collection. The prototyping and production phases involved collaborations with local craftsman and focused on utilising traditional production methods and local resources, of natural origins whenever possible – natural pigments, for example, were tested as a way to add colour and to create extraordinary textures enhancing the ‘uniqueness’ of each bench. Every piece tells the story of the building that inspired it and, through an interactive label, invites the user to delve into an online database of information about Maltese architectures that were (or will be) swept away by the construction frenzy: Ta’ Rita (Ghar Lapsi), Roxy Cinema (Birkirkara), Sun City Palais (Marsaskala), . Marsa seafront, Twin 19th Century houses (Spinola Bay), Dolores (Zejtun). . With structurally simple solutions and site-specific designs, SORGI turns construction waste into interactive outdoor furniture for Maltese public spaces, providing practical solutions for the alternative use of the sheer amount of discarded materials that keeps accumulating on the island while promoting circularity and raising awareness on environmental issues within a larger audience. . SORGI was exhibited at The Phoenicia Hotel in Floriana, Malta, before being introduced to public spaces. The project is supported by the Malta Arts Fund. For more information visit Anna Horvath’s website:

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Review / Malta / Exhibtion November - December 2021


JOANNA DELIA is a medical doctor who specialises in cosmetic medicine. She is also a cultural consumer and art collector who tirelessly supports local contemporary art and culture.

MAMA’S BOY, WHICH RAN FROM THE 29 SEPTEMBER TO 27 OCTOBER 2021 IN A NEW ART SPACE AT 38, MAIN STREET BALZAN WAS THE THIRD SOLO SHOW BUT FIRST IN MALTA, FOR THE LONDON-BASED ARTIST ROXMAN GATT. ‘Gatt’s wider practice is centred on notions of sexuality, identity, and queer nature. Over the years, the artist has developed a vocabulary of materials – highly influenced by macho culture – to unpack patriarchal symbols. The car and its gear, shields, armour suits, among others, have all been redefined to speak about overlooked modes of vulnerability and oxymoron symbiotic relations in human bodies.



Installation view, Trans Mercurial Vapor Bb, Roxman Gatt, football boots, soft toy, plaits, chains, 2021. Photo by Niels Plotard

It is not often that there are two concurrent solo shows of this calibre by Maltese born artists who are starting to make waves internationally. I caught up with the artists to delve into the process and rendition leading up to these shows.

Mama’s boy plays with the biological notion of chimera – organisms that consist of more than one genotype under the same body, also known as bilateral gynandromorphs. Among other species, chimera butterflies are an example of non-binary animals existing in nature. These asymmetrical, weird, and rare creatures carry contradictory connotations on them, reflecting the trans discourse of today. From one side, the butterfly has often been the symbol of trans communities to highlight the journey of body transformation and beauty, while on the other, chimeras, they seem unnatural, alien creatures, almost like monsters, similarly to the stigma and violence that the trans community has been receiving from mass media. The exhibition explores the notion of metamorphosis as an evolutionary process to unfold trans ecologies, embodied experience, memory, and liminal time. Comprised of newly-produced sculptures, paintings, and moving-image works, Mama’s boy questions the epistemic violence and duality that society, media, and science hold.’ JD: First solo show in Malta, your birthplace – and like most things in your life, you did it yourself. You even did the space up yourself. How does that feel? RG: This was my third solo show, however the first one in Malta. My dad has helped me a great deal with this space and if it weren’t for him, I wouldn’t have managed to have a space like this. Recently, I have been thinking a lot about wanting or feeling the need to have a project space in Malta that would showcase artists and projects that I feel close to. This definitely wasn’t something I planned to do this year though. Coming back to Malta was also not expected, I came last September for what should have been a month and I am still here. During these months, a lot has happened, such as these projects that I have been working, on as well as my coming out as a trans man and the start of my transitioning journey. JD: Relationship with curator – what was the curatorial process for this show? RG: It is very important to work with someone who has a genuine interest and understanding of your work. Akis and I have developed a very beautiful friendship starting from day one, which was on my 30th birthday party. We started hanging out and following each other’s work ever since. It was the two paintings Take My Breast Away [diptych] that led to the birth of Mama’s Boy. >>

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Review / Malta / Exhibtion November - December 2021 MALTA Continued

We were having a little dinner party at my home, and I invited Akis to my studio to see these paintings. Something inside me told me that he would be the perfect person to work with on this show. It was a huge feeling that I needed to share with him, and hope that he’d feel the same. After that we started working on this show, all throughout lockdown, via many zoom meetings and in my new studio this time at my parents’ house. It was somehow really easy to work together, Akis also wrote a text which I love, and he supported me throughout all of the working process. There were times where I know that we both went through some doubts whether this could ever happen, with the pandemic, and us being in different countries and life situations, and I know we did this silently so as not to stress each other out. I believe that our friendship and sensitivity towards one another made this show happen, even if a year and a half later. JD: I have often sensed an outpouring of repressed power and frustration in your previous work. Concrete boxing glove hitting the wall;car parts and cold metal objects as if undressed on the walls and floors – this feels less frustrated. More formed. Less cold. Is it so? RG: There is still some steel, as well as frustration, however everything about this show is way more positive, you are right. The butterfly warriors have words welded onto them such as ‘Fairy Boy’, ‘Flower Boy’ and ‘Trans Joy’ as opposed to the ‘Neverlast’ written on the boxing glove that you mention. Being more comfortable or knowing that I am closer to the person I’ve always knew I was but was not able to be, might have been the reason to why the work seems to have a

warmth and softness to it, that was not visible in my previous work. I am also constantly finding ways to challenge traditional ideas of masculinity, and this is helping me to become less cold of a person, as well as allowing myself to be more emotionally present. JD: Are you laying yourself out for people to analyse? RG: I think allowing myself to be vulnerable is what makes the work more powerful and true to itself. I am laying myself out there so that people can learn about certain issues that are important and matter considerably to me and should also matter considerably to them. Art has helped me a lot in my life and I truly belief that it could be a remarkable tool for many of us. My wish is for gender-nonconforming, non-binary and trans kids to know that there are various ways in which they can express themselves, and also that they are not invisible and that they are the future. JD: Also, I’ve heard you mention a documenting process. How invasive has the process of documenting been? RG: Documenting process – I assume you mean for the Rosa Kwir project? JD: ‘Humanising the trans journey’ – is that part of your mission? RG: Visibility, treated fairly and with respect. Making it clear that we have always existed. JD: References to your mother’s experience is very powerful. Your art is communicating this. Can you tell us more? RG: The show is a reflection of my childhood. A time when I felt misunderstood by those around me, when I never felt that I belonged. Dressed in a 1995 Man-

Angel Wings, Roxman Gatt, plastic motorbike parts, wire, spray paint, stickers, 2021. Photo by Niels Plotard

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Installation view, Mama’s boy, Roxman Gatt, 2021. Photo by Niels Plotard

chester United Umbro Sharp away grey football shirt, tucked inside the bed, arm placed around my mum’s neck, I knew it already, I was not my mum’s daughter but son. This body of work is a gift to my mother, a person who (because a woman) I feel is often taken for granted and made invisible, similarly to how I felt as a queer kid growing up. I feel I owe a lot of gratitude to my mum and to the beautiful women in my life who have taught me a lot and made me become the man I am today, a man who is able to embrace his femininity, welcome his vulnerability and allow himself to express emotions. JD: What’s next? I heard there’s some media work being done by Malta based artist Charlie Cauchi. Can we have a glimpse into that? RG: I have been working on Rosa Kwir alongside Charlie Cauchi for nearly a year now. We will be launching this project in November and am super excited to show it to the world. It has been the first time I have worked on a project

like this, I am not someone who works with documentary much, so having to get in touch with so many new people from within the community and getting to work with 20+ participants has been quite challenging and outside of my comfort zone, however this has been one of the most inspiring and nurturing experiences I have had so far in my life. The project will be the first archive of its kind and will be looking into alternative notions of masculinity bringing together stories of trans men, non-binary and LBQI masc-presenting people living in Malta. We will launch it in the same project space where Mama’s Boy is being shown, and hopefully this place will become an LGBTQI+ contemporary art gallery/project space that will be celebrating queer contemporary art every day, for as long as it exists and not just when there’s gay pride. Romeo Roxman Gatt He / Him


‘Matthew is strongly interested in situating his work within the realm of contemporary drawing. His interests include: the extension of the line within 3D spaces, the phenomenology of perception, datafication, drawing as a cyborg in dialogue with technology, the challenging of the use of data and technology, and provocations about how we represent ourselves in this day and age. In 2018 he obtained his Masters degree from the Digital Arts Department, University of Malta, where he had started exploring the possibilities of using an eye-tracker as a drawing medium. In 2009 he moved to Venice and collaborated with the Peggy Guggenheim Collection and the USA Pavilion at the Venice Biennale. His work has been shown in Venice, Rome, Valletta, Genoa, London, Beijing and Los Angeles among other cities. In 2014, Galleria Michela Rizzo invited him for the bi-personal show In Between/ Viewpoints with artist Rashad Alakbarov. In 2017 he was selected for the 3rd edition of the Le Latitudini dell’Arte Biennale, which took place at the Palazzo Ducale in Genoa. In 2018 he was awarded the Under 30 Euromobil prize at ArteFiera, Bologna. In 2019 he was selected for a third time to exhibit during Ten Artists to Watch at LACDA, Los Angeles Centre for Digital Arts. During the same year, he was also present during the collective show Soglie e Limiti, curated by Elena Forin at Galleria Michela Rizzo, Venice. In 2019 he was selected to

participate in Artissima Telephone at the OGR spaces in Turin, taking place during the Artissima Art Fair. He was also part of the project. Matthew is shortlisted for the Lumen Prize 2021.’ JD: Eye-tracking has been mostly utilised in art to analyse spectators’ reaction to work. Are you the first to be drawing with it? Is drawing with an eye-tracker what you thought it would be? MA: As you well state, the wide majority of experiments making use of the device concern the ‘experiencing’ of art. I did recently find some exceptions of artists who tested out eye-trackers for their own artmaking, and I am sure there might be other examples that I do not know of yet – the art world is nowadays a very big place. There are also references of artists who prior to the availability of the technology had assumed that draw-

ing with the eyes would be an interesting concept. I haven’t come across examples of anyone using the eye-tracker in the way I am though, definitely not in relation to content and in the enforcing of the ongoing dialogue with the technology in view of the drawing. In this context drawing with an eye-tracker is nowhere near what I thought it would be, and it keeps surprising me and challenging my ideas. JD: Is the eye drawing emotion? Anger? Boredom? MA: I think that is a very good point I still need to fully come to terms with. I am using the eye-tracker from a very personal position, while at the same time, I am also characterising it. Therefore, some eye drawings might result from an act of boredom, or anger, or other states of mind; moments which are then transcribed through the technology and the embodiment of it. Different psychologies definitely feature throughout these processes. >>

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Review / Malta / Exhibtion November - December 2021 MALTA Continued

JD: What have you learnt? From eye-tracking? What is the most powerful thing you have learnt? MA: I believe that I am still in the process of learning through this, and in a way, I hope that I will always be. The process of eye drawing is not a fixed one and is directly related to looking and seeing, and I seek to keep on unveiling ways of seeing and critical ways of perceiving what surrounds me. It is also a process that opens up new ways of dialoguing with technology, and that dialogue develops greatly according to context. JD: How was the relationship with Elyse Tonna your curator for this show? What was the process? MA: Her curatorial input was a crucial aspect of the entire process leading to the final exhibition. We worked together on a daily basis since the very start of this ambitious project, and she was present during most of the eye drawing sessions I did for the show. This created a very dynamic, healthy, and critical approach towards the build-up of the exhibition. It not being a pre-packaged show but a process-based one, could only succeed through a process like the one Elyse brought to the table. JD: In this show there was also inspiration and cooperation with other artists like Caesar Attard. Start with him – what’s the connection to this show? MA: Yes, other artists have been invited to contribute with specific works to reinforce viewpoints and aspects in the show. In connection to how I employ the eye-tracker in my drawing, and how I am in dialogue with myself and the machine, Caesar’s work couldn’t not be there. His Self-Portrait from 1975 is one of the most powerful and courageous drawings I have ever seen, and it antici-

pates so much. It is very important that we acknowledge this. His selected Untitled drawings, which somehow all relate to the eye (and seeing), are also a crucial element to the narrative of the exhibition and add points of view of the way Caesar draws us from a place within. His work and our conversations are a strong point of reference to my work. JD: The piazza – the collaboration with Aaron Bezzina, Pierre Portelli and Matthew Galea. Was the collaboration an afterthought, or a pre projected one? MA: Pjazza was another fruitful and enriching collaboration, which had only been pre-projected to a certain point. It then developed collectively and curatorially. The moment we saw that it was possible to project the eye-drawings of both buildings on the wall, there was an

opening for collaboration to transform the exhibition space into our own fictitious Castille Square. The artists were invited to re-interpret specific works that were somehow related to a concept for public space. Their contribution was a major driving force to the completion of the entire installation, and is crucial to the reading of the installation in its complexity.

be drawing with the eye-tracker while also using the device as a witness of what I see around me, I knew that I was not going to be just looking at drawing pretty sights. At the same time, I do not think that I provide statements in my work, but critical observations, which hopefully call for a point of reflection of what’s around us, how we live and who we are.

JD: Are you happy with the side curated show with the other artists? MA: Definitely. The show Hars fuq hars in the project space is the result of an incredible collaborative effort. Together with curator Margerita Pulè, six artists were invited to participate in a visual experiment involving the eye-tracker. Gilbert Calleja, Charlie Cauchi, Ryan Falzon, Charlene Galea, Roxman Gatt and Alexandra Pace all wore the eye-tracker and looked at their own work, enhancing the position of being their own viewers. They were aware that what we would show was the resulting footage of their gaze as tracked by the eye-tracker. The way they creatively and distinctively employed the eye-tracker is widely stimulating, and contributed to the very interesting results exhibited in the final installation.

JD: Do you believe that the eyes tell the truth? Can the eye be deceived? MA: As my experience of drawing with my eyes shows me, the eyes can be very difficult to control, direct and tame. However, they can definitely be deceived: as can the eye-tracker, as well as myself in view of the eye-tracker.

JD: Political statements – ship of fools, dead trees given more protection than living ones, the memorial of a hate crime/racially motivated murder. How important is activism in your art? MA: The moment I chose to follow the intuition that within my practice I will

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JD: What’s next? You have been nominated for some prizes? Michaela Rizzo gallery is taking you to Artissima – elaborate. What’s beyond that? MA: Yes, I am very happy and honoured to have been shortlisted for the Lumen Prize. I will also be exhibiting work during this year’s Artissima in November with Galleria Michela Rizzo. These are great opportunities and hopefully can lead to satisfying results. After that, I will focus on finishing my practice-based PhD at the University of Edinburgh. This will be a good opportunity to reflect on the whole body of work done so far, articulate and elaborate on the salient points it hit, to then fuel new work and practice.


Spotlight /Art Scene / Africa November - December 2021 AFRICA


FOCUS ON AFRICAN ART Interview with Dawit Adnew ahead of his exhibition, Paved Road, in Malta


hen I first came across the work of Dawit Adnew I found his art reminiscent of Gauguin, except that his work was clearly African-inspired and, as he described it, “a beautiful place with a variety of colours and patterns”. This was what drew me to invite him to exhibit his work in Malta. It’s now with great pleasure that I get to interview Dawit, an Ethiopian artist, about his Paved Road exhibition, which will be on view at Christine X Art Gallery until 21 November 2021. Although I would have preferred meeting Dawit in person, given the current circumstances with travel restrictions, I was glad that I was still able to interview him online. These are some of the highlights of our conversation. Why do you depict women and masks as subjects in your work? Women play a major role in Ethiopian society, whilst also being a priority in terms of beauty and nature. Their tattoos and jewelry add to the patterns I depict. Masks are more of a symbolic representation. Why ‘paved road’ as a title for this body of work? I came up with the idea of a​​ paved road because it was a time when I was on a long journey towards summing up my ideas. To this end, the works that preceded this exhibition have been the work of various eras, and this exhibition is distinguished by the fact that it is one-time, consistent, and continuous.

‘In the Garden 2’ by Dawit Adnew. Image: Courtesy of Christine X Art Gallery.

Portrait of Dawit Adnew. Image: Courtesy of the artist.

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CHRISTINE XUEREB SEIDU founded Christine X Art Gallery in 2004 after a university degree in Art History and Anthropology. She has returned to Malta after a year in Ghana where she explored African art and culture.

How and when did you start painting? I was around 9 or ten years old, and I was close to a relative of mine who was an artist. I studied at art school for four years and I continued developing my style on my own. What inspires you to paint and are there any artists who you look up to? I always want to draw and paint when I feel good. When I visit exhibitions or have a good time around art, my desire to paint increases. I am also very curious to figure out my next step after each painting. The teachers who taught me contributed to my style, but I am a huge fan of the Ethiopian abstract artist Yohannes Gedamu, and I believe his influence is the reason why I am now becoming more experimental. Despite all influences, I do believe my work has its own signature. What do you see as success as an artist? In Ethiopia I believe there is nothing more exciting than an artist having his or her own studio and being able to work as an artist, full time. My dream is to keep my own, and my fellow Ethiopian artists in Ethiopia, so our work can be returned to the community’s identity. What impact do you believe art has in society? Art is the basis of a country’s development and civilization. It is one of the main tools used by civilized nations to maintain the balance of civilization, as it is the source and destination of art. It is possible to predict the future generation of our country, especially if the government uses it as a tool to build the next generation.

Is the work of an artist valued well in Ethiopia? Working as an artist can be difficult at times, as artists are often misunderstood by their family and the community. This is because the government does not value the profession very much. We lack a lot of art supplies, but a private institution has tried to cover the problem upon realizing this challenge. Very few internationally acclaimed art galleries are based in Ethiopia and very often it’s up to us artists to further the culture of art appreciation. Things are changing for the better and we might succeed with our next generation of artists by continuing to bring art to the community. We are thrilled to have the work of Dawit Adnew at Christine X Art Gallery in Malta this November with his collection of artworks titled Paved Road, showing between 5 and the 21 November 2021. Please contact the gallery should you like to have more information.

Maltese Artists: Did you know? One of the schemes offered by Arts Council Malta is the International Cultural exchanges and its aim is specifically to help artists set up residencies or any project abroad. The International Cultural Exchanges Scheme forms part of Arts Council Malta’s Internationalisation Strategy for the cultural and creative sectors. It focuses specifically on the outgoing mobility of Maltese and Malta based artists, as well as their artworks and cultural productions. The spread of Covid-19 has temporarily made travel more difficult. However, it has given digital cultural exchanges an enormous boost. This scheme also addresses

this and allows artists to exchange their art works not only physically, but also digitally. ACM strongly encourages, but does not limit, cultural exchanges with the following: the Mediterranean, the Middle East and Africa. Please find the link with more information below. funds-opportunities/restart-schemes-2021/ international-cultural-exchanges/ The new deadlines for this fund will be issued in January 2022 with the rest of all our funds.

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Spotlight /Exhibition / Malta November - December 2021 MALTA



Untitled (Past Continuous), 2021. Alex Urso ®

A new body of work . by artist Alex Urso takes the Magna Zmien archive as a point of departure for a period of investigation into the meaning of the archival process, as well as into the relevance of the archive to disparate generations.

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. he Magna Zmien Foundation has a mission to digitise analogue Maltese audio-visual material (8mm films, slides, photographs, negatives, and audio tapes), giving individuals and communities access to previously lost images, sounds and narratives. Once this . material is made digital, it will be stored on the Magna Zmien server, made available to artists and researchers. This . year, Magna Zmien reached out to Italian artist Alex Urso, who has already exhibited in Malta, to create an exhibition that could bridge the gap between generations. In parallel, sound artist Yasmin Kuymizakis (who has previously engaged with the archive’s content) was invited to create two sound installations from archival recordings.

MARGERITA PULÈ is an artist, writer and curator, with a Master’s Degree in Fine Arts, and founder of Unfinished Art Space. Her practice and research are concerned with the contradictions of politics and social realities.

juxtapositioning that Urso has employed confounds historical and linear time, placing unrelated images from disparate times next to each other. Urso has long-engaged with archival material in his practice, often creating surreally beautiful scenes through intricate collage and diorama-making. His practice also engages with non-formal archival material, such as abandoned artworks or photographs, and employs a quasi-archaeological process of re-creation, verging on resurrection. Here, he has created four of his signature three-dimensional collages. Small worlds-in-a-box combine elements from the archives; people, landscapes, seascapes, to create fragmentary scenes, within semi-surreal worlds. The viewer is invited to explore these intimate ‘theatres’, which bring together a collection of individual viewpoints within fragments of archival images. . Magna Zmien has been active since 2017, when it was formed by researcher and musician Andrew Alamango and a team that includes archivist and ethnomusicologist Andrew Pace. Its activities in recent years have made it apparent that a large amount of material remains hidden in analogue formats, awaiting digitisation and rediscovery. We will continue to work to make this material available to artists and researchers, allowing for the reinterpretation and recontextualization of archival material that belongs to us all.

Untitled (Past Continuous), 2021. Alex Urso ®

Thus, Past Continuous was born – an exhibition that transforms the archive of 20th century material into a children’s ‘playground’ experience, featuring a new set of augmented reality collages, immersive projections and an installation of 900 paper blocks. When asked to make an archive more accessible to audiences, an artist will often turn to digital technologies, working with gamification or interactivity to capture attention. Here, however, Urso took a different approach. His process leant materiality to the digital content, and through his installations, he endowed a three-dimensionality to two-dimensional images. The analogue-come-digitised image has again been made paper, which itself, interacts with the digital. Urso’s first series of works consists of several silhouettes in reverse; figures are erased from photographs to whiteness in their place. Using an augmented reality tool, the viewer can scan the image to reveal a digital version of the figures that were once in the image. These images are ephemeral: as soon as the device is moved the image disappears, leaving only an empty silhouette behind. The figures – children, parents, grandparents, and even the family dog –

have been taken from many different collections and are not placed in chronological or genealogical order. However, through their placement, the hidden characters develop relationships between each other; a boy from the very early 20th century mirrors the pose of a boy of a similar age from the 1980s, while temporary familial bonds are forged through the grouping of varied images.

Past Continuous, a solo show by Alex Urso, is on at Spazju Kreattiv until Sunday 5 December 2021. The exhibition is curated by Margerita Pulè, with sound contribution by Yasmin Kuymizakis. The exhibition is part of the Spazju Pro. Kreattiv . gramme 2021/2022 and the ZiguZajg International Arts Festival for Children and Young People, and was made possible through Urso’s two-week residency at Valletta Design Cluster.

A series of looped film extracts, also taken from . Magna Zmien’s archive, are placed alongside these images. The extracts show glimpses of lives lived; smiling families, waving children, holiday scenes, in a multiplicity of moving images. Through Kuymizakis’ accompanying sound reel of children’s voices speaking to relatives abroad, the multisensorial space is heightened, drawing the viewer into an immersive space. Urso has placed a mass of paper cubes within the exhibition space, each individually signed and made from a different image from the archive. The 900 cubes recall both the building blocks of childhood as well as the pixels of a digital image. Together they form an installation that invites the viewer’s interaction. Here again, the process of selection and Untitled (Past Continuous), 2021. Alex Urso ®

“The process of selection and juxtapositioning confounds historical and linear time, placing unrelated images from disparate times and contexts alongside each other.”

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Localist / Directory / Malta November - December 2021

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ART SUPPLIES GALEA’S ART STUDIO Galea’s Art Studio was established in 1920 by Chev. Joseph Galea and today it is run by Pierre, Eddie and Heather. Apart from the studio which sells prints and artist materials they have also opened an art café on Strait St which provides a space for events such as poetry readings, drawing clubs and good coffee, and a third venue used for art lessons, drawing classes and creative workshops. Art Studio, 70 South Street, Valletta. Art Gallery, 221 Strait Street, Valletta M: 9943 8965 E: W: SISTINA ART SUPPLIES Sistina Art Supplies offer high quality art materials for all artistic levels and needs: students, artists, restorers, and gilders, as well as framing services. 8 Amery Street, Sliema T: 2131 4453 VEE GEE BEE ART Vee Gee Bee Art represents leading art material brands such as Winsor & Newton, Liquitex, La Franc et Bougouis, Caran D’Ache, Unison, Arches, Saunders, and Bockingford as well as a varied range of art and craft products for children. Vee Gee Bee Art staff are specifically trained to help the artist and hobbyist get the most out of the products, which are also available online and by delivery across Malta. Bellavista Street, San Gwann T: 2138 5584 E: W:

ARCHITECTS AP VALLETTA AP Valletta is a research-based practice. Their vision is to create an architecture that is a place-maker, a container of meaning, a catalyst of myth and a producer of narratives. 4 Sappers Street, Valletta T: 2124 3981 E: & W:

CHRIS BRIFFA ARCHITECTS Founded in 2004, Chris Briffa Architects’ work is renowned for its distinctive and contemporary approach to context, with a strong emphasis on detail and craftsmanship. In their quest to create sense of place, projects include various hospitality missions - such as the Reef Guesthouse in Bahrain and the local Valletta Vintage - places where many have recounted a timeless experience. W: MJM|DA Total design professional services and value – architecture, structures, building services, interiors, and project management. 125 Naxxar Road, Birkirkara T: 2747 7777 M: 9947 7777 E: W:

SISTINA Sistina Art Supplies offers bespoke framing services as well as high quality art materials for all levels and needs: students, artists, restorers, and gilders. 8 Amery Street, Sliema T: 2131 4453

A R T C O N S U LT A N T LILY AGIUS GALLERY With over 15 years of experience, Lily Agius has a keen eye for talented emerging and established artists from Malta and abroad and offers a personalised service for anyone looking for one work of art or wishing to start a collection. 54 Cathedral Street, Sliema M: 9929 2488 E: W:

BESPOKE DESIGN MODEL The Malta Office of Design for Environments and Living (MODEL) is motivated by the underlying simple principle that through good design of our built and unbuilt environment we can improve the way we live. MODEL is curated by architects Simon Grech and Alan Galea who seek to challenge and question existing working models in the creative and construction industry today, where no boundaries exist between art, science, business and technology, by adopting an interdisciplinary approach to design both within the MODEL office structure and through relationships with other talented individuals, continuously embracing the complexity of design today. 42 Bisazza Street, Sliema T: 2701 7337 E: ​W:

FRAMING SERVICES PICTURE HOUSE Picture House offers Profile Collections from Madrid, Bilbao, Naples, Florence, and London, and designs and creates its own collection every year. They offer three grades of conservation glass, museum paper and boards, custom coloured finishes and hand carved wood. Transport and installation service are also available. 6 Triq Geronimo Abos, L-Iklin T: 2141 6716 M: 7985 8054 (Diane) / 9946 2928 (Kevin) E: / W:

TOM VAN MALDEREN Whilst exploring the intersections between art, design and architecture, Tom Van Malderen‘s work ranges from bespoke furniture to objects, installations and exhibition design. M: 7961 9391 E: W:

C U LT U R A L M A N A G E M E N T UNFINISHED ART SPACE Unfinished Art Space Project is a management and consultancy for visual arts projects and exhibitions, large or small. M: 9943 1420 W:

LIGHTING DONEO LIGHTING Doneo Co Ltd offers specialised services in Lighting Design and Control, from Lighting Plans and 3D lighting renders to intelligent lighting and home automation. Doneo, Park Lane Building, Mountbatten Street, Hamrun (by Appointment) T: 2123 0741 E: W:

LIGHT DESIGN SOLUTIONS Light Design Solutions offers a specialist lighting design service that enhances space. For LDS, light enriches the character and qualities of the designated area, whether it is a house, a working environment, outdoor space or entertainment area, and in collaboration with their partners around the globe, offer good quality products that are in line with the latest lighting technologies and constantly revolutionising the world of light. 38/1 Emmanuel Schembri Street, Birkirkara. T: 2149 6843 E: W:

INTERIOR DESIGN PIPPA TOLEDO With over 30 years’ experience in interior design, Pippa Toledo is one of Malta’s best-known names in the field with a large portfolio of successful projects including numerous apartments in Portomaso and Tigne Point, Hotel Juliani, Zest restaurant, Barracuda Restaurant, Club 22 at the Portomaso Tower, EMD Offices at the Valletta Waterfront, The Dragonara Casino, the Grandmasters’ Suite, The Drawing Room and the informal dining room at the President’s Palace in San Anton, and Cardini Restaurant. Garden Terrace Court, Triq il-Baltiku, The Village, St Julians T: 2132 3616 / 2134 1367 E: W: VERA SANT FOURNIER VSF strives to deliver a luxury service for individuals who appreciate personalised design, quality materials and workmanship and desire a space made just for them. M: 7709 9194. E:

P H OT O G R A P H Y MATT THOMPSON Matt is a photographer based between Malta and London, with a love of photographing people. Passionate about what he does, you can trust Matt will work with imagination, creativity, and integrity on every private or commercial commission. M: 9936 3600 E: email on W:

To be listed on the Localist here and on the website email or call 9929 2488. No.16__ Artpaper / 035

Spotlight / Events / Global November - December 2021 EXHIBITIONS


A selection of art events from around the world

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Until 21 February 2022

Until 16 January 2022

Until 6 March 2022

Until 7 March 2022

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Thomas Hirschhorn. The Purple Line is curated by Hou Hanru and Luigia Lonardelli and comprises an imposing six-metre-high and over 250-metre-long purple wall that crosses MAXXI’s Gallery 3. The wall cuts through the overlapping spaces of the museum, designed by Zaha Hadid, capturing the viewer within its intersections. The Purple Line – one long line conceived by Thomas Hirschhorn – presents a ‘Pixel-Collage’, a monumental series of 121 works produced between 2015 and 2017. 118 of these collagesa re drawn from 21 international private collections, institutions and galleries and will be on display at MAXXI until March 2022, marking the first time that almost all of Hirschhorn’s collages are featured collectively in one exhibition.

Born in 1938, Hans-Georg Kern (a.k.a. Baselitz) was influenced by his childhood in Saxony during the Nazi period and by the atrocities of war he was witness to. In 1956, young Baselitz enrolled in the Hochschule für bildende und angewandte Kunst in Weissensee, East Berlin, and began studying painting under Walter Womacka (19252010), known as one of the most significant representatives of social realism in the GDR. Baselitz – The retrospective is the first exhaustive exhibition of the German artist exhibited at the Centre Pompidou in Paris. Bringing together masterpieces from the last six decades in chronological order, the show reveals his most striking creative periods: from the first paintings and the Pandemonium manifesto in the early 1960s to the Heroes series; from the Fractured compositions and the inverted motifs of 1969, through to the “Russian Paintings” and the self-reflexive creations entitled “Remix” and “Time”.

The Museum of Modern Art presents Adam Pendleton: Who Is Queen?, a large-scale installation on view in the museum’s Donald and Catherine Marron Family Atrium. Adam Pendleton, who was born in America in 1984, creates paintings, drawings, and other works that use linguistic, political, and historical material in unlikely forms and configurations to explore the relationship between Blackness, abstraction, and the avant-garde. Who Is Queen? questions the traditional notion of the museum as a repository, addressing the influence that mass movements – including those of the last decade, such as Black Lives Matter and Occupy – could have on the exhibition as a form. Drawing on the work of figures including pianist Glenn Gould, political philosopher Michael Hardt, and activist and public theologian Ruby Sales, Pendleton’s installation traverses abstraction and politics. The Museum of Modern Art, 11 W 53rd St, New York, NY 10019, USA Image: Adam Pendleton. Untitled (WE ARE NOT), 2021. Silkscreen ink on canvas, 120×144, Image courtesy of the artist.

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In partnership with Hyundai Motor and supported by the Anicka Yi Supporters, with additional support from the Supporters Circle and Tate Americas Foundation, Tate Modern has unveiled a major new work by artist Anicka Yi as the renowned Hyundai Commission returns to the gallery. The installation is Yi’s largest and most ambitious project to date, transforming the Turbine Hall with a vision of a new kind of ecosystem. Referencing the hall’s original purpose of housing Bankside Power Station’s turbines, Yi’s commission repopulates the space with machines. Her floating machines, which she calls aerobes, move through the air, prompting viewers to think about new ways that machines might inhabit the world. Yi’s is the sixth Hyundai Commission, which takes form as an annual series of site-specific works created for the Turbine Hall, as part of a partnership between Tate and Hyundai Motor. Tate Modern, Bankside, London SE1 9TG, United Kingdom Image: Installation view of Hyundai Commission Anicka Yi. Photography by Will Burrard-Lucas © Tate 2021

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Events until March 2022

MAXXI the National Museum of 21st Century Arts, Via Guido Reni, 4a, 00196 Roma RM, Italy Image: Thomas Hirschhorn, The Purple Line, © Giorgio-Benni, courtesy of Fondazione MAXXI

Centre Pompidou, Place Georges-Pompidou, 75004 Paris, France Image: Die Mädchen von Olmo II (The Girls of Olmo II), 1981, Oil on canvas, 250 × 249 cm, Musée national d’art modern, Centre Pompidou, Paris, Georg Baselitz 2021, © Photo Centre Pompidou, MNAM-CCI B Prévost Dist. RMN-GP

Until 20 March 2022

Featuring over 60 of William Hogarth (1697-1764)’s works, brought together from private and public collections around Europe and North America, Hogarth and Europe draws decades of research to showcase the artist’s unique complexity. The exhibition examines the shifting status of artists in the 18th century, from workshop artisans and court painters to independent freelancers who enjoyed prominence alongside actors, musicians and writers. The rapid expansion of urban centres like London, Paris, Amsterdam and Venice also saw the city itself become a major subject in art for the first time. Tate Britain reveals these metropolitan scenes from across Europe, capturing and displaying the London streets of Hogarth’s Southwark Fair 1733, and The March of the Guards to Finchley 1749-50 together with vibrant depictions of Étienne Jeaurat’s Paris and Longhi’s Venice. Tate Britain, Millbank, London SW1P 4RG Image: Hogarth and Europe, Tate Photography, © Jaiwana Monaghan


/ Events/ /Budapest Malta Spotlight /Africa November - December June - October 2021 2021


A selection of curated events in Malta

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Until 12 December 2021

Until 3 December 2021

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The challenge for any artist in world of multimedia is to strive to tell us a story on canvas, retaining the goals of uniqueness. The artists intentions are to provoke thoughts, emotions and individual reference. Here the artist tells a story of rebirth, empowerment and starting over. It’s about second chances after series of life threatening events. She is interested in the other side of fear, facing death and rising. The paintings represent the very essence of being alive, transcending time and space. Breathe is dedicated to her son James, her fellow warrior. Everything she does is for him.

Breathe is Anna Nightingale’s collection of new paintings, exploring the possibilities of starting over, second chances and life’s lessons heard learned. Based between Gozo and Luxembourg, she returns with a selection of luminous canvases where, with her hallmark lightness, elegance and originality, she transcends time and space through the painterly re-writing of a very personal story.

Spaces in Suspension, curated by Vince Briffa, is a collaboration between two photographers. Joe Smith and Therese Debono, both documentary photographers based in Malta, took up the role of contemporary archaeologists in this project, which aims to document and preserve one of the most iconic hotels in Malta in the 70s. The Grand Hotel Verdala stands as an architectural ruin and serves as an allegory of Malta’s transition towards progress. Yet even though left in a state of abandonment and decline, the hotel still stands proudly awaiting its new fate. It is now in the process of demolition, but the photographers managed to obtain the necessary permits to shoot whilst some furniture and other artefacts were still on site. In some places, nature has also started its reclamation process. The collection also includes onsite portraits of some of the exstaff of this once iconic landmark.

Until 3 January 2022

A collection of paintings and drawings by Franco Navarro exploring the moral side of ancient myths. What happens when humans meddle (as they often did) with Earth and Mother Nature? How do we today play out our often inconsistent relationship with our surroundings? Dedicated to Actaeon the hunter, we witness the terrible punishment meted out to unthinking individuals.

The first nativity scene was set up in 1223 by St. Francis of Assisi to make the extraordinary experience of the first Christmas accessible to ordinary people. This Christmas we’ve gathered our top nativity scenes from original artworks by philatelic designer Emvin Cremona and exhibited them together in a single gallery. Full of colour and symbolism, the selection is a feast for the eyes. Open for the month of December only.

Where: The MPM Arts Hub, 135 Archbishop Street, Valletta. When: Monday to Friday 10am4pm, Saturdays 10am-2pm.

Where: The MPM Arts Hub, 135 Archbishop Street, Valletta. When: Monday to Friday 10am4pm, Saturdays 10am-2pm.

Image: Actaeon, oil on canvas by Franco Navarro

Image: Nativity Scene, acrylic on tissue by Emvin Cremona.

Where: Space C1 - C4 Upper Galleries at Spazju Kreattiv When: Tuesday to Friday 9am to 9pm, Saturday & Sunday 10am until 9pm suspension



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Until 27 December 2021

Where: e Gallery, 1, Library Street, Victoria, Gozo Image: Untitled, acrylic on canvas by Anna Nightingale.

Until 6 January 2022

Where: The MPM Arts Hub, 135 Archbishop Street, Valletta. When: Monday to Friday 10am4pm, Saturdays 10am-2pm. Image: Untitled, acrylic on canvas by Anna Nightingale.

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Blink Twice

It is not often that there are two concurrent solo shows of this calibre by Maltese born artists who are starting to make waves internationally. I caught up with the artists to delve into the process and rendition leading up to these shows. FOLLOW US ON

Blink Twice

It is not often that there are two concurrent solo shows of this calibre by Maltese born artists who are starting to make waves internationally. I caught up with the artists to delve into the process and rendition leading up to these shows.

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