Apotheosis Exhibition Catalogue by vallettaculturalagency

s i s o e Apoth Contents

Forewords Hon. Minister Owen Bonnici

Jason Micallef 3 Catherine Tabone

‘The Lost Soul’s Guide to Reaching Apotheosis’ by Melanie Erixon

6-12

‘The Sacral Dystopia: Reverence and Rebellion’ by Silvano Manganaro

16-19

‘The Symbiosis of Perception and Creation’: Ginevra Balsamo Interviews the Artist

20-39

About the Artist 40 The Works 42-89 Special Thanks 90

Hon. Minister Owen Bonnici

Minister for the National Heritage, the Arts and Local Government

Welcome to a journey that delves into the very essence of being human and our timeless quest for the divine. We invite you to immerse yourself in “Apotheosis,” an upcoming exhibition showcasing the inspired creations of Darren Tanti. Apotheosis, a concept woven into the fabric of ancient tales, whispers of our potential to rise above our earthly existence and embrace celestial grace. In this artistic voyage, Darren Tanti seamlessly blends contemporary art with the elegance of traditional aesthetics, offering a narrative that resonates with the complexities of our modern lives. The exhibition gracefully challenges the barriers that hinder our collective stride towards sanctity—social inequalities, environmental degradation, conflicts, and the misuse of power. Through this artistic tapestry of reflection, we are urged to contemplate our shared journey, envisioning a world where the divine spark within each of us lights the path to harmony and elevation. I urge you to attend this exhibition in this sacred sanctuary for a voyage of contemplation, aspiration, and the exploration of our potential to transcend into the luminous.

Jason Micallef

Chairman, Valletta Cultural Agency

The Valletta Cultural Agency has always been passionate about carving out spaces where local artists can tell their tales, spark conversations, and shift perspectives. “Apotheosis” embodies this vision. Drawing inspiration from ancient Greek legends and the profound aspirations of the Catholic faith, this exhibition paints a poignant narrative of humanity’s age-old yearning to ascend beyond our earthly confines. It’s a mirror reflecting both our timeless ambitions and the very real, very human challenges we grapple with today. The Valletta Cultural Agency proudly stands behind our local artists, championing and amplifying their voice. Here, in the sanctified confines of the Jesuit Church Oratory, we invite you to experience a harmonious blend of traditional aesthetics and modern artistry. Dive deep, for in every piece lies a universe of thought, a call to ascend.

Catherine Tabone CEO, Valletta Cultural Agency

‘Apotheosis’: the word rings like a bell taking the viewer to ancient Greece, where concepts of the ideal were ones the individual lived by. The Valletta Cultural Agency is delighted to host artist Darren Tanti, who uses sacred and contemporary art to highlight the struggles that artists face in the process of realising their aspirations, making the world a better place for everyone. The hallowed space of the Jesuit Church in Valletta could not be more fitting to host this wonderful exhibition by Tanti. ‘Apotheosis’ is a timely reminder that the artist is divinely inspired; a means to an end, he is always a servant to his art. Here, the divine and the human coalesce in the utopia of sacrament, offering a space to renew ourselves through the beauty of art. Behind such endeavour is an aspiration towards learning and a close acquaintance with the accumulated wisdoms of the past.

The Lost-Soul’s Guide to Reaching Apotheosis Melanie Erixon

Curator

Nature rewards and punishes By offering unpredictable ways; Art is apotheosis; Often, the complaint of beauty. •Abstract from the poem ‘Dancing of Sounds’ by Dejan Stojanovic

The title of this essay is a conundrum. Of course, there’s no exact guide on how to reach apotheosis. But through the exhibition ‘Apotheosis’, the artist Darren Tanti, is providing the visitors with some subtle and less subtle hints on what is deterring us from reaching this godly status. The myth or reality of Apotheosis has a long history with examples and tales that hail back to Greek mythology and to different religions. Tanti is tackling the subject from a contemporary and a Roman Catholic perspective, for two reasons which provide important contexts within which to understand these artworks. Firstly, the artist is a Roman Catholic practitioner (and quite a fervent one) and secondly, the exhibition spaces - two adjacent oratories, forming part of the Jesuit church complex - where the artist is creating a beautiful conversation with the artworks of a more classical nature which belong to these two exhibition spaces and the spiritual essence of the oratories themselves. Apotheosis is the glorification or change in status to rise to a divine level or to reach the likeliness of a deity.

Unfortunately, it is quite an impossible feat. The artist created a series of works all pointing out at what is hindering our ability to achieve this ‘holy grail’, in some way or another. This exhibition marks a significant departure from Tanti’s established hyperrealist painting style. Renowned for his mastery of hyperrealism, Tanti takes a bold step forward in his artistic journey, building upon the groundwork laid in his previous major exhibition, ‘Inaction is a Weapon of Mass Destruction’ (2022), where he ventured into the realm of sculpture for the first time. In this latest exhibition, the artist takes an even more radical departure from traditional 2D painting. The showcased artworks predominantly consist of sculptures and objet d’art, incorporating unconventional elements such as neon tubes and perspex. These pieces often stand as independent installations that collectively form a unified exhibition. The result is an unconventional body of work that, while firmly rooted in contemporary artistry, exhibits a fascinating blend of traditional religious art with Pop Art elements. Tanti did extensive research on all the subjects tackled in each artwork, from the detailed design of specific WWII bombs to specific planes, to the expected fish to be found in the sea of Galilee and the type of fishing nets for the aforementioned fish, the representation of angels, particularly the seraphim, and the replication of deadly land mines. He also delved into the art of flower arrangement and embroidery. He used different media to fabricate these objet d’art / installations - all meticulously executed to mind-boggling detail. 7

The installation ‘Souls and Beatification’ is composed of five sculptures or hybrid artworks, portraying stunning busts sporting very pop halos and executed in extremely different styles both in the attire of the ‘clothing’ as well as in the artistic style used. One of the souls shows a tourde-force in an amply decorated ensemble, where the top part of the robe that the figure is wearing is made up of an elaborate baroque gold cage-like dress, adorned with a cherub on each shoulder - creating a direct link with the artwork ‘Deadly Crown and Heavenly Skies’. Under this ‘cage’ the viewer can appreciate a semi-hidden heart, and another gilded ‘cage’ is covering the back part of the head, showing the brain within its concealment. To top it up, the adorning perspex halo is made up of a complex pattern which is also lit up. The final appearance is a very cyberpunk-ish one, highlighted mostly by the clips or raw golden rods that Tanti used to assemble all the parts, hinting to some hybrid creature from the Garden of Earthly Delights, by Hieronymus Bosch. Another soul, at first glance, looks more at peace, but upon looking more closely one realizes there are tears wetting her cheeks. She could be wearing a medieval robe, hinted by the only visible part of the robe - a golden brocade, going around the shoulders and the modest cleavage. Tanti added costume jewelry to this soul, and created a disturbing contrast between nature and technology, thanks to the three cables jutting out our soul’s dainty neck. The lit halo is plainer here but still screams Pop, thanks to the unexpected ice blue colour. Another soul is completely in the nude, wearing only a 8

modest but golden veil which hides part of a beautiful white face, caught lost in thought, eyes shut, waiting, and ample bare breasts. The souls are executed very differently, mirroring different people from different backgrounds and different characters and even different eras, but all seeking that same thing - to reach apotheosis. A number of works are based on religious artifacts and Tanti gives them a pop or contemporary twist. By doing this, the artist is finding subtler and intriguing ways to send the message home, regarding the many ways that we are verging away from achieving divinization. Death is present in most of the artworks, through the use of war paraphernalia, like replica bombs embellished in baroque motifs, to Land of Mine where the artist is again giving a pop vibe to an exact replica of a deadly land mine. He is more subtle in the work Flower Glass Domes where in beautiful ganutell flower arrangements - normally present in churches, to adorn statues of saints - Tanti is smuggling war accouterments within the innocent flowers. In the artwork Panzerfaust - Candelabra the interplay between war artifacts and religious artifacts is ingenious. A curious physical resemblance exists between the anti-tank handheld warhead known as the panzerfaust (literally “tank fist” in German) and the elegant candelabra. Despite their disparate purposes, both serve as symbols of protection. The panzerfaust is a formidable weapon designed to combat armored tanks, defending against mechanized threats. On the other hand, the candelabra, adorned with candles, serves as a means to offer praise to the divine and protect against malevolent forces. This unexpected 9

parallel underscores the diverse ways in which human creativity and ingenuity can manifest in the pursuit of safeguarding what we hold dear—whether it be physical security against military threats or spiritual protection in our reverence for higher powers, and Tanti literally is using this parallel aspect in this artwork where he is alternating church candles and panzerfaust displayed in parallel, next to each other. In Hearts of Gold, the artist is inspired by ex-voto and reliquaries, to create these three hearts, partly executed in a realistic red colour and partly in gold, displayed on long rods and dished out on a silver plate. Again the artist here is harking back to the cyberpunk aspect, as Tanti interconnects the hearts together with transparent plastic tubes, creating this large pumping machine. Other works are tackling the subject of environmental disasters which are the direct result of human greed. Pelican is a work showing the priest’s chasuble adorned with a pelican in mid-flight, in all its glory, but covered and tarnished with dark oil. While the artwork ‘Fish’ is portraying a contrasting ‘catch of the day’ where two fishing nets are suspended in mid-air, one contains a healthy catchment, whilst the other is showing a deadly catch of fish drowned in oil and other garbage. The inspiration comes from the verse in the New Testament: Matthew 4:19 - “And He said to them, “Follow Me [as My disciples, accepting Me as your Master and Teacher and walking the same path of life that I walk], and I will make you fishers of men.”

Tanti’s special interest in horses within his art is present here as well, this time in the form of a reinterpretation of the Horses of the Apocalypse for which he creates a complete diorama. This installation hints at humanity’s final judgment, a judgment that perhaps will be based on all the data collected by the installation Big Brother where a number of ‘monitoring’ devices are constantly stalking our every movement - from Echo and Audio to Every Word You Say and Eye in the Sky. And then the lucky ones who will make it, can proceed to Follow the Light and experience a virtual ascension to heaven, via this installation. In using various media and styles like the inclusion of the Baroque, the Cyberpunk, the Pop, and in creating this conversation with the sacred and spiritual space within classical architecture, Tanti is giving us an eclectic yet still very harmonious large-scale installation of works of art that change their nature depending on the point of view from which they are experienced. Nevertheless, the message remains a valid one that can transcend the passage of time and eras. While these works are open for interpretation, my personal understanding is that in general we are experiencing a loss in faith and in that loss, we do not know who we should fear and we are not sure what to fear ... and maybe we fear nothing and perhaps we fear everything.

About the Curator

Melanie Erixon Melanie Erixon holds a BA (Hons) in History of Art (Malta) and read for an MA in Museum & Heritage Management (Newcastle). She also attended various courses in curation at the Sotheby’s Art Institute. She was part of the Mdina Cathedral Contemporary Art Biennale team for two editions of the biennale, under the artistic direction of Giuseppe Schembri Bonaci. She produced and presented two radio show series on Campus FM; Culture Vulture about the Mdina Biennale and Savoir Faire which tackled the subject of design. Her first experiences with exhibition curation were at STUDIO 104 (today DESKO), in Valletta, where she cocurated various exhibitions as part of her internship with Michelle Morrissey. From 2015 to 2018, she was the coordinator of the Strada Stretta Concept - a project under the auspices of the Valletta 2018 Foundation - where she oversaw around 90 cultural events throughout the years, including operas, fashion shows, concerts, poetry evenings, lectures, art exhibitions, theatre, and other cultural events. Erixon is the founder of the online gallery Art Sweven, which also provides a curation service. She is currently the resident curator at Il-Kamra ta’ Fuq, in Mqabba, where art exhibitions are hosted monthly. She has been part of the art4mccf committee for the last three years and she writes exhibition reviews for local newspapers. Erixon is extremely passionate about art and is also an avid collector of contemporary Maltese art. 12

The Sacral Dystopia: Reverence and Rebellion by Silvano Manganaro Entering Chiesa del Gesù (Church of the Gesù) in Rome - or, more correctly, Chiesa del Santissimo Nome di Gesù (Church of the Most Holy Name of Jesus) - and raising our eyes to heaven, we can admire the extraordinary vault by Giovan Battista Gaulli, known as Il Baciccio, painted between 1674 and 1679. In a triumph of stucco, gilding, clouds, angels, saints and devils the IHS trigram appears high in the sky: it is the triumph of the Name of Jesus! The Jesuits would have liked to dedicate the church after their founder Ignatius of Loyola, but when work began, in 1568, the Spanish saint had not yet been canonised and thus it was not possible. Hence, the mother church of the Society of Jesus took on this unusual denomination and this is how the frescoes, both of the vault and of the apse basin, exalt the name of Christ. Ignatius was canonised in 1622 and, just four years later, the Jesuit confreres began the construction of a church dedicated to him. This church was not far from the previous one and incorporated within Collegio Romano (Roman College) (the school of formation of the religious Order). This time, in an even more spectacular ceiling, Andrea Pozzo depicts from above La Gloria di Sant’Ignazio (The Glory of St Ignatius, that is the saint taken up into heaven, that illuminates the four continents known at the time. The iconography of Glory or Triumph is taken, in the Christian context, from the ancient tradition of the pagan Apotheosis: a mortal (hero or, later, emperor) ascends into 16

heaven and is welcomed into Olympus, among the gods. It is the greatest honour that can be obtained, the final and grandiose recognition that anyone would yearn to reach. Apotheosis is the theme of Darren Tanti’s exhibition. He decides to reinterpret the theme in a contemporary key, fusing and making elements of artistic and religious tradition short-circuit with questions and sensibilities linked to the contemporary world. Influenced by the environments that host the exhibition, Tanti has decided to create site-specific works, leaving aside his privileged medium (painting) to present a series of sculptural objects of, in some ways, surrealist origin. For the Maltese artist, apotheosis is the point of arrival not of an individual but of an entire society or, better yet, of an entire civilisation. In fact, through his works Tanti wants to reflect, and make us reflect, on the current human condition. Its iconographies, artistic references to the past, have the purpose to cloak his condemnation of the contemporary world with sacredness. Precisely at the moment in which, thanks to technology and science, we are convinced that man has reached the highest level in his history and, thanks to the use of machines, has become a god, we realise that, in reality, what we have achieved is nothing and that the possible end of humanity itself, its self-destruction, hides behind this self-celebration: this Apotheosis. Despite technological advances, war, pollution, injustice and tyranny still dominate our world. We have put the sacred aside, to bring technique to the altars. But things did not get much better. The attributes that once characterised 17

God (omniscience, omnipresence, immortality etc...) are now in the hands of technology. Artificial Intelligence knows everything and can organise or generate everything; satellites, surveillance cameras, and our cell phones see and hear everything; medicine has prolonged our lives and machines promise to work for us - and without us effortlessly and for eternity. The utopia of technology has become a dystopia. Therefore, the works created by Tanti for this exhibition aim, from a postmodern perspective of appropriationism, to plunder Catholic and Baroque iconography and imagery to convey a message that is up to the intelligence and sensitivity of the spectator to grasp. Bombs, decorated like seventeenth-century altars, cherubs, gilding, wings and flowers, de-functionalise the objects in front of us to take them to another level... in a certain way even the latter ones are elevated. They receive the honour of (art) Apotheosis but with a view to a disturbing glorification. Surrealist objects created almost a century ago, I am thinking of the Déjeuner en Fourrure by Meret Oppenheim or Lobster Telephone by Salvador Dalí, created unusual associations and opened up, as in dreams, to multiple meanings and suggestions. Le Armi Finte by Pino Pascali (1965) or the History of Bombs exhibition by Ai Weiwei (2020) tell us how much these objects of destruction are, at the same time, disturbing and fascinating both for artists and for us. What Darren Tanti does, mindful of these examples but with the use of religious and baroque imagery, seems to make use of what Situationists defined “détournement”, that is “[t]he integration of present or 18

past artistic productions into a superior construction of a milieu. In this sense there can be no situationist painting or music, but only a situationist use of those means. In a more elementary sense, détournement within the old cultural spheres is a method of propaganda, a method which reveals the wearing out and loss of importance of those spheres.” (S.I., June, 1958) Perhaps, in the beginning of this millennium, so troubled and full of anxieties, art has remained one of the few areas that, by questioning the present dogmas, can give us a key to understanding our being in the world. It will not guarantee us an Apotheosis, but at least a hope of salvation.

About the Art Critic

Silvano Manganaro Silvano Manganaro, curator and art critic, is part of the board of the VOLUME! Foundation. He is professor of History of Art and Art Economics at Academy of Fine Arts in L’Aquila and Rome. He earned a PhD at Sapienza University of Rome and he has been editor of the art and contemporary culture magazine “DROME”. Currently, he is contributing editor of “Il Giornale dell’Arte” (The Art Newspaper).

The Symbiosis of Perception and Creation: Ginevra Balsamo Interviews the Artist

I would like to know how your artistic journey began... What were the main influences that led you to become an artist?

Within the world of contemporary art, some creators have a unique ability to transcend traditional boundaries and bring forth a fresh perspective on the artistic realm. Among these exceptional individuals stands Darren Tanti, a contemporary artist whose work embodies a profound connection with the essence of art itself.

Some of my earliest memories are of me drawing with crayons at kindergarten, and somehow quarreling with my teacher because I wanted to use a different colour from the one she had chosen for me. It’s a funny memory but I have so many of such memories. My mother tells me that, as a child, I always carried colours and paper around with me. Art runs in the family and my uncle is an artist; I guess one could say he was my very first art teacher. My grandma used to paint and worked as a seamstress and many of my cousins and relatives have very distinct artistic skills. Young children emulate what they see at home and tend to reproduce whatever action or activity they enjoy which is received with positive feedback.

In this exclusive interview, conducted by Ginevra Balsamo on the 18th October 2023, we embark on a journey into the mind and artistry of Darren Tanti. His extraordinary capacity to capture the spirit of art from a unique perspective has solidified his status as a captivating figure within the contemporary art scene. Join us as we delve into his sources of inspiration, explore his distinctive vision of art, and delve into his intriguing interpretations of artistic challenges. As Darren Tanti aptly states in this interview, “art absorbs your entire being”, a notion that extends far beyond the mere execution of artistic creations, delving into the realm of one’s most treasured thoughts. Through this interview, Darren offers us invaluable insights into his perspectives on art and life, enriching our understanding of his artistic world. Sincere gratitude goes to Darren Tanti for sharing his thoughts and experiences, providing us with a unique opportunity to delve into the mind of this exceptional artist.

In my case, I always immersed myself in art and creativity; I used to spend days with my grandparents and uncle, drawing, painting, doing crafts and sewing. At home, my parents would never let me and my sister run out of colours, drawing books, paper etc... My mother would, at times, commission me artworks to hang at home. Late in the evening, I would eagerly wait for my father to come from work to show him my latest creation and wait for his reaction. I loved art so much! My uncle was a role model to me and my goal was to become as skilled in art as he was. I used to spend days copying his art and following his advice. Whenever I succeeded, my family cheered and made a big deal out of it, and that feeling of achievement got me hooked. When I began attending primary school,

I was already well ahead of my peers due to the hours of practice I had accumulated. As a result, my classmates and teachers started associating me with art. Those early years in my upbringing had a profound impact on my identity and consequently my career path. I studied art during my college years and furthered my education at the University of Malta to become an educator in Art and Maltese. The formation and studies at University were crucial as they introduced me to the vast realm of art, exposed me to art theory, the social and educational impact of art, and many other facets of contemporary art that truly grounded me in the world of contemporary art. Studying the significance of art and its substantial social and political role further solidified my belief that I should dedicate my life to art. Subsequently, I read for a Master of Fine Arts in Digital Arts at the University of Malta, a journey that ignited my imagination with exciting possibilities and developments in the art world. Throughout this time, I exhibited my art in various collectives and solo shows, thus advancing my artistic career.

In your artworks, you use various painting genres, ranging from figurative to hyperrealistic, as well as more experimental and unconventional techniques. How do you choose one style or technique over another in your work?

My best response to this question is, ‘I do whatever needs to be done’. Perhaps, to phrase it more precisely, ‘I do whatever I feel and believe needs to be done’. Techniques, styles and formats are merely tools in the hands of an artist, and they should be regarded as such. Just as it would be imprudent for carpenters (to draw an analogy) to tackle their craft and profession with only a hammer at their disposal, so too artists would achieve very little, especially when compared to the myriad of possibilities offered by the use of the various tools available in their creative workshop. When I think about an art project, I let the project guide me towards which direction and artistic expression I should take. A project might simply require canvases and oil paints, whereas another would require an installation and another one would require a mix of everything! Once I determine that a particular approach is the most sensible and does justice to the concept, adheres to proper aesthetic qualities, and is theoretically and contextually sound, I proceed with the development of the work. I know that this is not everyone’s cup of tea, some artists and art people may object to this approach as they feel it does not allow for an artist to develop a recognisable

brand, especially if an artist morphs from project to project in rapid succession. I understand this argument, and some may even feel that the artist in question is grappling with their identity and perhaps even experiencing confusion. This, in turn, could potentially result in a loss of credibility in the eyes of art connoisseurs. I believe that all of these considerations hold relevance up to a certain point, but become entirely irrelevant in other situations. Yes, it is totally true that many artists opt for a coherent and gradual development of their work and their identity, a process that might even take decades to unfold. Young artists benefit from such a strategy because it allows them to establish a recognisable visual/conceptual language with the audience, which in turn reinforces their identity and presence within the same community. But once one reaches the desired level of stability, they may consider various options and either continue with what has been effective or venture onto new trajectories, experimenting, taking risks, and having fun. I opted for the latter choice.

all - intervenes, things tend to change drastically and suddenly. This occurred to me with the birth of my daughter and the death of my grandfather, events that transpired within a few months of each other. The convergence of these two profound experiences fundamentally altered everything about me and my relationship with art. I lost interest in adhering to any conventions and rules that might hinder me from creating the art I desired. Consciously and unconsciously, I discarded any advice and suggestions found in books and articles like ‘How to Become a Great Artist?’ and ‘How to Make Art Your Career.’ I simply decided to do whatever needed to be done. In life, there’s little time for excessive planning. It’s crucial to establish solid foundations, such as education, training, one’s profession and relationships. However, I believe that a moment arrives for everyone to either continue along a predefined path or to be true to oneself. This shift has had a profound impact on the art I create, allowing me to embrace a wide range of approaches and techniques in my practice.

After years working in the figurative, realistic and hyper-realistic languages, specifically because of my preoccupation with the philosophy of ‘the real’, hyperreality, simulacra and simulation (mainly after studying Jean Baudrillard, Umberto Eco and other similar philosophers), and years of studying pictorial techniques that span from academic painting to photorealistic methods, things started to naturally shift. I felt the need to play and try different things, and gradually I started to produce and exhibit works that departed from what I was usually associated with. Then when life - the greatest teacher of

This is why, nowadays, I choose to use one technique over another by simply asking myself, “What needs to be done?” and proceeding from there.

Regarding your role as a lecturer at two prestigious academies in Malta, namely MCAST (Institute for the Creative Arts), and your participation in a Master’s program in Teaching and Learning at the University of Malta: How do you inspire your students to explore and enhance their artistic creativity? What advice would you offer to students aspiring to pursue a career in art?

I am fortunate to be an educator and even more fortunate to be an art educator. I have the opportunity to be part of the formation of so many bright, talented, young adults. I hope that I affect these lives in a positive manner, after all it is my duty and responsibility to do so. Education is no joke, it impacts the immediate and future lives of students and has tremendous long term effects on communities and nations. Every decision taken by a teacher and the students in a class, may have a huge cascading effect on so many futures. This might sound as a hyperbole but it is the simple truth. In class with my fine art students and the art student teachers, I always argue that ‘Every curriculum, every scheme of work and every lesson plan, is a political act. They determine what is valuable and worthy for the student (you) and society to know and implement; and this comes at the expense of other forms of knowledge, information and possibilities. Schools may lead the path for functional, thriving societies or for the emergence of monstrous regimes’. This is my ethos when it comes to teaching future artists and art educators. I 26

encourage them to pay attention and be aware of what they are being taught. I ask that, if needed, they critically analyze and respond to the material appropriately. Of course, this should always be conducted within the bounds of respect and good faith. I guess that my primary focus in art education is on the responsibility that comes with art and art education. Creativity is integral for the formation of dynamic and innovative adults, and I do my utmost to keep this principle as a pillar in my teaching practice, but my method of delivery tends to focus more on the ‘logical’ rather than on the ‘emotional’ dimensions (allow me this distinction for the sake of explanation. I am aware that this is a can of worms and there are heated debates on such definitions). There are innumerous ways of engaging students’ creativity. I tend to favour ways that promote thought and reflection, divergent and convergent thinking, philosophy, language and debate. Apart from teaching painting and figure drawing classes, I happen to deliver lectures about Art Theory and Criticism as well as Politics and Art. These subjects allow me to delve quite deep into the world of art and creativity. We tackle issues related to the definitions of art, morality, ethics, taste and judgment. We delve into various schools of thought and how they impacted artists and their art. We discuss how art is a reflection and reaction to the developments in politics, economy, religions/ belief systems, the art institution itself and much more. I believe that when art students and art student-teachers are exposed to all of this knowledge and asked to engage meaningfully with it, it is akin to putting a seed bomb in 27

their minds; something will definitely happen and ideas will sprout. I believe that the effect of such an approach is much stronger and long-lasting than simple creative activities that begin and conclude within a specified timeframe; just as seeds do, these ideas will develop roots, grow, and hopefully bear fruit long after the students have graduated and left university. It is difficult to give generic advice to students aspiring to a career in art. Usually my suggestions depend on who is asking the question and the local/global situation art is in. Things are so volatile and unpredictable that it would almost feel ‘irresponsible’ to give advice. That being said, there are certain ‘universal’ facts and recommendations that one can adhere to, and here are three good ones:

the sole one. This is where education and strategy come in handy. 3) It is worth it (somehow)! - after swallowing the bitter pill mentioned above, things become much better. If you want a career in art, I believe that you must find intrinsic meaning to whatever you’ll be doing. Once you find your authentic purpose, then a career in art may just be worth every challenge you face. Make the best out of every painting, performance, installation, or whatever practice you are into. If you do not allow for mediocrity, there is a good chance for growth and real achievements.

1) Be fully committed - art is not a 9-to-5 business, it usually absorbs all of your being. 2) It is not a fairyland - before you embark on your journey, please be aware that ‘art’ and ‘the world of art’ do not equate to each other. ‘Art’ is (allow me an essentialist approach for this one) ‘an idea’ - ethereal and elusive and somehow, due to this malleable nature, everyone can partake in it, create it and enjoy it. On the other hand ‘The world of art’ is cut-throat, more often than not, ruthless and highly competitive. It is extremely political, bureaucratic and factioned - money, let’s not get there shall we?! By time you will come to realise that ‘talent’ on its own rarely guarantees success in the world of art, talent is only one of the many factors that come into play, but definitely not

The exhibition delves into themes associated with ‘Apotheosis,’ which is the process of elevating a human being to divine status, but from a contemporary perspective. What served as the primary inspiration for this exhibition, and how did you decide to address the theme of apotheosis within a modern context?

As discussed earlier on, I do not dictate or impose my idea but let the idea come to me and create artworks according to what I deem best. So, when the Valletta Cultural Agency approached me for this project, they provided me with a carte blanche, with only two conditions: that it had to be within Valletta and, most importantly, that I should ‘give my best’. Truly, two ideal conditions: to display your work within Valletta, a UNESCO World Heritage site, and to strive to be the best version of yourself. Although I already had a substantial body of work in progress, when the chance to exhibit within the beautifully restored oratories of the Jesuit Church emerged, I set aside everything and began afresh. I simply could not headbutt my way into the Jesuit Church and present a body of work that doesn’t respect the essence of the space. Being of Roman Catholic faith and being brought up on an island adorned with Baroque art and architecture, I felt very responsible of what is to be presented within the oratories. I had my rebellious artistic years, and I had shown controversial artworks, but this was done within the mindset of a young artist trying to make sense of the world and his own self, and within galleries and creative centres, definitely not in a church hosting the Sacrament. After spending time within the space, I simply

asked myself ‘What should I do?’ followed by ‘What is the purpose of the place?’ The answer that came to me was ‘To become holy, to become saints’. My internal monologue continued…‘As if it is going to happen, look at the mess I am as a person and the disastrous world out there!’ That was it! I had my project… Apotheosis and the perpetual difficulties humans face along the way. The new challenge arising from the first solution was, how to address this spiritual belief but in a contemporary language and whilst appreciating the sensitivity of the place and the parishioners. It does not take much to adopt the ‘rebellious and irreverent’ artistic identity, and present work that is blatantly brash and controversial! It is a tested and proven formula, and the contemporary art world loves controversy, especially if, at times, it irks believers and mocks religions. Even the most basic Contemporary Art History 101 courses will give you plenty of examples, i.e. Andreas Serrano with his infamous (and also revered within certain art communities) photography of a crucifix submerged in urine, Chris Ofili’s The Holy Virgin Mary - a mixed media artwork representing the Virgin Mary made up of elephant dung, pornographic cutouts amongst other materials, Jake and Dinos Chapman’s oeuvre of crucified Ronald McDonald and Maurizio Cattelan’s La Nona Ora presenting the viewer with a hyperreal statue of Pope John Paul II hit by a meteor, are all known and ‘celebrated’ in the contemporary art community. Obviously, I know the drill by heart, many of these artefacts are supported with beautifully crafted artist statements, that enshroud the spectacles with academic weight and rigour giving

them an air of legitimacy and validity. From an academic standpoint, I am fully aware of the arguments presented ‘these artworks are challenging the relationship between the represented and the representation, they are fighting against the idolatry of the image, presenting an alternative argument, challenging the institutions so as to expose their weaknesses…’ so on and so forth. We can delve into beautiful philosophical and theoretical debates that are really challenging and stimulating about such matters actually that’s why I love art theory so much. But at times, I fear that all of this is an act of gratuitous provocation and moments of self-indulgence by art people. We speak a particular language that relies on pre-established rules and knowledge that escapes the untrained general public. This inaccessibility alienates the general audiences and leaves art people to relish in their own exclusivity. I did not want that. I wanted to use a language that parishioners and the public in general alike are accustomed to, are able to relate with and somehow converse with. I emphasise so much on the point of accessibility and respect, because I honestly would like to reach the majority of people who enter this place of worship. Why should I spoil an opportunity like this just to make the headlines on a local newspaper and wear the bad boy look for some time until someone else comes in to steal the spotlight? I was welcomed by the Jesuit Church to use this sacred place as an art space, so I opted to be respectful and commit myself to explore a genuine preoccupation of mine. For this project, I drew inspiration from the motifs found in the decorations and ornamentations of the oratories. I

examined the various materials and textures present, such as stone, painted stone, gold, silverware, marble, paper mache, and plaster. Additionally, I considered the grand paintings and the internal architecture (composition) of the church, as well as both natural and artificial light, among other elements. My aim was to use and integrate these elements into the new body of work. Furthermore, I delved into the challenges humanity faces in its pursuit of sainthood, such as the exploitation of Earth’s resources, economic inequality, warfare, hunger, and the abuse of power. Here I defined a set of concepts that would be used as metaphors, analogies or clear representations that were to be embodied in a number of artworks. Then, perhaps the most challenging part, was to (try to) balance the introduction of specific elements from the contemporary world including wires, neon lights, plastics, warheads (models of), trash, pacemakers (models of) and other material within the Baroque environment. Another challenge was to re-address parables and teachings of the Church through a contemporary lens. The artworks delve into the exploration of various meanings embedded within symbols, such as the pelican, which serves as a representation of Christ and also, as a bird covered in crude oil spilled by oil tankers. It symbolises both salvation and the representation of devastating human activity, coexisting within the same symbol. Essentially, all of the artworks reside in this duality of meaning.

In this exhibition, the role of art is also to address important social issues such as the exploitation of Earth’s resources, economic inequality, war, hunger, and abuse of power. How do you symbolically represent these issues within your artworks? How can art reflect the challenges and anxieties of contemporary society?

As correctly stated, I use symbols to explore the various connotations these may have. Somehow, I take a poststructural approach towards symbols, allowing them to be fluid in their meaning and shift according to the receptiveness of the viewer. In a sense, I cannot impose a predetermined meaning to a particular artwork, because as soon as the artwork leaves my studio and enters the world, it becomes autonomous and the audience is responsible to negotiate its possible meanings with it. As an artist, I can only lay out a vision and hope for the ‘best’. It’s true that the ‘artist statement’ assists the shaping of meaning but meaning cannot be dictated or imposed. One cannot force a feeling or a thought. One can try to but in the end it’s the viewer’s prerogative. Considering this, I sought out universally recognised symbols in the Christian world, such as the fish, the pelican, hearts, hands, wings, flowers, and crops (which are also present within the church building itself), examining them through the lens of contemporary struggles and hardships. As a result, fish and pelicans came to symbolise environmental crises, hearts and hands represented illnesses and disease, crops symbolised famine and the unjust distribution of wealth, and wings were associated with war and oppression,

among other interpretations. I played with these meanings, inviting viewers to contemplate these metaphors and analogies. My hope is that the reinterpretation of these established Catholic symbols is not perceived as a corruption, but rather as a space for individuals to enrich their own spiritual experiences and interpret these new iterations in the context of the contemporary challenges faced by humanity. Quoting the not so religious, but definitely socially/ politically active artist, Ai Weiwei, “Everything is Art, Everything is Politics”. Whilst I have some reservations on the matter, I definitely share the view that art is intrinsically political, at least in its contemporary form. There are various ways in which art can expose the challenges and anxieties of society, it can be activist and take to the streets with performances, protests, demonstrations etc… Art can take the form of a Banksy (the early Banksy) or a movement, such as the Occupy movement (which faced an early death as it was devoured back into the cogwheels of Capitalism). It can become a prankster, like in the hands of the Yes Men! and the Guerilla Girls. It can take the form of a humble exhibition within a community centre or a local hospital. There are various ways in which art can reflect the challenges and anxieties of contemporary society. It depends on the inventiveness of the artists and the receptiveness of the public.

In some of the artworks in the exhibition, like “b-omb-roque” 2023, “pelican” 2023, “anime e beatificazione” 2023, and many others, you blend contemporary elements with more traditional aesthetic languages. How have you tried to balance these two expressions?

Yes, I blended elements of both in all artworks. Initially, I started by focusing on the theme and ‘message’ I wanted to explore and then I observed how the artwork literally manifested itself in my mind. There are moments in which artists can literally see the artwork in its entirety in their imagination, whereas in other cases, a longer process and research are required until the final objective is reached. As a general rule, I began with the format that a ‘traditional’ artist might use when addressing such subject matter. This initial stage laid the groundwork for the artwork, potentially resulting in a realistic representation of a soul, perhaps as a sculpture created from papier-mâché and plaster. Subsequently, I sought to identify the connection between the traditional symbol employed and how it could be reinvented or reinterpreted in a contemporary manner. Once I sorted that part out, I would seek out the materials that best fit the purpose - wires, neon lights, plastics, warheads (models of), trash, metals, cables etc... Then I assemble the artwork. This approach has led some artworks to gain a ‘cyberpunk’ and ‘pop’ feel, which I happily embraced. I felt that it gave the artworks the necessary edge to distinguish them from simple traditional reproductions of sacred works. Frequently, I

had to restrain myself from going too extravagant with the artworks, maintaining a sense of self-restraint and striving for a sober balance. My aim was to push the boundaries just enough while staying within what I consider respectful. As previously mentioned, some viewers might feel that I crossed a line (as they interpret the personal meaning of the artwork), but if this were the case, I would remain at ease knowing there was no ill intent in my creation. I am quite sure that some viewers would feel uneasy looking at full size replicas of Nazi SC250 bombs (“b-omb-roque”) adorned with damask inspired motifs, within the setting of the church. Valletta has been heavily hit by such bombs, causing homes and churches to be reduced to dust. For me, it felt natural to use them as a representation of the evils spawned by war. It is logical to reflect on this within the sacred space of the church and directly confront one of the obstacles on the journey toward attaining a state of grace.

With this exhibition, what emotions, messages, or reflections do you hope to evoke in your audience? Is there something specific you want people to take away after viewing your artworks?

Apart from the spiritual themes that this project explores, which are primarily addressed to those who are willing to engage with them, my ambition is to strike a balance between respectful spiritual art that is accepted within the context of ‘traditional’ religious environments as well as endorsed within the contemporary art world. I find this to be an exceedingly challenging task, and only a few prominent artists have successfully broken through. In my opinion, Bill Viola stands out as one of the most brilliant in this regard. My art is varied and explores different themes related to philosophy, current affairs, politics, art history and spirituality; therefore, I always seek different challenges in my artistic development, but I feel that this project gave me the opportunity to go back to my roots and readdress the challenge of creating contemporary Christian art with a mature mindset, which observes the sensitivity of the faithful and challenges the notions of what is expected from contemporary art. I envision both myself and the audience considering this project as subversive within the art world, challenging dominant forces and agendas. It does so by creating hybrid artworks that blend contemporary materials and themes with traditional aesthetics and spiritual concerns, all handled in a respectful manner.

About the Interviewer

Ginevra Balsamo Ginevra Balsamo, captivated by the art world from an early age, embarked on an intriguing educational journey. She graduated from a specialized art high school with a focus on painting, where she actively participated in numerous art exhibitions. She then pursued her studies at the Accademia di Belle Arti in Rome, specialising in Art Communication and Education. Her deep appreciation for the preservation of artistic heritage led her to complete a Master’s degree in the Protection and Valorization of Artistic and Contemporary Heritage at the Accademia di Belle Arti in Rome.

About the Artist

Darren Tanti Darren Tanti (b.1987) is an artist renowned for his thematically loaded and technically accomplished artworks. His work spans from figurative and hyperreal art to more experimental and non-conventional forms of art. Tanti has participated in numerous art projects and exhibitions in international contexts. Some of the most prestigious exhibitions that Tanti participated in are ‘Time, Space, Existence’ at the Venice Biennale of Architecture in 2014 and ‘HomoMelitensis’, as one of the artists representing Malta in the Venice Biennale of Art in 2017. Tanti has also participated in all the editions of the APS Mdina Cathedral Contemporary Art Biennale. In 2022, the major solo exhibition ‘Inaction is a Weapon of Mass Destruction’, supported by Spazju Kreattiv, Arts Council Malta and Il-Kamra ta’ Fuq was widely acclaimed for its magnitude and strength. Tanti is a senior lecturer of Fine Art at MCAST Institute for the Creative Arts and also lectures in the Master in Teaching and Learning at the University of Malta.

The Works

No. 1 Title: B-omb-roque Medium: Mixed Media - Metal, Resin, Fabric Dimensions: Length -164cm, Diameter - 37cm (dimensions vary) Year: 2023

Description: In this artwork, one may see the hybridisation of warhead replicas and elements from liturgical-inspired Baroque embroidery. In the early stages of the technological boom, many believed that science and technology would save humanity from the burden of inequality and injustice. Technology had the potential to usher in an age where people could live without struggle and pain as it would take the toil from the hands of the labourer. Unfortunately, this was not the case, and the technology that could be used to farm land was instead used to drop hell from the sky. Technology can never replace God even though many might have fallen for this illusion. This artwork therefore presents bombs encased in false sacred garments - evil, posing in the clothes of good, is evil all the same.

No. 2 Title: Souls and Beatification Medium: Mixed Media - Plaster, Bandage, Oil Paints, Gold Leaf, Pop-lit Halos Dimensions: 60cm x 40cm x 25cm Year: 2023 Description: After the struggles faced in life, some souls would still need to atone for their earthly ill-doings. Purgatory is that place in which this cleansing happens before these souls are unified with the Lord. The sight of statues representing these souls being cleansed in fire has always fascinated the artist, thus this theme was addressed as part of the stages preceding apotheosis. After the spiritual cleansing, souls are accepted into the heavens, reaching a saintly status. For this reason, statues representing ‘every day’ saints (highlighted with the use of pop coloured lit halos), will also be on display together with the other set of statues.

No. 3 Title: Big Brother Every word you say Eye in the Sky Echo and Audio Medium: Mixed Media - Plaster, Bandage, Aerosol Dimensions: Diameter - 33cm Year: 2023

The omnipotence of God, who sees and hears everything, has traditionally served as a moral compass. In the past, this awareness might have curbed our actions. However, in the contemporary era, we find ourselves under a multitude of additional surveillance systems that we, as humans, have imposed upon ourselves. Our every move is scrutinised by cameras and sound-recording technology, which surround every corner we inhabit. These devices scan our faces, track our movements, listen to our voices, and document our thoughts and desires, ensuring constant vigilance and accountability. In this interconnected web of surveillance, every transgression is meticulously recorded and could potentially be employed in our ultimate judgment. These same cameras, embedded in fighter planes, drones, and satellites, also serve as agents of punishment, directing devastation towards designated targets. The artwork intricately weaves together the symbolism of the ‘Eye,’ the ‘Ear,’ and the ‘Mouth’ with the structure of CCTV cameras, earphones, and speakers. Presented as separate spherical sculptures resembling floating orbs. They observe and analyse everything around them, recording every action and relaying the information to the ultimate judge. The piece captures the complex interplay between divine scrutiny and the surveillance technologies of our own creation, exploring the profound consequences of our actions in a world where every move is watched and judged. (this is an AI-generated text)

No. 4 Title: Deadly Crown and Heavenly Skies Medium: Mixed Media - Plaster, Bandage, Aerosol/Jasmenite, Gold Leaf Dimensions: Diameter - 33cm (each) Year: 2023 Description: This artwork references the pain and tragedy of pestilence, specifically in relation to Covid-19. The sculpture is a direct reference to the name of the virus ‘Corona Virus’, thus the ‘deadly crown’. Accompanying this sculpture is another one called Heavenly Skies which offers a counterbalance to pain with the prospect of beauty. This artwork is inspired by the paintings of Hieronymus Bosch.

No. 5 Title: Fish Medium: Mixed Media Dimensions: 150cm x 70cm x 70cm Year: 2023

Description: Matthew 4:19 - And He said to them, “Follow Me [as My disciples, accepting Me as your Master and Teacher and walking the same path of life that I walk], and I will make you fishers of men.” In this artwork, we can see how some fish were caught in the right nets whereas others were not. This artwork brings together the verse from the New Testament, which is meant to profess salvation with the metaphor of fishing, and the ecological disasters humans have brought on Earth in the name of greed and false gods. Thus, in this paradox and juxtaposition, one is invited to reflect on the different catches of fish - one which is meant to be retained whereas the other is to be discarded.

No. 6 Title: Harvest/Reaper Medium: Mixed Media Dimensions: 120cm x 90cm x 25cm Year: 2023

Description: Matthew 9:37-38 - Then he said to his disciples, “The harvest is plentiful but the workers are few. Ask the Lord of the harvest, therefore, to send out workers into his harvest field”. This artwork brings together two different meanings of ‘reaping’, one meaning is the one meant in the Scripture whereas the other is implied in the name of the military drone MQ-9 ‘Reaper’. Both reapers take a different approach to their work, one collects the good crop and discards the weeds, whereas the other annihilates and brings death in the name of defense.

No. 7 Title: Land of Mine Medium: Mixed Media - Resin, Neon Tube Dimensions: 30cm diameter x 10cm Year: 2023

Description: People fight for land and water. This has always been one of the main reasons to wage wars. Paradoxically, humans are ready to destroy the land they are fighting for, as long as the enemy does not get hold of it, even if this means that they won’t be able to use it again. Landmines are an affliction that will claim the lives of innocents even after the conflict has been over for decades. When one sows death, one reaps death. Narratively speaking this artwork ties directly with Harvest. Using the same aesthetic language as B-omb-roque, the artist intermeshes deadly armaments with liturgical-inspired Baroque motifs.

No. 8 Title: Panzerfaust - Candelabra Medium: Mixed Media - Plaster, Bandage, Aerosol / Jasmenite, Gold Leaf Dimensions: 15cm diameter x 104cm (each panzerfaust and candelabra) Year: 2023 Description: This artwork is a play on the physical resemblance found between the anti-tank handheld warhead - the panzerfaust (tank fist), - and the candelabra. Both are used as protection, the panzerfaust fights against tanks whereas candles help us to give praise to the Lord and ward off evil. Using the same aesthetic language as B-omb-roque and Land of Mine, the artist intermeshes deadly armaments with liturgical-inspired Baroque motifs.

No. 9 Title: Pelican Medium: Satin, Acrylic, Plaster, Aerosol Paint Dimensions: 105cm x 60cm Year: 2023

Description: In Christian iconography, the pelican represents Christ’s self-sacrifice for the salvation of the souls. It is believed that when food was scarce, pelicans would pick flesh from their chest to feed the chicklets. This motif has been used in Christendom in various ways, such as in liturgical vestment designs and on chasubles. In this artwork the pelican is depicted covered in oil, symbolising the environmental disasters humans have caused because of greed, carelessness, and abuse. This artwork depicts one cause that stifles our journey towards sanctification.

No. 10 Title: Seraphim Medium: Mixed Media - Plaster, Bandage, Aerosol Dimensions: 200cm x 150cm Year: 2023

Description: What would the sight of angels be like? How do they look? Prophet Ezekiel (10: 1-22) describes what these otherworldly beings look like. One of the most fascinating descriptions is of the multi-winged angels guarding the Lord. Their look must strike fear in anyone who sets sight on them as these descriptions are far from the ‘pretty’ angels we are accustomed to see in pictures.

No. 11 Title: Raptor (Sculpture) Medium: Mixed Media - Plaster, Bandage, Aerosol Dimensions: 150cm x 50cm x 45cm Year: 2023

Description: Wings of life and wings of death are intertwined together in this sculptural artwork. This artwork plays on the word ‘raptor’. Birds of prey are also referred to as raptors and this name is also given to one of the most feared air superiority fighters in the USAF, the Lockheed Martin F-22 Raptor. In this artwork, the artist highlights the paradox between wings of life (angels) and wings of steel (represented by a generic turbofan jet engine, whose engineering principles are used to power various civilian and military planes).

No. 12 Title: Horses of the Apocalypse Medium: Mixed Media - Plaster, Bandage, Aerosol Dimensions: 40cm x 20cm x 30cm (each sculpture) Year: 2023

Description: The ultimate episode that leads humanity to its final judgment is the apocalypse. The representation of the four horsemen of the apocalypse has inspired many artists across the centuries. It has also been the source of many fantasies in non-religious domains such as pop culture and fiction. In this artwork the artist imagines the horses who will usher in the time of judgment and hopefully, the time that leads many to find eternal happiness.

No. 13 Title: Follow the Light Medium: Mixed Media - 45-Gallon Steel Drum, Jasminite, LED Light, Glass, Mirror Dimensions: Height - 97cm, Width - 58cm Year: 2023

Description: This artwork uses the illusion created by an infinity mirror room to recreate and imagine the ‘light at the end of the tunnel’ described by those who have had near death experiences.

No. 14 Title: Hearts of Gold Medium: Mixed Media - Plaster, Bandage, Aerosol Dimensions: 13cm x 9cm x 9cm (each heart) Year: 2023

Description: This artwork reflects on the phrase ‘heart of gold’ which indicates a good heart. In churches, one finds plenty of gold hearts - either in the form of Ex-Voto or as reliquaries. A good heart and faith are essential to sainthood. Nonetheless, when sickness strikes, apart from faith, one must also acknowledge technology and medicine as an integral part of the journey of healing.

No. 15 Title: Flower Glass Domes Medium: Glass Dome, Mixed Media - Plaster, Bandage, Aerosol, Plastic Dimensions: 25cm diameter x 70cm height Year: 2023

Description: Accompanying the B-omb-roque artworks, there are also two flower glass domes. The aim of these artworks is to bring out the contrast between the aggressiveness of the warheads and the delicate nature of the glass domes and the flowers within them. A closer look at the arrangement might also reveal some surprises. These domes are associated with churches and other places of worship. The aesthetics of the dome continue to bridge the contradictions and complexities found within the exhibition.

Photos by: Andrew E. Zarb

Special Thanks: Special thanks to the Jesuit Church Foundation, as well as to David Azzopardi, Rose Tanti, and Charlie Cauchi for their help and expertise in various fields where the artist sought expert knowledge to be able to tackle various artworks in the most realistic way possible. 90