Simple Expressions of Complex Thoguhts

12th - 21st April // Splendid, Strada Stretta, Valletta

Contents Forewords: Hon. Minister Owen Bonnici

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Mario Cutajar

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Jason Micallef

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Catherine Tabone

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Simple Expressions of Complex Thoughts by Hannah Dowling

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The Works & The Artists

Special Thanks

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HON. MINISTER OWEN BONNICI Minister for National Heritage, the Arts and Local Government

Endorsed by UNESCO and the President of Malta, maltabiennale. art 2024 epitomises the nation’s dedication to merging tradition with modernity and to fostering a dialogue through the arts. Amid global turmoil, it stands as a beacon of unity, offering refuge through cultural harmony where culture acts as an antidote to conflict, uniting people across borders.

Happening on the occasion of maltabiennale.art 2024, Simple Expressions of Complex Thoughts is among the events marking a significant evolution in art, expanding beyond traditional themes to address contemporary issues. This shift, supported by increased patronage, reflects governmental commitment to cultural development.

The biennale bridges past and present, celebrating Malta’s heritage while embracing global contemporary art. It showcases not only artistic prowess but also Malta’s vibrant traditions. Gratitude extends to all contributors, ensuring the success of this important cultural initiative.

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MARIO CUTAJAR President, maltabiennale.art 2024 & Chairman, Heritage Malta

maltabiennale.art 2024 merges the essence of the past with contemporary flair, offering a rich tapestry of visual and performing arts interwoven with the latest creative trends. Across the Maltese Islands, historic venues, including World Heritage Sites, serve as captivating backdrops for this cultural extravaganza. With twenty diverse locations, from megalithic ruins to aristocratic palaces, maltabiennale.art 2024 promises a sensory journey through time and space.

Art serves as a catalyst for introspection in this inaugural edition of the maltabiennale.art. Artists courageously delve into societal issues, shedding light on taboo subjects and fostering open dialogue. Malta’s cultural diversity provides an ideal setting for this exploration, reflecting centuries of influences from various civilisations.

As Malta navigates its role at the crossroads of Western civilisation, maltabiennale.art 2024 prompts reflection on the island’s complex history and evolving identity. It seeks to inspire a collective vision for a better future, urging individuals to take responsibility for their actions.

In an era of change and uncertainty, maltabiennale.art 2024 offers a platform for transformative dialogue and cultural exchange. The success of this endeavour hinges on the proactive engagement of all stakeholders, ensuring that it leaves a lasting impact on Malta’s cultural landscape.

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JASON MICALLEF Chairman, Valletta Cultural Agency

Simple Expressions of Complex Thoughts stands as a testament to the Valletta Cultural Agency’s core mission: to nurture a vibrant and challenging cultural landscape in our capital.

Innovation and dialogue stand as the guiding lights of our endeavours; essential principles that shape our path and inform our decisions.

Integral to our ethos is the unwavering commitment to support artists, providing them with vital platforms to express their unique perspectives unencumbered by bias.

By creating spaces for artists to thrive, the Agency actively works towards the democratisation of art, making cultural experiences accessible to all and fostering a community where the arts are seen as essential to public life.

Over the past five years, the Valletta Cultural Agency has dedicated itself to tirelessly supporting and promoting artists across a diverse spectrum of disciplines, committed to ensuring their creative voices are not only heard but also deeply valued. Indeed, fostering a dynamic environment where art can flourish, sparking thought, conversation, and understanding among a diverse audience, has been our unwavering goal.

This exhibition represents yet another feather in our cap, demonstrating once more that art serves as a universal language, adept at bridging complexities with elegant simplicity.

This thoughtfully curated exhibition opens the door to a deep and wide-ranging dialogue between art and our innermost selves.

I strongly encourage everyone to experience it firsthand.

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CATHERINE TABONE CEO, Valletta Cultural Agency

It is with great pleasure that I introduce the catalogue for our latest contemporary art exhibition Simple Expressions of Complex Thoughts.

Drawing inspiration from the influential 1943 Manifesto penned by Mark Rothko and Adolph Gottlieb, this exhibition explores the intricate dynamics between artists, artworks, and their audience.

Rothko and Gottlieb’s manifesto, published in the New York Times during a pivotal moment in history, laid bare their profound insights into artistic practice and its connection to the viewer. Their musings continue to resonate with contemporary artists and audiences alike, prompting us to reflect on the essence of artistic expression.

Simple Expressions of Complex Thoughts invites viewers to explore the interplay between simplicity and depth in contemporary art.

Through a diverse range of artworks, artists convey intricate concepts with seemingly straightforward forms, inviting viewers to engage in a dialogue that transcends the boundaries of language and perception.

As we navigate the complexities of the modern world, this exhibition serves as a means of introspection and connection. I extend my gratitude to maltabiennale.art 2024 on which occasion this exhibition is being held, to the curator and artists whose works grace these walls, as well as to our esteemed audience whose presence enriches this cultural exchange. I invite you all to join us on a journey of discovery and contemplation through the simple yet profound expressions of art.

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SIMPLE EXPRESSIONS OF COMPLEX THOUGHTS Hannah Dowling Curator

“We favour the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth.” 1 In 1943, Mark Rothko and Adolph Gottlieb vocalised their thoughts and concerns on the relationship between artists, artworks, and the audience in a joint manifesto which was originally published in the New York Times, that same year. In this manifesto, Rothko and Gottlieb describe their understandings of artistic practice in relation to the audience. With this in mind, Simple Expressions of Complex Thoughts stems from this manifesto, and aims to understand the relation between the artist and the viewer through a contemporary curatorial lens.

In today’s world, the shock value in art is being questioned further, especially in relation to the notions of provocation and controversy. Do we need to shout to make ourselves heard? Do we need to spark controversy to challenge the times? Do we need to succumb to trends to remain relevant? Such questions merit reflection, especially in an age when nothing seems to shock anymore; when everything has been done and there seems to be no further boundaries to push, or rules to break. Perhaps it is through the subtle nuances, the simple expressions of complex thoughts, that one may find meaning.

Meaning is no more than a connection, and that connectionis fostered by the marriage between the picture and the onlooker, the artist and the audience, which ultimately does not necessarily have to be imposed.

1 Mark Rothko, Adolph Gottlieb, statement published in Mr. Jewell’s column in the New York Times 13 June 1943.

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It is through simplicity that we are understood. But simplicity is ultimately rooted in complexity. Our minds are vessels that hold a body of knowledge; our subconscious is the tract that homes our thoughts.

But is it wise to translate such complex thoughts through a complicated medium? Is it wise to translate our thoughts through a medium which cannot be understood by others? Ultimately, art is a form of connection, and Rothko and Gottlieb’s principle in artistic practice was to enhance the relationship between the artwork and the viewer. In their manifesto they write: ‘No possible set of notes can explain [their] paintings. Their explanation must come out of a consummated experience between picture and onlooker.’2 Therefore, simplicity is key for their message to be heard. Simplicity is key in nurturing the environment for this connection between the artwork and the audience to take place.

Rothko used colour to evoke different emotions, depending on the viewer. Essentially, he believed that colour had the power to awaken emotions, and was primarily concerned with ‘the way [colour] projected off of the wall’ and into space. This may be regarded as the ‘presence’ which is evoked from an artwork. For these reasons, it is through this simplicity that the artwork draws out its essence and emits a presence which is then translated into the space.3 Through this, its aura is then picked up by the viewer. The viewer is drawn to the works they feel most connected to; to the works they possibly see themselves in, or feel themselves in. The viewer is drawn to their corresponding aura. In this respect, this exhibition seeks to create a space for meaning. It seeks to create an atmosphere which prioritises feeling and meaning, whereby the viewer can immerse themselves within the space, especially during a time when this seems to be lost in translation.

2 Rothko and Gottlieb (1943).

3 Vittorio Colaizzi, Robert Ryman, Phaidon Press Ltd., New York, 2017.

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Simple Expressions of Complex Thoughts is therefore a contemporary understanding of Rothko and Gottlieb’s manifesto.

It stems from the principles which they established in the New York Times in 1943; principles which hold as pillars in the understanding of art, but seem to have been lost due to the over-searching for meaning.

In a society that is drowned in complexity, this exhibition encourages the viewer to look towards simplicity, thus fostering a connection between the artworks and the audience. However, as Hans GeorgGadamer describes, one mustn’t limit their perspective to a singular worldview. Rather, one should look at the fusion of horizons.4 Culture does not exist in a vacuum. Complex are the thoughts that are present and evoking within society, but simple is their transmission to the public. With this in mind, perhaps the nexus of this exhibition is in fact its means of reflection. From a socio-political and cultural context, this exhibition offers the opportunity for the viewers to reflect on a number of affairs, primarily stemming from personal experience. The simple expressions of complex thoughts are ultimately no more than a reflection of ourselves, our state of being, and our frame of mind. As previously mentioned, the reason why we are drawn to certain works and not others is because we are drawn to their aura. Their aura aligns with our aura - the personal and the universal become one, united by a global search for meaning amidst complexity.

Drawing from the words of Dominique de Menil on Rothko’s Chapel works, he says that: ‘it is in the confines of a restricted place that we can embrace ‘the whole’. Here we are nowhere and everywhere; here we can find a blessed wholeness, a sense of unity.’ 5

4 Hans Georg-Gadamer was a German philosopher who developed the concept of the ‘fusion of horizons’ in the twentieth century. This was originally written in Truth and Method, 1960.

5 Dominique de Menil, The Rothko Chapel: Writings on Art and the Threshold of the Divine, Rothko Chapel, Houston, 2010.

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With this in mind, the exhibition centres its focus as an amalgamation of several elements: ranging from the artworks, to the set-design, atmosphere and viewer experience. Conceptually, it is divided in a narrative-like structure, though it is devoid of a linear narrative pattern.

Rather, it focuses on the derivation of Rothko and Gottlieb’s words and critically analyses their relation to the contemporary day. Upon entering the venue, the exhibition is divided between three rooms, with each room serving the purpose of a different Act. Act I (Main Room), consists of painterly works by Lihong Bai (CHN) and Alex Dalli (MT), as well as photographs by Luke Azzopardi (MT) and sculptures by Antoine Farrugia (MT) and Aaron Bezzina (MT). This room falls under the title of the Room of Meditation and is dominated by the colour red. Such themes are also explored through a performative lens in Lihong Bai’s live performance, entitled The Joy of Fish and Water. Following the kinetic pull of the drapery, the viewers are then invited to proceed into Act II. Sculptures

by Antoine Farrugia, paintings by Alex Dalli and photographs by Luke Azzopardi are further exhibited here, as well as additional paintings

by Noel Attard (MT). Without imposing a narrative upon the viewers, this is the Room of Simplicity. Lastly, the viewers are then led into Act III, which is the third and final room. This is the Room of Mortality. The notions of life and death lay at the basis of the artworks in this room, and their complexity tugs at the heartstrings of the viewer through a multicultural lens. Polo Farrera (MX) and Chih-Hao Chuang (TW) present two video works, which both deal with the complex nature around this theme within their respective cultures. The absence and presence of colour complement their works, thus stimulating a dialogue leading to audience participation.

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This selection of artists and artworks have been chosen based on their relation to the overarching theme. Their works are not a direct response to Rothko and Gottlieb’s words, but rather, they are personal reflections of contemporary understandings. This collective grouping of artists, which is inherently transnational, are united by their collective search for personal meaning in their respective artforms and media.

Whether it is through the mediums of paintings, sculpture, photography or videography, the artists are united by the way in which they channel their complex thoughts into simple expressions. Ultimately, their meaning is received by you, the viewer, and therefore, I offer you the space to reflect and search upon your own complex thoughts, and channel them through the simple expressions offered by these artists.

Why do we want, need, wait and pray for our feelings to be justified?

To depend our emotions on the permission of another? To conform, to fall in line, with a society that dismisses the personal? You do not need to justify your reasoning, nor your feelings. Your explanations are your truth, and they are valid for as long as you fuel them with self-belief.

This is a message to both artists and audience alike.

Do not negate the power that personal feelings hold.

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Shaking 2024

by Lihong Bai

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ABOUT THE CURATOR Hannah Dowling (b. 2000) is a curator and creative from Malta, who has a passion for the multidisciplinary arts. She comes from a background in art history, theatre, performance, classical ballet, swimming and fashion modelling, and has a diverse interest in exploring these artforms through a curatorial lens. Hannah graduated from the University of Malta with a B.A. (Hons.) in History of Art in 2021, and received the Dean’s Award for Academic Excellence that same year. Moreover, she has been working in the Arts and Cultural sector since 2018, and began her venture in curation with Unearthing Metal: An exhibition of metal sculptures of Toni Pace (1933-1989) for the APS Mdina Cathedral Contemporary Art Biennale (2020).

In her practice, Hannah is primarily fascinated with exploring the aura and presence that is emitted from artists and artworks into the surrounding space, and how the essence of this is translated to the audience. Such preoccupations were inspired by her most recent work experience as a curatorial assistant for the Malta Pavilion at the 59th International Venice Art Biennale (2022), and has continued to inspire her most recent curatorial projects, including No Man’s Land (2023, London) and Unearthing Realms (2024, London). Presently, she is developing her practice further in the MA Curating Contemporary Art programme at the Royal College of Art, London.

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THE WORKS & THE ARTISTS

LESS IS MORE / MORE OR LESS AARON BEZZINA Year: 2024 Medium: Rope cast in bronze Dimensions: 60cm diameter, 5cm thickness

The work Less is More / More or Less is a juxtaposition of two phrases - a set of words which could be read as ‘less is more’ or ‘more or less’, depending the direction the work is approached first. This text could also be considered an endless loop.

To furthermore interrogate the notion of sculpture in the form of text, the first half of the text offers a paradox and oxymoron ‘less is more’ suggesting that which is of smaller quantity could be of higher quality.

It also infers that which is less complicated is often better understood and more appreciated than what is more complicated. Championing brevity in communication is more effective than verbosity. Ludwig Mies van der Rohe (1886-1969) famously used this phrase as a motto for minimalism in architecture.

This is contrasted by ‘more or less’, a phrase used to suggest an approximation or giving an imprecise reading. This represents an attitude that is the opposite of the initial phrase.

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ABOUT THE ARTIST

Aaron Bezzina (b. 1991) has first exhibited in 2012 and his first international break was in 2015, whilst reading for an MFA in Digital Arts at the University of Malta. He was selected for a residency organised by the European Investment Bank mentored by Darren Almond, a Turner Prize nominated artist.

In 2017 Bezzina was also one of the selected artists for the Maltese Pavilion at Venice Biennale. In 2021, Aaron participated in UN/MUTE a NY virtual-residency and the work was exhibited in the ACFNY in Manhattan.

In 2022, Aaron exhibited twice in Istanbul, at the IV-InternationalIstanbul-Triennal and at the Mahalla Festival Palimpsest. In 2023, Bezzina was selected for the Larnaca Biennale in Cyprus.

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AARON BEZZINA

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MINIMALISM IN A LANGUAGE OF HUMILITY ALEX DALLI

No.1 Title: L-Arkata Year: 2023 Dimensions: 60x60cm Medium: Mixed Media - Oil and cement on board No.2 Title: Tbexxqet Year: 2023 Dimensions: 60x60cm Medium: Mixed Media - Oil and cement on board No.3 Title: Discovering Year: 2023 Dimensions: 80x80cm Medium: Mixed Media - Oil, acrylic, gesso and cement on board No.4 Title: Squares Year: 2022 Dimensions: 80x80cm Medium: Mixed Media - Oil, acrylic, gesso and cement on board

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Sitting at the cusp between the Modern and the Contemporary, Alex Dalli’s practice has evolved, over 45 years, from a desire to escape the difficult conditions of childhood to a deeper concern with the spiritual in art. Dalli’s images merge the personal and the universal with a special focus on the small and the unseen. He thinks of the creative act in cosmic terms – “just as I myself grow, and the world develops around me, I also want to grow things and nourish that human creative ability, which mirrors the first act of creation”. Nevertheless, he couches his minimalism in a language of humility, seeing his role as artist in reductive terms, where he chips away at his subject until an essential and unostentatious core of truth is reached.

ABOUT THE ARTIST

Alex Dalli (b. 1958) commenced his studies under George Fenech and went on to train at the School of Art, between 1974 and 1980, under Esprit Barthet and Harry Alden. Over a lifelong artistic career Dalli has exhibited his work in numerous solo and collective exhibitions in Malta, Gozo and abroad. His work has been acquired by important private and public collections both locally and abroad.

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ALEX DALLI

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JELLY BEANS ANTOINE FARRUGIA No.1 Untitled Year: 2024 Dimensions: 25x13x11cm Medium: Mixed Media Recycled and polished globigerina limestone, red spray paint No.2 Untitled Year: 2024 Dimensions: 21x13x17cm Medium: Mixed Media Recycled and polished globigerina limestone, silver spray paint No.3 Untitled Year: 2024 Dimensions: 21x12x9cm Medium: Mixed Media Recycled and polished globigerina limestone, pink spray paint No.4 Untitled Year: 2024 Dimensions: 25x15x7cm Medium: Mixed Media Recycled and polished globigerina limestone, yellow spray paint No.5 Untitled Year: 2024 Dimensions: 28x18x13cm Medium: Mixed Media Recycled and polished globigerina limstone

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Antoine Farrugia’s stone sculptures pay homage to our local Globigerina Limestone. Many of these works originate from neglected local stones, often discarded in the countryside but caught by Antoine’s discerning eye. From these stones, he crafts his signature abstract forms, characterised by smooth edges that impart a sense of sensuality. Over time, these forms have evolved in finishing style, with Antoine achieving a polish that captures the true honey colour of our local stone. In this latest collection, we witness a further step, where the pieces, enhanced by unexpected block colours, almost take on a plastic-like quality. The addition of different block-coloured bases creates a playful ensemble, drawing inspiration from Jeff Koons’ animal balloon series.

ABOUT THE ARTIST

Antoine Farrugia (b. 1969) was born and lives in Mqabba, Malta. The artist’s primary driving force lies within the limestone medium; its various geological characteristics and pliability provides the momentum to give life to organic, undulating forms. An energy which transcends the material itself, resulting in a personal endeavour to transform the ordinary into the extraordinary. Such strength reverberates also in other materials, whether marble or steel, resulting in dynamic and monumental sculptures.

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C. Andrew Zarb

ANTOINE FARRUGIA

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IN-BETWEENNESS CHIH-HAO CHUANG Year: 2021 Length: 1 minute 01 second Medium: Documentary

As a traditional cultural practice in Taiwan, “the seventh day” is when the spirit of the deceased returns seven days after death. This ritual is deeply tied to one’s connection to home. “I often ponder how we can visualise and represent the abstract concept of the soul. Therefore, I meticulously documented this daily practice and deconstructed the imagery of its continuous circular movement,” says Chuang.

This symbolic ritual is a part of daily life. When night reigns, dogs in the neighbourhood bark, and relatives gather at the mourning place to burn paper money, anticipating the possible return of the spirit. I observed and documented this daily ritual, carefully analysing the video footage of its perpetual circular motion.

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ABOUT THE ARTIST

Chuang Chih-Hao is a Taiwanese artist based in London, UK. He holds a bachelor of Fine Arts degree in ceramics from the Department of Material Arts and Design of Taiwan National University of the Arts. He is currently pursuing his master’s degree in photography at the Royal College of Art. Chuang focuses extensively on the interrelationship between home and self-identity from an autobiographical perspective, which he derived into a subjective language that uses photography to engage in visual contemplation. With his studies and art, he predominately concentrates on the integration of interdisciplinary media, sculpture and installations, specific bodies and spaces with photography.

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CHIH-HAO CHUANG

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THE JOY OF FISH AND WATER LIHONG BAI No.1 Title: Flying // Year: 2024 Dimensions: 69x63cm Medium: Mixed Media - ink, water colour, rice paper No.2 Title: Playing // Year: 2024 Dimensions: 62.5x70cm Medium: Mixed Media - ink, water colour, rice paper No.3 Title: Wringing // Year: 2024 Dimensions: 15x15cm Medium: Mixed Media - ink, water colour, rice paper No.4 Title: Watering // Year: 2024 Dimensions: 15x15cm Medium: Mixed Media - ink, water colour, rice paper No.5 Title: Undulating // Year: 2024 Dimensions: 15x15cm Medium: Mixed Media - ink, water colour, rice paper No.6 Title: Soaking // Year: 2024 Dimensions: 15x15cm Medium: Mixed Media - ink, water colour, rice paper Live performance with white long scroll, ink and red pigment, colour powder, bucket and plastic film Title: The joy of Fish and Water Duration: 12 Minutes

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The Joy of Fish and Water series of work embodies the state of women exploring and enjoying themselves, in sex and in love, full of freedom.

Through the interplay of water and colours on rice paper, a layered beauty is created, as if the eroticism is intensifying; in the process of adding coloured powder as a medium to work on the image, the content of the image becomes extremely blurred after repeated touching, as if the eroticism is dissipating over time; the coloured powder stains many places after touching, and it has a silent and long-lasting destructive power. It is as pervasive as the traces of lust and proves difficult to remove. She tries to find the original shape of the painting under the thick layer of coloured powder, and at the same time is overwhelmed by an immense sadness that grasps at nothing, and everything falls into dissolution.

ABOUT THE ARTIST London-based Chinese artist Lihong Bai, an alumna of Tianjin Academy of Fine Arts, refines her craft of contemporary painting at the Royal College of Arts. With roots in traditional Chinese painting since age 6, Bai delves into ancient philosophy, informing her work with personal expression and exploring themes of feminism, nature, and science.

Exhibiting globally, Bai’s recent shows include ‘Put The Desire On The Table’ at Arusha Gallery, London (2024), and ‘The Joy Of Fish And Water’ at International Film Festival, Milan, Italy (2023). She has garnered awards such as the Honour Award at First-Time Filmmaker Sessions Film Festival (London, 2023) and the ACCA “New Artist Award” (Hong Kong, China 2023).

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LIHONG BAI

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DOING NOTHING IN EARLY 2024 LUKE AZZOPARDI No.1 Year: 2024 Dimensions: 100x100cm Medium: 300GSM Smooth Cotton Paper No.2 Year: 2024 Dimensions: 100x100cm Medium: 300GSM Smooth Cotton Paper

Doing Nothing in Early 2024 intertwines the realms of fashion, portraiture, and multidisciplinary exploration. It presents the human form as canvas upon which garments are laid bare. The multidisciplinary approach takes inspiration from Rothko’s pioneering spirit, pushing beyond the confines of traditional artistic mediums. It extends Rothko’s exploration of truth beyond the flat form, inviting an extensive understanding of the human experience through the lens of fashion and portraiture. The work stands as a celebration of genuine human bonds and the idea that art, at its core, is a collaborative and deeply personal endeavour.

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ABOUT THE ARTIST After studying at Central Saint Martins (UAL) and the University of Malta (UM), creative director and founder Luke Azzopardi launched his eponymous couture brand. The creative director was awarded the prestigious ‘Premio Cultura e Moda 2016’ by L’Istituto Italiano di Cultura, the ‘Fashion Designer of the Year 2018’ award by LovinMalta, and has most recently Arts Council Malta’s ‘International Achievement of the Year 2023’ as well as ‘Multidisciplinary Production of the Year 2023’ alongside Open Square Collective and City of Art respectively. As a multidisciplinary designer, Azzopardi has designed large-scale national and international operatic as well as contemporary dance productions, and along with Open Square Collective, has been chosen by Arts Council Malta to design the country’s debut pavilion at the London Design Biennale 2023 (LDB). ‘Għonnella: Deconstructing the Garment’, his book on Malta’s national costume, was published by MidSea Books in 2022.

Luke Azzopardi Studio focuses on deconstruction and researched aestheticism stemming from the creative director’s academic background in costume history. Luke Azzopardi’s methodology of fusing together powerful visuals, academic research and artisanal design is what distinguishes his work as one of Malta’s foremost fashion artists. This translates into the ethos of the maison, a self-sustainable atelier embracing concept-based fashion and beauty. The nature of the brand’s work looks to fashion as an art object. Wearable products are presented as results of investigations into art history, and studio events are designed as immersive cultural experiences.

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LUKE AZZOPARDI

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ENDLESS THINKING NOEL ATTARD No.1 Title: Age of Loneliness Year: 2021 Dimensions: 100x100cm Medium: Mixed Media

No.2 Title: Indannata Year: 2021 Dimensions: 120x60cm Medium: Mixed Media

No.3 Title: Fear Year: 2021 Dimensions: 100x100cm Medium: Mixed Media

No.4 Title: Seven Sins of Memory Year: 2021 Dimensions: 130x90cm Medium: Mixed Media

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The representation of mental health in art has long been a subject of intrigue. With increasing awareness surrounding mental health, whether through a sociological, psychological, or artistic lens, this topic has transitioned from being merely a subtext in paintings to becoming the focal point of art itself. Consequently, one could argue that this theme ranks among the highest tiers of thematic exploration in the late 20th and 21st centuries. Attard experiments with abstraction to convey the inner struggles of humanity with these works delving into the theme of mental health from both psychological and physiological perspectives.

ABOUT THE ARTIST After attending various art schools and studying under several renowned Maltese and international artists, Noel Attard aka nattardo, (b. 1966), sought to complement his practical side with theoretical academic studies. He graduated in History of Art in 2006 and consequently obtained a Master’s Degree in Fine Arts in 2016 both from the University of Malta.

He strongly feels that texture and colour are the main elements through which he seeks to communicate his conceptual art, irrespective of the artwork he is executing.

Attard has also ventured into sculpture, achieving distinguishable results in monumental public art, and installation art. His most important metal sculpture to date: ‘It-Taraġ’, was temporarily exhibited at the Valletta City Gate a few years ago and is now located next to Bighi in Kalkara, Malta. The artist also executed a dual sculptural installation, entitled, Tree of Knowledge and Tree of Life, for the new project at the Millennium Chapel, Paceville, 2018, a project by Prof. Richard England.

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NOEL ATTARD

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IN SEARCH OF ABSENCES POLO FARRERA CUEVAS No. 1 Year: 2024 Length: 5 minutes Medium: Digital Video No. 2 Year: 2023 Dimensions: 18x23cm Medium: Publication, 90 copies, 154 pages, ESP-ING This photographic series is born from the notion of the ghost in its linguistic double: On the one hand it is the ghost in its literality, with everything that its iconography implies. On the other hand, it is the ghost as a metaphor for memory and the partial and elusive fragments that remain. They are fragments that with the passage and reverberation of time make a false testimony that is cemented as truth. These photographs are the chimeras that remain after the wear and tear of narrative after narrative.

Through research and based on the testimonies of a nonagenarian couple, around their ranch, which they lived in when they were newlyweds, I use it as a starting point to exude the ghosts. Research is a nodular point and inspiration to generate non-reliable fragments of the space and its cohabitants. In which the original stories appear, amalgamated with fiction, placing special emphasis and questioning on the mechanisms that humans use to validate the past with memory.

The series is about memory and the past, but it is also about the ghosts that exist as long as their stories continue to replicate themselves, despite its wear and erosion.

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ABOUT THE ARTIST Polo Farrera Cuevas (b. 1997), graduated with honours in Visual Arts from the National School of Painting, Sculpture, and Engraving “ENPEG- La Esmeralda” (INBAL). He pursued pictorial studies at the Antigua Academia de San Carlos (FAD-UNAM) and philosophy studies at the Universidad Iberoamericana, Mexico City Campus. Additionally, he trained as a filmmaker and screenwriter at various institutions, including the Universidad Iberoamericana and Vancouver Film School.

Currently, he is studying for a master’s degree in photography at the Royal College of Art in London.

As co-founder of the LUX-19 Exhibition, he showcased over 60 short films, involving major universities of CDMX. His artworks have been exhibited globally, from Mexico to London, Valparaíso to Barcelona, Tokyo, Hong Kong, and Melbourne. Recipient of the CONAHCYTFONCA Scholarship and nominated for Photographer of the Year by London Camera Exchange, he currently resides in London, focusing on his latest artistic endeavours.

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POLO FARRERA CUEVAS

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SPECIAL THANKS Hannah Dowling Exhibition Curator and set design Mario Cutajar Chairman Heritage Malta and President, maltabiennale.art 2024 Albert Marshall Chairman Arts Council Malta Jes Xuereb & Mr Jason Masini o/b/o The Splendid / Fondazzjoni Temi Zammit Jason Micallef Chairman Valletta Cultural Agency Catherine Tabone CEO Valletta Cultural Agency Jessica Muscat Head of Programming and Production Kevin J Drake Artistic Director, Strada Stretta Programme Justin Formosa, Coordinator, Strada Stretta Programme Christopher Cassar, Silvio Psaila & Albert Dimech, Production and Logistics Coordination

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Marc Buhagiar Head of Communications Annaliza Borg Press & PR Executive Stephanie Debono Marketing Executive Daniel Ciappara Communications Executive Michele Dufour Customer and Partnerships Coordinator Joanne Attard Mallia & Victoria Camilleri Valletta Design Cluster

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