09 10 14 NEWS SPOTLIGHT INTERVIEW Manifesta 13 Emvin Cremona Charlie Cauchi in Marseilles 100 years on Goes Soho

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LISA GWEN ANDREWS €2.00 WHERE SOLD COMMENT

Valletta’s Market Building “The stunning and wholly unique (in Malta) British Colonial structure, which should be exalted, rather recedes into the background amidst the newly- added fabric.” Comment, pg 26

ANN DINGLI The Invisibility of History

toddler is pulling her-

Emvin Cremona, Untitled (detail) , from the Broken Glass Series 1969, Private Collection, Malta, Photo: Peter Bartolo Parnis. Read about this groundbreaking Maltese artist on page 10 , 100 years after his birth. self up to a shallow, smoothly textured rim – the edge of a INTERVIEW: Gabriel Caruana Foundation NEWS: Helsinki Inaugural Biennale A fountain’s pond – us- DANCE: Rosemary Lee in Malta REVIEW: Tim Walker’s Wonderful Things ing her fingers, palms, stomach, SPOTLIGHT: Remembering Austin Camillieri’s installation from 1999 thighs and knees to hoist her- self towards a body of clear and NEWS: Black Power in San Francisco EXHIBITION: Newly discovered Rembrandt on show seemingly clean water. OPINION: Poussin’s mythology SPOTLIGHT: Egyptian Art Scene >> Pg.33

AVAILABLE FROM Vera Sant Fournier - Interior Design Studio, High Street, Sliema www.verasantfournier.com / (+356) 2745 5567 W Welcome / Team / Inside December ‘19 - March ‘20

Editor-in-Chief Lily Agius he world has gone bananas for artists and the community, as well as We will be back with another issue of (+356) 9929 2488 and Maurizio Catellan has “making contemporary art and creativity as Artpaper in March 2020; until then if Editor taped three of them to the accessible as possible” (page 25). Finally, you would like to get in touch regarding Margerita Pulè Perrotin gallery’s booth at Art Lisa Gwen Andrews comments on the editorial or advertising, contact us Basel Miami Beach, priced at developments of, and disputes over, the by email on [email protected], or Creative Director T $120,000 each – and apparently covered market in Valletta (page 26). call (+356) 9929 2488. You can follow Chris Psaila two of them have been sold! Artpaper on Instagram and Facebook. Assistant Designer Gabriele Spiller travels to Austria to be Nicholas Cutajar There is nothing better than a dose of the awestruck by Swarovski Crystal Worlds art world to help assuage political blues (page 29); Christine Xuereb Seidu discusses Sales Manager and in this issue of Artpaper, as always, we the abundance of noteworthy Egyptian Lily Agius have brought together some highlights from contemporary art that has flourished since (+356) 9929 2488 Malta and around the world to do just that. the 2011 uprising (page 30); Ann Dingli Contributors Giulia Privatelli looks back on the life, work visits Kara Walker’s Turbine Hall installation Alex Bartholomew and legacy of the ground-breaking Maltese at Tate Modern (page 33); Richard England Lisa Gwen Andrews artist Emvin Cremona who was born 100 discusses Nicolas Poussin’s iconic painting, Joanna Delia years ago (page 10); Joanna Delia interviews Et in Arcadia Ego (page 34); Kenneth Ann Dingli the rising star – researcher, film-maker and Zammit Tabona visits Tate Britain’s Richard England artist – Charlie Cauchi about art, love and exhibition covering William Blake’s life Maria Eileen Fsadni cruelty at her latest exhibition, taking place and development as an archetypal printer, Karin Grech at Valletta Contemporary (page 14). Nikki engraver, water-colourist, and lithographer Bruce Micallef Eynaud Nikki Petroni Petroni reflects on the impact and legacy of (page 35); and Alex Bartholomew explores Giulia Privitelli the installation titled Stones, two decades Tim Walker’s exhibition, Wonderful Things, Karen Elizabeth Steed on (page 18); and Maria Eileen Fsadni at the Victoria & Albert museum (page 37). Gabriele Spiller interviews Raffaella Zammit, who continues Christine Xuereb Seidu her father’s legacy by maintaining support Kenneth Zammit Tabona

Artpaper is owned / produced by Lily Agius and Chris Psaila [ V ] Publications

Supported by / Malta ART NEWS SPOTLIGHT AP Valletta Competition art..e Gallery 06. Nan Goldin showing in London ArtHall Gozo 10. Emvin Cremona 100 years on by Bruce Eynaud Arts Council Malta 06. Dalí work stolen Bee Wise 18. Austin Camilleri installation 20 years on Blitz Edwards Lowell 06. Helsinki Inaugural biennale 30. Egypt art after the revolution Fimbank Go Figure! Can you guess the 3 Fred Perry 07. KAWS showing in Qatar artworks that make up this figure? Gabriel Caruana Foundation Heritage Malta 07. Salcedo wins art prize Send your answers by email to info@ Horizons 09. V&A East new director artpaper.press by 31 December 2019, with Joinwell FEATURE La Bottega Art Bistro ‘Competition’ as the subject, for a chance Lily Agius Gallery 09. Manifesta in Marseille . Loft 13. MUZA open call to win: LogoGrafixExpress Malta Society of Arts 20. Opera Otello at the Manoel Malta Tourism Authority First Prize: MICAS. 21. Rosemary Lee durational performance MUZA A month-pass to all Heritage Malta sites National Archives of Malta INTERVIEWS 22. Vitra Vivendo Workspaces People & Skin Spazju Kreattiv 14. Charlie Cauchi latest work 24. Ralph Lauren x Burleigh Collection Swarovski Second Prize: €20 voucher from Teatru Manoel 17. Q&A Arts Fund Anniversary Unfinished Art Space VeeGeeBee Art Shop Valletta Contemporary 25. Raffaella Zammit Gabriel Caruana’s legacy Valletta Cultural Agency Valletta International Baroque Festival REVIEWS Vamp Magazine Vee Gee Bee Art Shop 29. Swarovski winter wonderland Vera Sant Fournier Vitra COMMENT / OPINION 33. Kate Walker at Tate Modern Vivendo. Workspaces ZfinMalta 35. William Blake mystical world 26. Is-Suq public space contested Supported by / International 34. Poussin mythology & beauty 37. Tim Walker Wonderful Things Ashmolean Museum, Oxford Brooklyn Museum of Art, New York Centre Pompidou, Paris Chicago Design Biennale Christie’s De Young Museum, San Francisco. EXHIBITIONS + EVENTS Winners from Fire Station Museum, Doha Fondazione Prada, Milan 05. Kolaz Ktiro Collection previous issue: (1) Helsinki Biennale Manifesta 13 Marseille architectural collage Gerri Guadagno has Marian Goodman Gallery, London won a year-pass to all Museo del Prado 05. Black Power in San Francisco Museum Frieder Burda, Baden- Heritage Malta sites Baden 05. Rembrandt newly discovered Nomura Art Award and (2) Katriona Tate Britain 36. International global arts events Tate Modern Grixti has won a Transmediale 38. What’s On visual arts events in Malta €20 voucher from V&A V&A East VeeGeeBee Art Shop

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No.9__ Artpaper / 04 Art News / On the Scene December ‘19 - March ‘20 12 .19 ON the SCENE. “The artist’s job is to be a witness to his time in history.” Robert Rauschenberg

ART NEWS COMMENT / OPINION SPOTLIGHT ART SALES DESIGN REVIEW / INTERVIEW BOOKS 03 Newly Discovered Rembrandt on Show

A recently discovered Rembrandt will be on public display in a major exhibition showing the early works of Rembrandt. The exhibition runs from 27 February to 01 7 June, and will explore the early years of Rembrandt’s career, beginning with his earliest known paintings, prints and drawings made in his native Leiden in the mid- Architectural 1620s, and ending at his most climactic career moment in Amsterdam in the mid- 1630s. The largest collection of works devoted to the young Rembrandt to date Collage will be on display, including 34 paintings by Rem- brandt, 10 by his most important contemporaries, Artist Damian Darmanin is and a further 90 drawings and prints from inter- showing an exhibition of his national and private collections. The recently dis- architectural collage work at covered painting, Let the Little Children Come Spazju Kreattiv this Winter. to Me (1627–28), was painted when the Dutch Darmanin – who studied in master was in his early 20s. It was discovered last Florence – creates images year by Dutch art dealer Jan Six and has since from composites of existing been formally attributed to Rembrandt. architectural photography, converting them into new Young Rembrandt is on show at the Ashmolean and magical hybrids. His Museum, Oxford from 27 February – 7 June work is meticulously built,

2020. www.ashmolean.org Rembrandt and others , Let the Little Children Come to Me c. 1627–8 oil on canvas, 83 x 103 cm, courtesy of Jan Six Fine Art, Amsterdam later, with imaginary emerging from actual, transferring fragments of reality into vir- tual entities.

The Kolaz-Ktiro Collection Buildings in Time, runs until 5 January 2020. 02 Black Power on Show

An exhibition celebrating art made by black artists during two pivotal decades in the 20th century, when issues of race and identity dominated and defined both public and private discourse, is on show at San Francisco’s De Young Museum. Soul of a Nation: Art in the Age of Black Power 1963–1983, or- ganised by Tate Modern, includes a focus on Bay Area artists whose work promoted personal and cultural pride, collective solidarity and empowerment, and political and social activism.

Honouring the legacy of Black Power in the San Francisco Bay Area, the de Young museum is also hosting a programme featuring re- nowned artists, performers, musi- cians, activists, and civic leaders.

Soul of a Nation is on until 15 March 2020 at the De Young Mu- seum in San Francisco. www.

, 1969, Aaron Cliff Joseph, Blackboard Galleries, Glenview Illinois, image courtesy of the Fine Arts Museums of San Francisco deyoung.famsf.org

No.9__ Artpaper / 05 Art News / International December ‘19 - March ‘20

FINLAND Helsinki’s First Biennale he inaugural edition of nial 2020 will be comprised of 80% new the Helsinki Biennial commissions and site-specific works. 2020, called The Same Using the setting of Vallisaari to form Sea, will reflect on the the tangible and conceptual starting notion of interdepen- point for the curation of the 2020 bien- dence. Pirkko Siitari and nial, The Same Sea will place emphasis TTaru Tappola will bring together 35 on the biosphere as one interconnected international artists and artist groups entity. Vallisaari Island, ©Matti Pyykkö from Finland and elsewhere around the world, the event will run from 12 June The diverse environment of Vallisaari by 2030 – Helsinki Biennial 2020 em- nels for discourse, radical empathy, and to 27 September 2020. sets a strict framework for the bienni- phasises the importance of responsible ecological ethics. al. In accordance with the Helsinki City values. Offering alternative ways of ex- Located on the city’s Vallisaari Island, a Strategy – aiming to be carbon neutral periencing a biennial, Helsinki Biennial www.helsinkibiennaali.fi former military base, the Helsinki Bien- by 2035 and reduce emissions by 60% champions art’s role in creating chan-

UK New and Old Works at Nan Goldin Solo Show

An exhibition of work by Nan Goldin – her first A new video work – Sirens – will be presented in solo presentation in London since the Whitecha- the same space. The work, made exclusively from pel Art Gallery in 2002 – presents a range of his- found video footage, echoes the enchanting call of torical works together with three new video works the Sirens from Greek mythology, and attempts to exhibited for the first time, at the Marian Good- entrance the viewer into the experience of being man Gallery in London. high. Other new works include a newly edited ver- sion of The Other Side (1994-2019), a slideshow A new digital slideshow by Goldin, titled Memory originally made in 1994, which will be presented Lost, recounts a life lived through a lens of drug alongside a number of photographs from the se- addiction. The work relates a journey which un- ries of the same name, as well as a new video in- folds through an assemblage of intimate and per- stallation – Salome – presented on three screens sonal imagery to offer a reflection on memory and and exploring themes of seduction, temptation the darkness of addiction, and is accompanied by and revenge. a new score by composer and instrumentalist Mica Levi. The exhibition runs until 11 January 2020.

Nan Goldin’s installation Siren, at Marian Goodman Gallery, London. Image installation Siren, at Marian Goodman Gallery, Nan Goldin’s Paris and London New York, courtesy the artist and Marian Goodman Gallery, www.mariangoodman.com

USA Salvador Dalí – Print Stolen

A Salvador Dalí print priced at $20,000 has been stolen from a San Francisco gallery in what appears to be an opportunistic crime. The theft took place in October, at Dennis Rae Fine Art, and reportedly took less than a minute to carry out.

The piece – Burning Giraffe – which dates from 1966, was taken as it was temporarily unsecured, with the thief carrying it out of the gallery and down the street.

www.artsy.net Burning Giraffe , Salvador Dalí, 1966, image wikimedia commons

No.9__ Artpaper / 06 Art News / International December ‘19 - March ‘20

JAPAN QATAR

Doris Salcedo wins KAWS in Qatar

Nomura Art Award American artist and design- er KAWS (Brian Donnelly) is Renowned Colombian artist Doris Salcedo has been pre- currently holding his first Mid- sented with the Japanese Nomura Art Award. The award dle East solo show at the Fire gives US$1 million – the largest cash prize in contemporary > Station Museum in Doha, Qa- visual arts – to an artist who has created a body of work tar. The exhibition – He Eats Alone – explores of major cultural significance, in order to support an ambi- KAWS’ career and vast oeuvre, and contains tious new project that the winner did not previously have over forty pieces, ranging from abstract paint- the means to realise. ings, large-scale sculptures, and commercial

collaborations such as sneakers, skateboards, paint, 36 x 37 15 cm. © KAWS. Gone , Kaws, 2019, Vinyl, Private Collection. Image by Brad Bridgers. Salcedo said: “because of this award, I am now able to move and toys. Highlights of the show include a giant five-me- ahead much more quickly than I had expected with a proj- tre-tall sculpture called Companion (Passing ect that is important to me, and that I hope will touch many KAWS’ imagery has long possessed a sophisti- Through), and KAWS’ 2019 inflatable 40-metre people. I offer my deepest thanks to Nomura and to the cated, dark humour, revealing the interplay be- public artwork Holiday floating at the Dhow members of the jury.” She will continue work on Acts of tween art and consumerism, referencing both Harbour. Mourning, a major series of work that she started in 1999. art history and pop culture. The artist began his These ephemeral, large-scale works have been made with career in street art during the 1990s, when he He Eats Alone is on show at the Fire Sta- the collaboration of thousands of people and are intended became synonymous with his tag KAWS. tion Museum until 25 January 2020. www. to give the community symbolic tools to cope with the en- firestation.org.qa during pain of violent conflict in Colombia. The artist now intends to continue the series outside of Bogotá, in the re- mote regions of Colombia that have suffered disproportion- ately from the civil war.

Earlier this year, the Nomura Emerging Artist Award was awarded to Cheng Ran, a Chinese artist who lives and works in Hangzhou; as well as Cameron Rowland, an Amer- ican artist who lives and works in New York City.

'

Plegaria Muda, Doris Salcedo, 2008-2010, Wood, mineral compound, cement and grass, Dimensions variable, © the artist. Courtesy White Cube

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Art News / International December ‘19 - March ‘20

UK FRANCE

New Museum and New Collection and Research Centre, New Director

Due to open in 2023, the V&A East project will create two interconnected sites at the Queen Elizabeth Olympic Park, London – a brand-new museum, new collec- tion and research centre will be opened, with the new site hosting a partnership between the V&A and the Smithsonian Institution, which is the largest museum and research complex in the world.

A central public collection hall will see the V &A’s collection become much more accessible to the public, with a rich array of objects on display for visitors to ex- Image © Manifesta 13 plore, from small curiosities to entire rooms and building fragments. Highlights will include Frank Lloyd Wright’s 1930s office for Edgar J. Kaufmann – a unique and complete 20th century plywood interior, and a 15th century marquetry ceil- Manifesta goes to Marseille ing from the now-destroyed Altamira Palace near Toledo, Spain, which will be he 2020 edition of Manifesta – titled Traits d’union.s – will take resurrected within the centre as a real architectural element above a new public place in. Marseille from 7 June to 1 November. Manifesta 13, Mar- space for displays and events. Further spaces within the centre will host pop-up seille will be the latest instalment of the world’s only nomadic displays, workshops, performances and screenings alongside live encounters with biennial with its first ever edition in France. the museum’s work – from conservation and research to exhibition preparation. The Artistic Team of Manifesta 13 – Alya Sebti, Marina Otero Ver- In November of this year, Tzier, Katerina Chuchalina, and Stefan Kalmár – will work closely with, within and Gus Casely-Hayford – cur- across six of Marseille’s most prominent institutions: Musée Cantini, Centre de la rently director of the Smith- Vieille Charité, Musée Grobet-Labadié, Muséum d’Histoire Naturelle, Musée des sonian’s National Museum of Beaux-Arts and Conservatoire National à Rayonnement Régional de Marseille. African Art in Washington, Manifesta 13, Marseille’s participants will infuse these existing institutions with D.C. – was appointed as the different voices, activating the possibilities that these institutions still hold, by director of V&A East. He will temporarily expanding their narratives outwards and inwards. be responsible for the cre- ative strategy and program- “Traits d’union.s venues are elastic sites within a geography of actions and illu- ming across V&A East’s two sions, promises and premonitions, demands and resolutions: artists, poets, writ- new public venues. ers, scholars and journalists wield the pen to unveil forgotten, hidden, emergent or just never happened narratives.” www.vam.ac.uk/info/ Internal render view of the new V&A collection and research centre at Here East, with Altamira Palace ceiling installed © Diller Scofidio va-east-project + Renfro, 2018 www.manifesta13.org

NETHERLANDS COMIC

Sonsbeek20-24: Double Edition BRUCE MICALLEF EYNAUD

The 12th edition of the Sonsbeek quadrennial, Sonsbeek20-24, will run from 5 June to 13 Sep- tember 2020 and onwards to 2024, under the auspices of artistic director Bonaventure Soh Bejeng Ndikung and his team of co-curators. The quadrennial will explore the elasticity of the large-scale temporary art event format and connected conditions of artistic labour. Eko Prawoto, courtesy Sonsbeek Biennale In terms of exhibition making, Sonsbeek aims to decelerate the traditional artis- tic practice surrounding large-scale art exhibitions, in order to achieve a long- term reciprocal relation between artists, institutions, place and audiences. In an age of extreme acceleration and ephemeral interactions, shifting the format in which these sizable art events take place is all too relevant. Through the new Sonsbeek format, Ndikung – together with his curatorial team and contributors – will delve deeper into working conditions that are geared towards not just one event, as is usually the case, but towards an ongoing engagement for five years.

In this new, more sustainable form, Sonsbeek will abandon the usual rhythm of contemporary art production and exhibition, and instead stretch out in a con- tinued public process until 2024, thereby consolidating and encapsulating two editions. This format will, first and foremost, create room for the invited artists and collaborators, but also for the curatorial and production teams to deepen their research, offering the possibility of engaging with the local scenes and communities in a more profound way. Sonsbeek20-24 will be a prolonged, elas- tic, expanded notion of a time-based art project. www.sonsbeek.org

No.9__ Artpaper / 09 GIULIA PRIVITELLI holds an M.A. in History of Art, and is presently Assistant Editor at Fondazzjoni Pat- rimonju Malti. She is also a freelance S Spotlight /Malta / Emvin Cremona writer, regularly contributing cul- ture-related articles to various local December ‘19 - March ‘20 newspapers, magazines and blogs.

MALTA

One hundred years since Emvin Cremona’s birth, Giulia Privatelli looks back on the life, work and legacy of a ground-breaking Maltese artist.

Emvin Cremona, ink and wash, signed and dated 1977, courtesy of the Cremona Family Collection

GIULIA PRIVATELLI Time has a way of crystallising what in a material culture from which we de- is beyond matter; ironically enough, sire to break free. to us mortals it seems to inject mean- ing into what truly matters. One of our Emmanuel Vincent Cremona, later rebellious human responses to time – shortened to Emvin, was born in 1919. At the to preserve that which matters – is to A hundred years ago, several Maltese memorialise, to make monuments out citizens stood together in one of the of moments and immortals out of mor- most consequential revolts in Maltese tals, to fix a name or an image on paper, history. In Argentina, many rioted (and canvas, clay, metal, marble or stone... fell) together in what was later mummi- on some kind of material which is, ul- fied as the Tragic Week of Buenos Aires; timately, perishable. In our attempt to in Russia, a civil war raged and hurtled Crack of defy time – which is beyond matter – towards an end; the Third Anglo-Afghan the deeper we seem to bury ourselves War commenced, while the First World in matter, and the deeper are the signs War was signed off with the Treaty of we leave in that matter. And we do so Versailles and of Saint-Germain; mod- ceaselessly, endlessly, as if that very ern-day Turkey was born with the Turk- same gesture would, as Lucio Fontana ish War of Independence, with Estonia puts it, “remain eternal”. While Fon- and Latvia quickly following suit; Adolf Dawn tana slashed into his canvases, our very Hitler gave his first speech on behalf of own Emvin Cremona – in what is per- the German Worker’s Party, and Benito haps the most brutally honest climax of Mussolini founded his Fascist political his artistic career – smashed planes of movement; Walter Gropius issued the glass on thick impasto – a grave of thick Bauhaus Manifesto, as the Eddington earth, one could imagine, that buries us experiment shed new light in the field

No.9__ Artpaper / 010 S Spotlight /Malta / Emvin Cremona December ‘19 - March ‘20

MALTA

“Art is eternal, but it cannot be immortal, it may live for a year or for millennia, but the time of its material destruction will always come: it will remain eternal as gesture, but it will die as material.” – Lucio Fontana, 1947

of stars. All was done in the name of of Master of Painting Edward Caruana wilting ‘old roots’. “I cannot understand traditional and the experimental, be- progress – politically, economically, and Dingli (1876–1950). It was, perhaps, the Cremona’s magnificent Broken Glass se- tween security and defiance. While Mal- culturally. Emvin Cremona (and with refreshing outlook of his other tutor, the ries, when I am confronted with his se- ta’s heritage provided Cremona with the him, Esprit Barthet), was born into a Master of Modern Etching, Carmenu ries of St Paul throughout the churches cultural backdrop for his figurative and sprouting world that had finally started Mangion (1905–1997), that instilled of the Maltese Islands: neither can I un- decorative works, and, to some extent, to emerge from the cracks of an ageing within Cremona a certain predisposition derstand this avant-garde Broken Glass even to his abstractions, it was his per- and broken seed; in that sapling he was and sensibility for the art of design, and series juxtaposed with his artistic and sonal restlessness and bubbling desire to leave a lasting impression – one that which was reinforced further through political allegiance to the feudal-anach- to fracture the constraints of tradition may still be recognised to this day. his contact with contemporary artistic ronistic massive politics of the Catholic that led him to create such outstanding circles in London and Paris during his Church in the 1960s,” laments Professor and daring abstract works. His reaction, “Only a fool will build in defiance of the years of study there. Sadly, these ties Giuseppe Schembri Bonaci. Cremona’s his own personal rebellion, cracked the past,” writes Béla Bartók. “What is new were quickly severed with the outbreak dual artistic output and, quite literally, misleadingly fragile-looking glass. As and significant must be grafted onto old of the Second World War, when he was his inability to completely shatter and it so happens, that honest, incomplete roots, the truly vital roots that are cho- forced to return to Malta. pierce through the density of tradition, crack, like Lucio Fontana’s gash, is what sen with great care from the ones that thus liberating himself from it, is ulti- ‘immortalised’ his art. His gesture; im- merely survive”. In twentieth-century This lesion is also somewhat mirrored mately at the root of this frustrated but mortal enough, at least, for us to still Malta, there was no shortage of old roots in Cremona’s artistic output, multifacet- well-meaning plea. speak of Emvin Cremona and his art, a to cling to. The real difficulty was to ed as it was. Indeed, while his numer- century on from his birth. know which ones to let go of, and when. ous public commissions – particularly Yet, it is precisely this duality that It was perhaps somewhat easier for an his ecclesiastical works – dutifully sung makes Cremona a truly relatable artist; artist like Willie Apap (1918–1970), who colourful and stylised praises, his pri- one whose artistic identity swung pre- chose to distance and eventually detach vate works softly whispered the radical cariously back and forth between the himself from Malta, to loosen his grip artistic desires of his heart; a ‘double on such ‘old roots’, albeit still not being vocabulary’ as Professor Henry Frendo able to abandon them completely. Cre- calls it. Here was an artist who, with one mona, like most of his peers, received hand, could reach out to those ‘truly vi- his first artistic academic training at the tal roots’ and build upon them, as social Malta Government School of Art under responsibilities and economic pressures the imposing and conservative influence also forced him to tighten his grip on

Emvin Cremona, Untitled, from the Broken Glass Series, 1969, Private Collection, Malta, Emvin Cremona, black ink and wash, signed and dated 1973, private collection, Photo: Peter Bartolo Parnis sold at Canterbury Auction Gallery, UK, in 2015

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. News / MUZA / Malta December ‘19 - March ‘20

MALTA . MUZA EXHIBITIONS Artistic Calls

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Left: Esprit Barthet, Mari’ tal-Bajd. Right (front): Debbie Caruana Dingli, Self-Portrait. Front: Edward Caruana Dingli, Portrait of a Lady. Philip Chircop, Self-Portrait. Giuseppe Archidiacono, Portrait of John Pudney. The large mural painting in the background, Frank Portelli, Malta Crafts. . In its endeavour to be one of the main artistic platforms in Malta, MUZA, the National-Community Art Museum, has recently issued two calls for artistic expressions. One for temporary exhibitions which ended on 1 November, and another for two free-standing artistic expressions along the museum facade on Merchant Street, closing on 13 January 2020.

. . UZA is the acronym MUZA Exhibitions Call surrounding corridor which lend them- Artists are being invited to submit indi- . for MUZ(ew Naz- . selves particularly to free-standing in- vidually or as a group, a concept propos- zjonali tal-)A(rti), MUZA’s exhibitions programme will be stallation works, and site-specific artis- al, inclusive of design, manufacture and the Maltese word structured around Heritage Malta’s cu- tic projects. An interesting opportunity installation details. The project brief, for ‘inspiration’, rated exhibitions, collaborative projects is also being offered in the Community comprehensive of design parameters, and also refers to and a call for artists that will be launched Space, an exhibition space conceived eligibility criteria, and budgetary allo- theM mythological muses which inspired yearly. This exhibition call, launched on with a pedagogical purpose, where cations are available on https://heritage- . creativity. However, MUZA ultimately 28th August to cover the period from apart from exhibiting their final works, malta.org/artistic-expressions-at-muza/. stands for the project’s vision. January to September, was very well re- artists are encouraged to engage with The closing date for submissions is on ceived by the artistic community, to the visitors through educational workshops 13 January 2020 at noon. . MUZA strives to show the history of the extent that we are happy to anticipate and/or short residency programmes of 3 national collection and the values that that 2020 will see an exciting calen- to 4 weeks. These calls for exhibitions and artistic have shaped it over time. It rethinks the dar of exhibitions, practically back-to- projects will not only offer an enriching . collection as a source of inspiration for back. Most of the artists who applied MUZA Call for Artistic Expressions overall experience, but at the end of the . the Maltese community and beyond. were intrigued by the new spaces made day, they will help MUZA, as a nation- . MUZA seeks to adopt a participatory available and by the way the museum is On 31 October, another public call was al museum, leave a legacy that reflects museum model for the arts where com- seeking to encourage artistic dialogue. issued, this time directed for proposals the current art scene. Such projects are munity and nation are superimposed, of two free-standing external artistic intended to sustain continuity with the and traditional museum audiences are This call has been designed according expressions, to be temporarily installed, past, as well as evolvement from that rethought into participants and inhabi- to the spaces that can be offered and along the main facade of Auberge d’Ital- very same past, for the present genera- tants. guided by the principles which connect ie in Merchant Street. These art projects tion and those still to come. . with the community and the MUZA nar- should reflect the theme ‘City Life’, and . For this purpose, MUZA is understood ratives (Mediterranean, Europe, Empire should be a contemporary art state- www.heritagemalta.org/artistic-ex- as a hybrid of public spaces, galleries, and The Artist) while keeping an eye on ment, possibly providing multi-sensory pressions-at-muza/ and retail facilities equally relevant in the international art scene. The exhi- interaction to engage passers-by and . valorising this time-honoured dialogue bition spaces being offered include the invite them to experience MUZA. The between art and community whereby Camerone for the larger curated solo proposed installation should be of dura- . the artist has, to this very day, a central and collective exhibitions, the MUZA ble material withstanding the external role to play. public spaces inclusive of the ear- environment and should be installed by marked areas in the courtyard and the 30 September 2020.

No.9__ Artpaper / 013 JOANNA DELIA is a medical doctor who specialises in cosmetic medicine. She is also a cultural consumer and Q & A /Malta / Exhibition art collector who tirelessly supports local contemporary December ‘19 - March ‘20 art and culture.

Joanna Delia interviews rising star – researcher, film-maker and artist - Charlie Cauchi

JOANNA DELIA Glossed over

The Ten-Minute Rule, installation view within Latitude 36, Charlie Cauchi. Image courtesy the artist

harlie Cauchi’s work delves deep into the Mal- JD: What is art for you? tese psyche and the twists this takes when the CC: I can’t. I just can’t. Maltese uproot themselves to live in other coun- tries. Her transmedia project Latitude 36 – part JD: When did you first exhibit? of Valletta’s European Capital of Culture 2018 CC: I first exhibited in 2017 with a solo show calledFrom Pu- programme – included the documentary short, rity to Perversion as part of Bettina Hutschek’s Fragmenta CFrom Malta to Motor City, which focused on the Maltese Malta project. I took over Valentine Hall in Hamrun and cre- diaspora in Michigan, USA and premiered at the Valletta Film ated a hybrid holy communion-wedding-divorce anniversary Festival in 2018. Her solo work includes the video installation party. Sempre Viva – commissioned by Malta’s Ministry of Foreign JD: Where else have you shown your work recently? Affairs – and the solo exhibition Returning to Latitude 36, CC: My second show was Latitude 36, which took place at that included a mixture of visual art practices to examine Blitz in 2018. It was part of a wider transmedia project that just a few past and present migration stories. In October of Portrait of Charlie Cauchi, by Alexandra Pace touched upon ideas of Maltese migration and the identities this year, she created the four-hour-long, two-channel work, and stories that come out of these experiences. I created a se- Alma Mater: 100 years, 100 women, for the exhibition Hors ries of artworks, ranging from photography and soundscapes, Concours, commissioned by the University of Malta. Cauchi to built structures and moving image. The exhibition used a also collaborates with other film-makers to create short and mixture of visual art practices to examine just a few past and feature-length films through her Maltese based production present migration stories. Arranged around the architecture company Sajjetta. of the ‘townhouse’ structure that is Blitz, I appropriated each Cauchi looks for and seems to bring to light and document room in the gallery to tell a different story. the nuances of the stereotypical Maltese way of life, exposing I also created a site-specific installation calledSempre Viva, the perhaps extremely revealing things the Maltese might try aimed at bringing the observations and recollections of an hard to hide from the rest of the world. intergenerational Maltese diaspora to an audience in their As her solo show Scheherazade is showing at Valletta Con- homeland. It was extremely fleeting and only on for a week temporary, Joanna Delia (JD) caught up with Cauchi (CC) to at the end of 2018 but it was my biggest work to date. An hear her thoughts on art, love and cruelty. 8ft mirrored cube monopolized the courtyard at the Ministry of Foreign Affairs in Valletta. A three-hour-long three-screen projection made up of work drawn from material I had col-

No.9__ Artpaper / 014 Q & A /Malta / Exhibition December ‘19 - March ‘20

lected over three years from the UK, in Soho called Scheherazade, which I Canada, America and Tunisia awaited think might have been owned by Frank the audience. Spiteri. All the clubs had amazing names actually, like The White Mon- JD: Can you tell us a bit about your key Club, El Morocco, Taboo Review, upcoming show? Casbah Striptese club – all quite ex- CC: My next show is entitled Schehe- otic. The reason I chose this club was razade, and is a multi-disciplinary and because it was the focus of a dramatic immersive installation built around the raid by Scotland Yard, where everyone concept of a Soho nightclub. Here coer- in the club at the time – patrons, bar cion and cruelty, love and violence, sex staff, even the band – were arrested. Sempre Viva, 2018, Charlie Cauchi © the artist and Alexandra Pace and entertainment are made palpable. So, this club became my muse, but re- The installation will run until February ally represents an interpretation of the 2020. As a visual artist, I want to direct workings of Maltese-owned Soho from a penetrating pinpoint of light into the the 1940s right up until the 80s. Even history of this dark underbelly, a place though this show is named for a specific once renowned as the scandalous city club in operation at a specific point in of vice. history, it is by no means a history of this club, but rather a departure point. For the last four years I’ve been work- I’m creatively exploring multiple ele- ing on a multimedia project examining ments across a broad history. It remains Maltese migration in different parts of my own subjective portrayal. the world. But I’ve always been specifi- cally interested in the migrant commu- JD: What you want to transmit When People Lose Blood From Their Mouths They Die, installation view within Latitude 36, Charlie Cauchi. nity in of post-war London. I was born through the work? Image courtesy the artist in East London, to a Maltese father, CC: There is no love in this show, just and my family were surrounded by cruelty, violence, coercion, and loss, all CC: I consider my video work and my CC: That is a question I have been rumi- Maltese friends. I’d hear stories about brought together under the auspices of documentary work to be two separate nating over quite a bit lately and the an- Maltese in East London and Soho. The glossy entertainment. I think a lot of the practices. Just because they’re both swer is – I don’t know. I might not ever older I got, the more complex these themes – migration, identity, and greed based on the moving image, doesn’t know. I’m not even sure people even re- stories became and my curiosity grew. are just as relevant now as they’ve al- mean they’re doing the same thing. alise it exists, since most of what I make I touched upon this theme in my solo ways been. Sometimes this might be unclear to is fleeting and can be quite ephemeral. show, Returning to Latitude 36 at Blitz some audiences.’ last year, but it’s the one subject that’s JD: Is it difficult to convince your JD: How has your work changed always remained with me so I decided ‘research subjects’ to divulge in- JD: Do you feel some form of ca- over the years? my next work would focus on this top- formation and be filmed? tharsis knowing you bring to light CC: I don’t really think I have had ic. I’ve been researching Soho and East CC: All elements of this show are based complex issues/nuances/feelings enough time to really stand back and London for the past two years, and I’m on evidence collected from archives in often ignored or shamefully hidden take stock of that. I think it has become currently developing a documentary on the UK and other institutions. Video by the players you develop into in bolder, though it is still always tinged the topic. I employ a multi-disciplinary work in this show is fictional or archi- your research and your work? with a level of discomfort and fear – for approach to my work and Valletta Con- val. While I haven’t interviewed anyone CC: I’m not sure the right word here is myself that is and not necessarily the temporary approached me to create for Scheherazade, everyone seems to catharsis. It’s always interesting for me viewer. this new piece. have a connected story they’re eager to to hear other people’s stories that are tell.’ prompted by my work. I often end up Scheherazade is on at the Valletta JD: Where did the exhibition’s discovering more once the work is out Contemporary galleries until Febru- name come from? JD: Have you experienced diffi- there. ary 2020. More information on www. CC: It became clear that I wanted to culties with the reactions of your vallettacontemporary.com and www. use the nightclub aesthetic quite early filmed subjects to the final instal- JD: Do you feel the Maltese envi- charliecauchi.com. on. There’s an amazing story of a club lation work? ronment is receptive to your art?

2 0 1 , M E R C H A N T S T R E E T , V A L L E T TA

No.9__ Artpaper / 015

LISA GWEN ANDREWS holds a first degree in History of Art and a Masters in Cultural Heritage Management. She is S Q & A /Malta / Arts Fund Anniversary a freelance curator and writer for art and design events. December ‘19 - March ‘20

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LISA GWEN ANDREWS Funding Malta’s Creativity

As the Arts Council Malta’s (ACM) Arts Fund celebrates ten years since its inception, we talk to Lisa Gwen Andrews - Creative Industries Associate at ACM – about its impact on the Maltese creative scene.

The Science in the City installation, Light Pushes Stuff by Late Interactive inspired by Prof Andre Xuereb’s Human Construct, Kane Calì, image ©Alexandra Pace. MAF funding work, aided by Danielle M. Farrugia for the EU project HOT and Science in the City in 2017. MAF funding was awarded to Kane Calì in 2017 for the project Human Construct. was awarded to Alex Felice for Science in the City in 2012.

Artpaper: What’s your role in rela- Artpaper: Can you tell us how it has to grow and inform audiences along the line. Another platform worth men- tion to the Malta Arts Fund? developed over the past ten years? the way. The Arts Fund doesn’t look at tioning is the Malta Music Memory Proj- Lisa Gwen Andrews: I’ve seen the LGA: The MAF was the first structured established / professional artists vis-à- ect and the M3P Foundation, which saw fund grow from its inception in 2009 or competitive fund launched through vis emerging or upcoming artists – the the creation of an online multimedia re- up until now. I was one of the first ex- Arts Council. It followed the Malta Film programme is there to provide support pository for memories of Malta’s music ternal evaluators who had been called Fund, launched a year earlier. Across to all those whose projects address the and associated arts, ensuring that these in to assess applications. I believe it the 10 years, the MAF has increased in funding criteria. Over the past ten years, are kept in posterity for current and was the second or third call. Before the funding, but it has also evolved. Origi- artists have understood the importance future generations. The Arts Fund has launch of the Malta Arts Fund (MAF), nally the delineation was solely between of artistic development, context, value also proved invaluable to artists and cre- the process for funding was closer to a ‘small’ and ‘large’ project support. This / vision of a project, research in their atives when co-funding was needed for sponsorship, wherein artists filled out was extended to ‘mobility’ support, and fields… and so on. Although there is still the participation in EU projects – with an application form and were general- later also to ‘organisation’ support and much room for improvement, the com- initiatives awarded support through the ly awarded a nominal fee in support of support for literary translations. Work- petitive nature of the fund allows artists ‘culture’ sub-programme for instance. their project(s) and activities. ing closely with practitioners has also to focus their needs, to be savvy and This is true for Ruben Zahra’s partici- given us plenty of insight into the ev- step out of their comfort zone. The fund pation in the EUR-TXT project, or ARC Nowadays, amongst other duties, I man- er-changing needs of the sector, which is also there to allow artists to dream a Research and Consultancy’s participa- age the Project Support Grant (Malta is how the Arts Council now possess- little bigger, and for their projects to be tion in The Medinea (Mediterranean Arts Fund), which involves the screen- es a portfolio of some 17 funding pro- a little more audacious. Incubator for Emerging Artists) project, ing of all applications in terms of artistic grammes and initiatives. Each of these which was awarded support through the content and eligibility before passing funding platforms are somehow indebt- Artpaper: Are there some projects Creative Europe programme. them onto the external panel of experts ed to the MAF and have emerged as a that you feel were very successful whose role is to evaluate and make direct consequence. very much because of Arts Fund Artpaper: If you’re allowed to tell recommendations for funding. Besides support? And what’s their legacy a us, do you have one or two personal that, I monitor the projects selected for Artpaper: How do you think the few years down the line? favourite projects from the last ten funding. And more importantly, I help Arts Fund has shaped the creative LGA: Out of all the projects supported years? artists, cultural operators and practi- scene in Malta during this time? over the past 10 years, there have been LGA: I guess I’m a little biased, given tioners develop and structure their proj- LGA: The MAF allows artists to propose a few platforms which were proposed my background as well as collaborations ects according to the fund’s criteria. The and implement innovative, cutting-edge and formed which have become staples on personal projects, however, Malta latter is actually the aspect I enjoy the and often also niche projects that would on the cultural calendar – two stand out Design Week by Chris Briffa Architects, most; it gives me immense satisfaction have otherwise not seen the light of day. prominently, and these are Science in will always be a personal favourite. to assist them in any small or large way Whilst promoting excellence across all the City, and the Valetta Film Festival. There have been two editions of Design and to facilitate in the development of art forms, it has also provided many Both these platforms ‘took off’ with the Week, and subsequently two editions of their respective projects. opportunities for artists to travel, to en- assistance of the Malta Arts Fund; and Malta Design Dialogues (an offshoot of gage with other artists and institutions, both are going strong a few years down Design Week). Unfortunately, Founda- >>

No.9__ Artpaper / 017 NIKKI PETRONI is a PhD candidate researching Maltese twentieth-century art. She has written for and S Spotlight /Malta / Austin Camilleri edited a number of academic books and is co-curator of December ‘19 - March ‘20 the APS Mdina Biennale.

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STNIKKI PETRONI ON Two decades since the realisation of Austin Camilleri’s installation, Nikki Petroni reflects on its impact and legacy. ES

Austin Camilleri, Stones, installation view at Dingli, 1999, photo Jonathan Beacom ©austincamilleristudio

No.9__ Artpaper / 018 S Spotlight /Malta / Austin Camilleri December ‘19 - March ‘20

MALTA MALTA Continued

ustin Camilleri’s Stones lation implies its spatial demarcation is the most ambitious as static, which it was not. The stones local site-specific instal- were susceptible to natural conditions, lation to date. It marked which eventually led to the removal Malta’s perimeter as its of the gilding, returning the stones to site without consuming their original state. Athe space in between. Back in 1999, installation art was still a burgeoning The installation utilised the notion of medium on the islands, yet Camilleri the Duchampian ready-made without masterfully exploited its artistic poten- appropriating the quality of visual in- tial. The boundaries of space and time difference. The stones were found but were transcended as gilded masonry their appearance altered to elevate appeared in Valletta, Dingli Cliffs, Xwe- their status to one replete with artistic Malta Bus Reborn, Jonathan Mizzi, Mizzi Studio. MAF funding was awarded to Jonathan Mizzi jni Bay, and Delimara. The golden en- and spiritual significance. Their place- for Malta Bus Reborn in 2018. veloping of the stones referred to the ment created a narrative linking geog- tion 808 hasn’t yet managed to make coming years. How will the Arts most divine colour used in sacred art, raphy to history, and to centuries of the platform sustainable. Otherwise, Fund develop, and what is it target- and hence a ubiquitous presence in artistic production. Stones was an ode there is a most recent project which is ing in particular during this time? Malta’s churches. With the realisation to a visual arts tradition that reinvent- close to heart, and that is The Malta Bus LGA: Each of the funding programmes of the project, the medieval was made ed this same legacy. It was a comment Reborn project by Mizzi Studio – which is revised (somewhat) on an annual contemporary, the natural made urban, on the transition of identity across time culminated just a few weeks back. Ever basis. When a particular ‘need’ in the and Maltese art was imbued with a new and the strength of ideas that continue since the studio obtained funding, the sector arises, or when a shift is detect- dimension in its ability to capture the to exist, albeit under new form. project has grown to the extent that it ed, programmes are redesigned and essence of identity. has even been endorsed by the Ministry revamped accordingly. This is the case Twenty years on, it is the photographic of Transport, as well as several other with the Digital Games Fund, which is Camilleri’s installation is today more documentation that allows us to wit- organisations who have since become currently under consultation and shall relevant than ever. The climate crisis ness Camilleri’s poetic visual statement project partners. progress into a Digital Arts / New Media and Malta’s ravenous urbanisation are on place and history. Stones drew the fund. The Strategy 2021-2025 will also at the fore of present-day politics. This spectator to Malta’s terrain. The serene Artpaper: There has been some introduce some new pillars or priority discussion is being addressed by the sound of the sea’s waves and the clam- criticism that the abundance of areas for the Council – these include contemporary art scene with exhibi- our of Valletta’s replenishing flow at the Arts Council grants has led to an Innovation and Digitisation, Wellbeing tions and performances, and is the sub- urban gateway were shown as promi- over-dependence on government and Environment and Entrepreneur- ject of the 2020 APS Mdina Cathedral nent contrasting elements of the coun- funding. How do you think the ship and Sustainability. Although al- Contemporary Art Biennale. The latter try’s topography. Arts Council can balance this duty ready present in the Council’s pro- asks whether the arts can play a role in to support the arts, with ensuring grammes, the idea is to give these areas Through a description of the installa- regaining a paradise lost. Stones posi- that artists remain independent, attention and priority through the up- tion on how “the artist marks north, tively affirmed that question, proving both in concept and execution? coming strategy. These will accompany south, east and west points of the that art can reveal overlooked beauty LGA: To a certain extent we have de- the other pillars which already form whole national territory to delineate its that is too often taken for granted, and tected a dependence on public funding part of Funding / Strategy – namely, In- land, labelling it as ‘museum’,” Vincen- reignite its meaning as well as provoke for the realisation of projects. But this ternationalisation, Research, Diversity zo Bonello defined Malta as one large new questions. The installation’s an- is hardly a situation that is exclusive to and Inclusion and, finally, Training and St. John’s Co-Cathedral. In other words, niversary is also an event to reflect on Malta. At the same time, Arts Council Development. the proposition of a country as total such environmental change. Camilleri’s engages in several outreach initiatives work of art. Camilleri’s ‘museum’ instal- Stones did so without calling for any in order to inform the arts community Artpaper: What would you particu- nostalgic sentiment. and assist in its development. This is larly like to see coming out of the mainly done through its ACMlab series, Arts Fund in the next few years? in which it often targets niche audi- LGA: I would like to see a wider vari- ences. During these sessions, local and ety of art forms and multi-disciplinary foreign experts are frequently invited projects proposed to the fund. A large to address the arts communities. Other number of applicants still view the MAF than that, through our brokerage ses- as a means of sponsorship; yet public sions and meetings with prospective funding is not a handout, it is a means applicants, return applicants and oth- of support to creatives in order to re- ers, we try to frame the funding, and we alise their projects. I would also like to encourage applicants to be ambitious see a larger number of curated projects; and to look at EU funding, for instance, projects which engage with proper re- when we realise that projects have the search and which have an artistic pro- potential to grow, to be exported and cess as an inherent component. Finally, for applicants to engage with foreign I would really like applicants to prop- partners and collaborators. Through erly address audience engagement and other funding programmes, ACM also audience development. Unfortunate- offers mentoring and coaching services, ly, we still receive a lot of proposals which could be pertinent to the appli- which, at least on black and white, read cant and their project, to an organisa- as commercial, or which are strictly tion or platform. self-promotional. These are inherently weak proposals, as they do not cater for Artpaper: The Arts Council is cur- the growth of the sector. rently drafting a strategy for the

Applying gold-leaf to create Stones, 1999, photo Jonathan Beacom ©austincamilleristudio

No.9__ Artpaper / 019 News / Baroque Festival / Malta December ‘19 - March ‘20

MALTA Rossini’s Otello at Teatru Manoel “Opera is undoubtedly the supreme artistic genre because it incorporates all aspects of art; music, poetry, drama, and visual arts. In fact, it epitomises the muses even today, thousands of years after these divine women divided the artistic attributes between them under Apollo’s watchful eye. Opera is on a roll all over Europe with 8% of the German population attending operatic performances on a regular basis. Malta lags behind somewhat, however between the two, Victoria opera house and the Manoel Theatre, we are keeping the flag flying through thick and thin”. Kenneth Zammit Tabona, Artistic Director of Teatru Manoel.

enneth Zammit Tabo- in-house by the teams headed by stage na’s drive to resuscitate designer, Ray Farrugia; operations man- opera has developed ager, Brian Bonnici; and the theatre’s from a cheap import in wardrobe mistress, Dorothy Ebejer Cas- 2013, to a fully-fledged tillo, assisted by Graziella Sammut. in-house production everyK year. This has been ongoing since For this production, Kenneth Zammit 2014, with La Clemenza di Tito fol- Tabona brought together Vivien Hewitt lowed by L’Elisir D’Amore, Orphée et as director and Marco Mencoboni as a Eurydice and the three Mozart and da conductor. A young and vibrant cast Ponte masterpieces; Nozze Di Figaro, will bring the opera to life. Cliff Zammit Don Giovanni and Cosi fan Tutte. Stevens will play Otello, Roberto Jachini Virgili is casted as Iago, Valentina Mas- For 2020, this results in three new pro- trangelo as Desdemona, Gustavo Palo- ductions, because besides the opera in mo as Rodrigo, Francesca Sartorato as March the theatre now. .has a children’s Emilia, Albert Buttigieg as Elmiro, Alan opera during the ZiguZajg Festival in Sciberras as Lucio and Charles Vella November. It will also premiere the ba- Zarb as Doge/Gondolier. The production roque opera Pelopida by Maltese com- will be a collaboration with KorMalta poser Gerolamo Abos, which was com- and the Malta Philharmonic Orchestra. posed for the Teatro Argentina in Rome way back in 1747, opening the 2020/21 The opera will be sung in Italian with season in September for 2020. English and Maltese subtitles – perfor- mance dates are 1, 3, 5 and 7 March. First things first, next in line is the brand Maestra Mariella Devia will give a mas- new and exciting production taking the terclass on 10 February, which will be stage between 1 and 7 March: Gioachi- open to the public. Teatru Manoel would no Rossini’s Otello. It might be a less- like to thank BOV for its long-standing er-known work of Rossini, but it is by all support of their operatic performances means a milestone in the development in Malta. of opera as musical drama. The work is based on a French adaptation of the A special offer set up between Teatru story Othello, ou le More de Venise by Manoel and Gaulitana will be avail- Jean-François Ducis, and premiered at able to audiences, offering the pub- Teatro del Fondo in Naples in December lic an experience of Verdi’s Otello 1816. Neither librettist Francesco Maria at Teatru Aurora (Gozo) and Rossi- Berio di Salsa nor Rossini knew Shake- ni’s version at Teatru Manoel (Malta) speare’s play. The opera differs from with premium seating for the price Shakespeare’s version in that the story of €120 (instead of €140). Guests will happens in Venice not in Cyprus, Iago is be given stalls seats to attend both op- less diabolic, and the role of Rodrigo is eras. These combined tickets are only more elaborate. another frustrated lover of Desdemona So the audience is up for a night full of available at the box office of Teatru and hidden enemy of Otello, in order passion and drama, with virtuoso Ros- Aurora or Teatru Manoel and valid In short, according to the booklet of the to be revenged of perceived wrongs, sinian singing in a stunning Venetian at- up to 16 February 2020. More info Milanese representations of 1818, Otello pretends to favour the love-suit of Ro- mosphere, and with both costumes and and tickets on teatrumanoel.com.mt returns as a victor from a battle against drigo. Otello is led to believe his wife is set are inspired by Venice. The main the Turks. A secret wedding ties him to unfaithful and so the action is set, the place of action is the iconic Venetian Ca’ Desdemona. She is the daughter of his intrigue starts and the tragedy develops d’Oro, while the costumes are based on enemy Elmiro and was already prom- until the bitter end. the beautiful designs of Cesare Vecellio. ised to Rodrigo, son of the Doge. Iago, Both set and costumes are again created

No.9__ Artpaper / 020 News / Dance / Malta December ‘19 - March ‘20

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hreaded Fine is the new dance And while Rosemary Lee very often engages with piece by the renowned British site-specific works,Threaded Fine focuses on choreographer Rosemary Lee, the individuality of the performers and the dif- Rosemary commissioned and presented by ferences in their performances, which combine . ZfinMalta in collaboration with to make a whole piece. In the piece – which will the Valletta Cultural Agency. This last around five hours – the audience is free to Lee durationalT performance will gather a cast of 24 view part or all of the performance and to engage people from across Malta, seeing them each per- with the choreography in proximity to the danc- . forming a consecutive solo piece to form the en- ers. The cast is made up of the ZfinMalta company tire work. dancers, joined by performers of all ages who were in Malta . selected through an open call process. Rosemary The performance is part of ZfinMalta’s develop- Lee also joins the cast. Each dancer will perform ment away from the traditional model of a dance in order of age – from eight to over 70. company and towards a space that works with art- ists and communities to create multi-disciplinary The performance promises to be both intimate . and longer-term projects. ZfinMalta’s Artistic Di- and expansive; intimate in its closeness and in rector, Paolo Mangiola, believes that these collab- the temporary vulnerability of the dancers them- orative projects will increase awareness of dance selves, and expansive in its themes and symbolism as an artform and will enable the company to act of life-cycles and universal rhythms. The rhyth- as a safe space where art practices are developed. mic and repetitive, yet diverse nature of the piece will allow the audience to engage with the work on The work is also a development of Lee’s 2019 many levels, seeing 24 individual interpretations piece Circadian, performed as part of the First of a single structure. Light Festival in Lowestoft in the UK, which saw 24 dancers each perform a solo on the hour, every Threaded Fine will be performed at Valletta hour over the course of 24 hours. Campus Theatre on 1 February 2020, between 4pm and 9pm. www.zfinmalta.org

No.9__ Artpaper / 021 News / Malta / Vivendo December ‘19 - March ‘20

MALTA Be a part of Design History

DEX Workspaces, itra is a Swiss family-owned furniture compa- different textures and products first-hand. There is also an ny, and manufacturer of the works of many Acoustics Room to showcase their sound-absorbing features, now renamed internationally renowned furniture designers and an Auditorium, with steppe-like seating and audio-visual such as Le Corbusier and Eames. The Mal- facilities. Vivendo Workspaces, ta-based showroom, Vivendo Workspaces, has a brand-new has now expanded its display to not only cre- The showroom provides a shop-in-shop home display of ateV customised workspaces but also to provide beautiful solu- brands Technogym and Vitra to inspire architects, designers showroom with a tions for those wanting good quality design at home. and those who appreciate good design, and Vivendo has ex- panded their range of customised furniture to showcase how space dedicated to The revamp of the showroom allows architects and design different designs can be adapted to suit all needs. the home. professionals to use the workspace models for their meetings and creates a holistic experience for all who want to sample Vivendo Workspaces, Mdina Road, Qormi. Tel. 2149 3310

“The revamp of the showroom allows all architects and design professionals to use the workspace models for their meetings and creates a holistic experience”

No.9__ Artpaper / 022

Design /Loft / Malta December ‘19 - March ‘20

MALTA Ralph Lauren Home introduces the Ralph Lauren X Burleigh Collection

alph Lauren Home is pleased to announce a very special collab- oration with Burleigh, England’s most storied name in pottery, to cre- ateR a new dining and entertaining col- lection.

This is the first time, since its founding in 1851, Burleigh has featured anoth- er designer’s original patterns on their pottery. This collaboration celebrates both companies’ commitment to artis- anal craftsmanship, and the creation of treasured entertaining pieces.

The Ralph Lauren X Burleigh Collec- tion features exclusive Ralph Lauren motifs, while accentuating Burleigh’s time-honored technique. Available in three patterns — “Peony” and “Garden Vine,” both with swirling florals inspired by vintage batik cloths; and “Midnight Sky,” a starry, celestial vista reminiscent of RRL bandanas — these bold designs have an authentically American spirit.

The collection features colours of a denim-like indigo blue, as well as a lus- trous black, set against the white hue of natural clay. Each collection offers the classic place setting – comprised of to create a single teacup or saucer. En- dinner plates, salad plates, and bowls graved copper drums are cloaked with to charming serving pieces – including a coloured ink and rolled onto tissue a sculptural Etruscan jug, traditionally paper. Then, the tinted paper is loving- shaped teapot, and elegantly faceted ly hand rubbed onto unglazed pottery. serving bowl. This technique for transferware is what makes Burleigh’s pottery one-of-a-kind. All three patterns are complementary and invite a personal curation to create Burleigh has exemplified a particularly an eclectic combination that is perfect British manner of gracious dining for for the way we entertain today. over two centuries, enabled by the rec- ognition and preservation of its historic Created from fine earthenware factory by HRH The Prince of Wales. strengthened with china clay, these The Ralph Lauren X Burleigh Collection pieces are designed to be well-used and captures the history of traditional pot- well-loved. tery, infused with a modern spirit. Burleigh is the only remaining pottery The Ralph Lauren x Burleigh Col- in the world to use an exquisitely re- lection are exclusively available fined method of tissue transfer printing, from LOFT Malta, 21 Triq San Pawl, pioneered in England over 250 years Naxxar. Tel: +356 2099 9966. Email. ago. In this labour-intensive process, [email protected] 25 different pairs of hands are needed

“This collaboration celebrates a commitment to artisanal craftsmanship, and the creation of treasured entertaining pieces.”

No.9__ Artpaper / 024 MARIA EILEEN FSADNI was edu- cated in Belgium, Australia and Hol- land. She holds an M.A. in History of Art, and works at Palazzo Falson Interview /Malta / Gabriel Caruana Foundation in Mdina, Malta. She also volunteers at Friends of the Earth Malta, and December ‘19 - March ‘20 contributes to their newsletter.

MALTA MARIA EILEEN FSADNI Art, Community & Traffic The Gabriel Caruana Foundation believes in making contemporary art and creativity as accessible as possible.

he Maltese artist Back in the classroom, the 10-year-olds, Gabriel Carua- were asked to record their thoughts na (1929-2018), through journals, map-making, slo- was never a fan gan-writing and poetry facilitated by Mir- of conventional iam Calleja. Common themes emerged – white-walled gal- “the majority of children want less cars, lery spaces and less litter, less construction noise. They strongly believed want more areas where they can walk in involving the and cycle. And the incredible thing is, Tlocal community in his creative endeav- they weren’t prompted”. The children, ours. His daughter, Raffaella Zammit, not old enough to use a car, felt robbed continues this philosophy in his ab- of the space to be themselves. One child sence. simply wrote: ‘stop with the cars’.

I meet Raffaella at The Mill. The building The project culminated in an exhibition is an eighteenth-century former flour at The Mill of the children’s work and a mill found in the busy town of Birkirk- final community walk that saw the busy ara, now home to the Gabriel Caruana Naxxar Road closed to traffic. Leaving Foundation. Raffaella is seated on a from the school, Raffaella describes the chair painted by her father, who saw a joy the children felt as they reached the canvas in everything. She studied Ge- nearby pizzeria, with The Mill in sight, ography at the University of Malta and they ran towards the building. They worked with the planning authority for were finally in ownership of the road. It 10 years, but her father’s ill health drew was a space for them, Raffaella says – “it her to The Mill in 2012. was a walking street party”.

Raffaella explains, “my dad had wanted Most of the foundation’s projects aim to to establish a contemporary art centre create community-led art. Its most re- . . for a long time,” and upon his retire- cent project Hozz il-Hsejjes, engages ment, in 1989, he began the hunt for an with themes of tangible and intangible ideal space. In 1990, he had the oppor- culture. A collaborative effort between tunity to take over The Mill, which he Raffaella Zammit, Elyse Tonna, Wen managed together with his wife, Mary Chin Fu (of the Instrument Inventors Rose Caruana. Raffaella tells me, “he Initiative), Marvin Zammit (of Mighty would invite other artists to exhibit,” be Box), and Andrea Pullicino, participants it students of his, or important interna- were asked to create vessels of sound tional names such as Eva Lange, Emilio using clay and wheat. The materials Vedova, Silvio Cattani, Mario Tosini and closely tied with the history of The Mill, Gastone Primon. While The Mill is en- its original use and its recent connec- tering its 30th year in operation, the tion with Gabriel Caruana. The series of Gabriel Caruana Foundation was only workshops aimed to “get people to The formally established in 2016. Mill, work with a concept, materials and develop something together”. Raffaella underlines that “this is not about having an organisation that pro- fact, our conversation is constantly in- munity, spent in your area and in being The conversation turns to the future of motes Gabriel Caruana. Rather it pro- terrupted by the sounds of honking and aware of what’s changing in your locali- The Mill and the Gabriel Caruana Foun- motes his legacy, his contribution to art loud cars as the traffic whizzes past. Be- ty”. Together with Kristina, she engaged dation. Being on the cusp of the 30-year while supporting different artists and tween the cars driving and cars parked, with St Theresa College, the Birkirkara anniversary doesn’t stop Raffaella from engaging people”. Ultimately the foun- very little room is left for the pedestrian primary school, to bring 100 children on explaining how the Foundation “would dation believes in “making contempo- to walk comfortably, and, it was precise- walks around the locality. Nimxu Mix- like to reach 40 years, if everything goes rary art and creativity as accessible as ly this, walking, that was the trigger for ja invited the children to observe their to plan”. Undeterred by possible obsta- possible”. the project titled Nimxu Mixja, devel- surroundings and introduced them to cles, her father’s encouraging words ring oped in collaboration with Kristina Borg. in her ears” “jekk taqa, qum u ghamil- walking as an artistic practice. Divided . . The centuries-old walls of The Mill fail by classes, of 25 students, she explains, ha parti miz-zifna” (if you fall, stand to drown out the noise from the road The project – which received Kreat- “one of the most important elements up and make it part of the dance). outside. The space is adjacent to the tiv funding – began with an online ex- of the project was to be aware. Being busy thoroughfare of Naxxar Road. As change between the two women about aware of the sounds, what you’re touch- www.gabrielcaruanafoundation.org Raffaella points out, “traffic never stops walking and Malta’s car-dependency. ing, what you’re smelling. These were all here. From seven in the morning until Raffaella explains, “using cars basically important for the process”. around eight at night, there are cars”. In reduces the time spent in your com-

No.9__ Artpaper / 025 LISA GWEN ANDREWS holds a first degree in History of Art and a Masters in Cultural Heritage Management. She is Comment /Malta / Valletta Market a freelance curator and writer for art and design events. December ‘19 - March ‘20

MALTA Then and now: Is-Suq tal-Belt after its controversial restoration. Image wikimedia commons

LISA GWEN ANDREWS The covered market is open. It’s been open since the first days of 2018, just shy of the official launch of Val- letta’s term as European Capital of Culture.

Less than two years down the line, and it seems – al- though I stand, and hope, to be corrected .– as though many have forgotten that along with MUZA, Valletta Design Cluster and Strait Street, the Suq was one of Suq, four infrastructure and flagship projects of Valletta 2018. Targeted as a regeneration and conservation project that would give the Valletta market purpose and renewed functionality, whilst making it attractive and accessible to the community, the original plan and brief was for 15% of the Suq to be retained for “cultural activity”. Where this 15% of space would be Uncovered located, remained vague. The outdoor terraces were mentioned, as was the Suq’s first floor. Reports and news articles differed in stance, whilst clarifications A no holds barred take on one of Valletta’s most were never given. well-known and most hotly disputed venues. It’s safe to say that the primary function of the Suq is, in reality, that of a food court, with a food market downstairs, and venues for private functions upstairs. It is true, that the space is finally being utilised, ‘ex-

No.9__ Artpaper / 026 Comment /Malta / Valletta Market December ‘19 - March ‘20

MALTA

The stunning and wholly unique (in Malta) British Colonial structure, which should be exalted, rather recedes into the background amidst the newly-added fabric. The Suq occupies an entire block – and as such it should be viewed as a sculpture in the round. perienced’ by customers and patrons – the ‘aesthetic and architectural values enforcement order was recently issued In 2010, I wrote an article titled Spot- whom I had hoped could also be called of the building’ as well as the fine aes- against the illegal canopies erected to light on Valletta’s Covered Market. It audiences. But I do question the kind of thetics of Saint Paul Street”. The bal- cover the terrace area, however, the was published shortly after having sub- experience that these patrons are gain- cony stayed, the sidewalk disappeared, public is never really supplied with up- mitted my Masters dissertation which ing… and leaving behind. the bus stop had to be moved, the road dates. And at the time of writing, the focused on the proposal of museum / was narrowed. canopies haven’t been removed. The space for modern and contemporary The Suq is a crowded space. All kinds of same goes for the cantilevered balcony. art, and the Suq was one such identi- scents and smells waft heavily through The Suq’s ‘back of house’ is probably And despite much research, no news fied location. So I hold this project, this the interior, making it feel smaller and the most shameful part of the project: portal seems to have carried an update whole build, very much at heart. Follow- more cramped than it actually is. The trash, skips, large refuse bins, illegally following Din l-Art Helwa’s appeal. Nei- ing the presentation of my thesis, Chris stunning and wholly unique (in Malta) parked cars, litter strewn across half of ther are the original plans, drawings and Briffa developed a project proposal for British Colonial structure, which should the perimeter surrounding the block, renders of the project – won by Arkadia the Suq, that he titled: Valletta Art Mu- be exalted, rather recedes into the back- and completely obstructing the two Group in 2016 – which was granted a 65- seum (VAM), and which, call me biased, ground amidst the newly added fabric. streets flanking the main entrance – Old year long lease, easily accessible. Only I thought was a beautiful and sensitive Theatre Street and Felix Street – which an article published on June 26, 2016, in project. Whether on the interior, or the exteri- have become completely dysfunctional. The Malta Independent, titled A Quest or, tables and chairs abound, both clut- The side views of the Suq are also quite to Merge Tradition and Innovation Perhaps a museum wasn’t the ideal des- tering and abasing the overall design; appalling. I recently found myself in for Valletta Market, seems to carry the ignation for the Suq, perhaps it wasn’t there is also no attempt at homogeneity an apartment on Felix Street, and the original designs – which, viewed now- the ideal community project. However, to link the spaces together. The tables views of kitchens, stores and annexes adays, look like a completely different the present set up is a far cry from the and chairs extend onto Merchant Street is all that can be seen, making it all in- project. There is no disproportionate ideal. I wonder how long the lustre of the from the outdoor terrace space, which credibly unattractive. The Suq occupies glass enclosure on the topmost level of present Suq will last, I wonder whether had originally been touted for cultural an entire block – and as such it should the Suq, there is no low wall surround- it will become a cold space, an attraction activity, hence the reason behind the be viewed as a sculpture in the round. ing the terrace, there is no street fur- and a pit-stop primarily for tourists. In permits applied for and granted to have Only, in this case, the ‘exhibitors’ have niture on Merchant Street. The colour my mind, it will always be a lost oppor- outdoor furniture. Originally, it was a decided to opt for the single view as it palette is neutral, aesthetically appeal- tunity, a space rife with wasted poten- question of either or, not both. were, which could also explain the gen- ing; the design seemed to have focused tial. The present issues could be ironed eral state of neglect on three out of four on an openness and accessibility that is out, rectified. More effort could be made Initially, the terrace actually seemed to sides of the build. completely missing in the present Suq. to truly combine food and culture, as have been designed as a social, public What went wrong, and where? Why had been determined by architect and space, with its apparent low seating sur- But why the lengthy rant? Why the de- were the original plans not adhered to? Professor Marco Casamonti, during ear- rounding the terrace’s perimeter. And tailed descriptions of the present state And how is it acceptable for a project, ly interviews on the project. All it needs yet, proof that this space was not de- and situation? Simple. It irks me, pro- to win a tender, only for its delivery to is more of a people-centric vision, a sen- signed for or with people in mind, came fusely, that a project seemingly riddled contrast so sharply against the proposed sitivity for the context, and a respect for when potted plants and distasteful ‘Pri- with illegalities, remains as is. True, an designs? the Suq’s heritage. vate Property’ signage sprouted.

Although neglected and unkempt, the old Suq was accessible from St Paul’s as well as Merchant’s Street. The symmet- rical double staircase on St Paul’s Street offered visitors a convenient route as well as an alternative entry point. Ac- cess from St Paul’s Street has now been completely done away with and replaced with a wide balcony-cum-terrace which seems to have been designed for the ex- clusive use of employees. The balcony also acts as a roof above the loading and unloading dock, which unfortunately is too low and narrow to cater for larger vehicles.

Back in February 2017, whilst works were still underway, environmental NGO Din l-Art Helwa, had issued a statement saying that the cantilevered balcony “seemed to have been carried out without Planning Authority autho- rization,” and that it “severely impacts

Then and now: Is-Suq tal-Belt before being restored. Image wikimedia commons

No.9__ Artpaper / 027

GABRIELE SPILLER is a Swiss-German author and journalist who lives be- tween Berlin and Gozo. She Review /Austria / Swarovski looks forward to playing a part in promoting Malta’s December ‘19 - March ‘20 emerging art scene.

AUSTRIA

GABRIELE SPILLER 17 Sparkling Chambers of Wonder Swarovski Crystal Worlds in Wattens overwhelm visitors with concepts of space and experience through their bling-bling materials.

It’s a kind of magic. The Gi- rite. “I have so much love to give, that ant is not what you expect one is not enough”, says the artist about to see when you travel the his playful production. “You are invited rural Austrian countryside to partake in the enchanting ritual and of Tyrol, but once you get leave a declaration of love on the graffiti I to Innsbruck, you cannot wall!”. Another heart-warming experi- escape the temptation of visiting the ence comes from the Dutch artist duo Swarovski Crystal Worlds nearby. This Studio Job, it is a curiosity cabinet with radiant wonderland is more than a huge no corners, and a model railway set full marketing stunt. Here, inside an artifi- of short stories to discover. To round up cial hill, are 17 Chambers of Wonder, the light-footed international presen- similar to what baroque castles used to tations, the Russian artist duo FAMOS, host, each attempting to assemble a uni- devised the Empire State Building, the versal collection of knowledge. It was the The Giant, Swarovski Crystal Worlds © Swarovski Kristallwelten Cheops Pyramid and the Taj Mahal out Austrian multimedia artist André Heller of Swarovski crystal and combined it who conceived of the fantasy setting in with their notorious tongue-in-cheek Wattens – the home of the Swarovski videos. crystal factory. In 1995, on the occasion of the 100th anniversary of the compa- Once you step out of the realm of The ny, the park and the permanent exhibi- Giant, you can neither escape art – with tion were opened to the public but have more installations in the park – nor crys- now been further developed as an art tals. The Crystal Cloud in the garden, space, seeing some of the world’s great- created by Andy Cao and Xavier Per- est artists trying their hands at working rot, consists of 800,000 hand-mounted with the sparkling material. Chandelier of Grief, Yayoi Kusama, Swarovski Crystal Heroes of Peace, André Heller, Swarovski Crystal Worlds crystals. Underneath lies a pond, the Worlds © Swarovski Kristallwelten © Swarovski Kristallwelten Mirror Pool, and the whole scenery Let’s enter the subterranean world of changes ceaselessly with the natural The Giant and start with the first cham- After all this excitement, visitors en- The newest chamber, known as the light. As the pendulous crystals move ber, The Blue Hall. The shade of the counter cool calmness in the Crystal Chandelier of Grief, is the masterpiece in the atmosphere they look like fire- slanted walls is an exact shade of Inter- Dome, which was modelled after Sir of another important contemporary flies. ‘Crystalline’ ambient sounds invite national Klein Blue – referring to Yves Richard Buckminster Fuller’s geodesic artist: Yayoi Kusama. Born in 1929, she you to sit down and reflect, take a deep Klein – and catapults viewers mental- dome. It consists of 595 mirrors and, has been working on her Infinity Mir- breath and rest your eyes on the sooth- ly into the 20th century. In this room, incidentally, is a very popular wedding ror Rooms for more than fifty years. ing mountains. visitors are unexpectedly met with Sal- venue! The music in the background Thousands have been fascinated by her vatore Dalí’s melting watch (The Per- was created by Brian Eno - the British encompassing installations worldwide; Winter in The Giant sistence of Memory), rendered in crys- conceptual artist also has a Chamber her existential grief derives from hallu- During the dark season Swarovski lights tal of course; then a Crystal-Bearing of Wonder of his own called 55 Million cinations and social pressure, resulting up the Crystal Worlds site. This win- Nana by Niki de Saint Phalle; a myste- Crystals. There, a computer-generated in the artist’s voluntary residence in a ter, the Festival of Light tells the most rious Stele by Keith Haring; and even a kaleidoscope produces sublimely chang- mental home next to her workshop in sparkling winter fairy tale in the Alps. work of Andy Warhol called Gems. The ing images like multi-coloured church Tokyo. “As long as I live, I want to live”, A 13-metre-tall Christmas tree and a next astonishment is up in Jim Whiting’s windows. No projection ever looks the reads her statement at the entrance to light harp create brilliant sounds and Mechanical Theatre. Now some read- same. A similar hypnotic effect appears the chamber. reflections on the snowy landscape and ers may be old enough to remember in Fernando Romero’s immersive instal- the glittering Carousel by Spanish de- the avantgarde music video Rockit by lation El Sol, an exploration of human- Another work focusing on the pure, signer Jaime Hayon, set with 15 million Herbie Hancock, which won ten MTV kind’s relationship with the sun. clear crystal is Silent Light, a flashy Swarovski crystals, will be on show all awards in 1984. Jim Whiting was the Christmas tree that was originally creat- through the winter season. artist behind this mind-blowing produc- More solemn artistic discourse comes ed for the Victoria & Albert Museum in tion, and he excels himself in this cham- from South Korean artist Lee Bul, who London by designers Tord Boontje and Crystal Worlds in Wattens, Austria ber. An Adonis and a Walking Woman has created a metropolitan, dramatic, the late Alexander McQueen. is open until 6 January 2020, and shatter into bits and pieces, white shirts utopian landscape completely out of is open daily from until 9pm. www. fly through the room and a bizarre cou- crystal. A deeply symbolic bridge leads The exhibition also features more co- kristallwelten.swarovski.com ple at a coffee table perform secret cho- you through her installation, Into Lat- lourful displays, for example, Manish reography. tice Sun. Arora’s Ready to Love, a popular favou-

No.9__ Artpaper / 029 CHRISTINE XUEREB SEIDU founded Christine X Art Gallery in 2004 after a university degree in Art History and Anthropology. S Spotlight /Egypt She has returned to Malta after a year in Ghana where she explored December ‘19 - March ‘20 African art and culture.

EGYPT

CHRISTINE XUEREB SEIDU Egyptian Contemporary Art since the Revolution

Leading Egyptian artists have been heard blaming their coun- try’s inability to launch a strong pavilion at the recent Venice Biennales on its infrastructure. The Art Newspaper listed the Egyptian pavilion at this year’s 58th Venice Biennale as one of the worst, many wondering if Egypt was at all interested in winning the Biennale’s Golden Lion Award.

Artists working under systems of oppression are suffering the consequences, as has been seen over the past few years with Egypt’s government involvement, using art as promotion for the country’s tourism and a lack of financial support towards contemporary art. Government cultural institutions and pri- vate foundations are not brave enough to face this challenge of censorship but small galleries, independent associations and independent artists are taking this risk, often receiving financial and moral support from foreign institutions instead. Following the 2011 uprising, it was the support provided by these institutions that allowed new practitioners to emerge and new independent festivals to be launched even though the Townhouse Gallery, which was established a decade be- fore, showed Egypt’s art community’s effort to disperse the Egyptian art scene.

The revolution was a turning point in art – Cairo, Alexandria and other cities flourished with artistic expression, includ- ing an abundance of street art. In addition to the Townhouse Gallery, the Downtown Contemporary Arts Festival (D-CAF) started to revive and reclaim the public spaces of Downtown Cairo as a vibrant cultural centre, highlighting its rich social and architectural heritage. Non-profit art foundations such as ASCI, Medrar and CIC are also playing a major role in the art world.

In an interview with The Observer, artist Shady El Noshokat said that there are less than thirty artists in Egypt not living under authoritarian rule, working on their own to reach inter- national acclaim. One such artist is Hassan Khan, who partic- ipated in numerous influential events and who won the Silver Lion award for the most promising young artist at the 2017 Venice Biennale. Other Egyptian artists working on their own and worth noting include Wael Shawky who is represented by the influential Lisson Gallery; Ghada Amer and Moataz Nasr who are represented by international Leila Heller Gallery; Armen Agop, Youssef Nabil, George Lappas, Lara Baladi, and Heba Y Amin amongst others. The Master’s Tools I (restaging of Herman Soergel’s portrait), Heba Y. Amin, 2018, archival b&w print 86 x 110 cm, courtesy of the artist

No.9__ Artpaper / 030 S Spotlight /Egypt December ‘19 - March ‘20

EGYPT

ing lack of funding and state censorship. However, many young, independent and creative artists still remain active. In addition to the Townhouse Gallery, the Downtown Contemporary Arts Fes- tival (D-CAF) aims to both revive and reclaim the public spaces of Downtown Cairo as a vibrant cultural center, high- lighting its rich social and architectural heritage.

The art practitioners, art aficionados, cultural journalists and – above all – the regular audience members of Egypt are really spoilt for choice when it comes to the contemporary arts scene, both in Cairo and Alexandria, and in several other cities. Even within the contempo- rary performing arts, there are countless events, formats, genres and colours,and a great deal of passion and dynamism on the part of practitioners.

Egyptian art galleries Gypsum, Mashra- Exhibitions by Egyptian artists happen- who represent Khaled Zaki in the UAE, bia and Ubuntu represent a good num- ing worldwide at the moment include will be showcasing the second edition ber of serious artists known to the in- Wael Shawky’s exhibition Cabaret Cru- of his Resurrection works in October ternational art scene. Mona Marzouk is sades III: The Secrets of Karbala at 2020 and Youssef Nabil will have his first represented by Gypsum together with the Blanton Museum of Art, University retrospective exhibition Once Upon a artists Ahmed Badry, Basim Magdy, of Texas, USA until 19 April 2020. Heba Dream open at Palazzo Grassi in Ven- Doa Aly, Fathi Hassan, Maha Maamoun, Y. Amin is currently co-curating the ex- ice, Italy, from March 2020 until January Mahmoud Khaled, Susan Hefuna and hibition History is Not Here: Art and of 2021. Pilar Corrias gallery, who rep- Taha Belal. Ubuntu Gallery has, in re- the Arab Imaginary at the Minnesota resent the artist Ghada Amer in Lon- cent years, introduced a good number Museum of American Art, with May- don, will also be holding an exhibition of their artists to the 1-54 Contemporary manah Farhat which remains open until with her latest paintings and sculptures African Art Fair- these include artists 5 January 2020. She will be exhibiting during 2020. Hayam AbdelBaky, Khaled Zaki, Sahar her solo show Fruit from Saturn at the AlAmir and Samir Fouad. The Mashra- Zentrum für verfolgte Künste in Solin- If in Cairo do visit exhibitions being held bia Gallery has also introduced some of gen, Germany until 2 February 2020. at Egypt’s art centres and galleries. Try their artists, like Adel El Siwi, Ali Abdel not to miss the Downtown Contempo- Mohsen, Mustafa El Husseiny, Qarm Armen Agop is one of the artists par- rary Arts Festival (D-CAF) being held Qart and others to the 1-54 Contem- ticipating in the group exhibition The between March and April, and the Cai- porary African Art Fair and the Beirut Eye and the Night, curated by Ger- rotronica new media arts festival being Art Fair. Other galleries in Egypt worth aldine Bloche at the Institute des Cul- held in June if you find yourself around mentioning include the Karim Francis tures d’Islam in Paris until 9 February Cairo at these times. Contemporary Art Gallery, Soma Art 2020 and for the first time ever, the School and Gallery, Darb 1718 and Sa- sculptor will be exhibiting his paintings Nevertheless, besides street art, the farKhan. at the Meem Gallery in the UAE until contemporary Egyptian art scene has, From ‘Qarboush - Echoes of Naguib Mahfouz, Qarm Qart, 2018, exhibition held at Mashrabia Gallery, courte- 10 January 2020. The Tabari Artspace, since 2011, faced many hurdles, includ- sy of the artist

“The revolution was a turning point in art – Cairo, Alexandria and other cities flourished with artistic expression, including an abundance of street art.”

No.9__ Artpaper / 031

ANN DINGLI is a freelance art and design writer, content consultant, and media strategist currently living in London. She writes and edits for Review /London / Kara Walker various cultural publications and runs her own design blog, I think I December ‘19 - March ‘20 like it (think-like-it.com).

UK

ANN DINGLI The Invisibility of History: Kara Walker’s Fons Americanus

Her parents are ous in a dense and clever collection of on dutiful watch, citations Walker has fed into her work. encouraging her Each allusion outlines an interpretation physical effort with of horror, injustice, or a subversion of tender expressions, beauty as a revelation of darkness. Walk- sounds and ges- er uses multiple sculptural reminders to >tures. She has conquered the ledge to showcase the permanence of greed, the Kara Walker’s Fons Americanus – a failure of moral justice to overcome the 13-metre tall fountain inspired by the desire for power. Aside, then, from the Victoria Memorial outside Buckingham fountain’s conscious scale and conceit, Palace – that has been installed as Tate it also hums with recurrence; present- Modern’s latest Turbine Hall Hyundai ing a persistent drone of merging mon- Commission. The structure is monu- strous references. The great volume of mental, filling the large and well-known visual quotations succeeds in adding a hall adequately and comfortably. So new layer of hiddenness. comfortably, in fact, that its recreational effect seems at first more powerful than Walker’s grand fountain, as it sits with- its thematic impact. Babies climb on its in the orbit of Tate’s vast audience, is polished circumference, teenagers sit as impactful for its didacticism as it is tapping and scrolling, selfies abound as for its act of disappearance. Like mur- they might in the presence of a tradi- derous headlines in contemporary news tional public monument. reports, it jolts and then fades into the firmament of ordinary activity. A noose In her video explainer for the installa- hangs ready for lynching, a toddler dips tion, Walker describes her own experi- her fingers into splashing water. Walker ence of seeing the Victoria Memorial for presents the terrors of our own history, the first time while on her way to the and then “promptly” allows – even en- airport. “I saw the monument, I took courages – us to ignore them. some quick snapshots out of the win- dow of the taxi and then forgot about it, But in a second structure standing promptly – as one does with monuments ahead of the fountain, smaller in scale and memorials. I think there’s this pe- and range, Walker brings her crucial culiar quality they have of being com- message back into clear consciousness. pletely invisible. The larger they are, the A black child’s sorrowful face replaces more they sink into the background”. what should be a pearl within the curves of an enclosing oyster shell; tears pour Despite its bold subject-matter, Fons out from his eyes with no irony or car- Fons Americanus, Hyundai Commission, Kara Walker, installation view Americanus effectively achieves this © Tate photography (Matt Greenwood) icature. At this point there is no scope strange invisibility. On explicit exam- for ignoring, looking past, or forgetting – ination the structure is a nuanced re- legory of the black Atlantic”, presenting day out. collective fault reveals itself as inescap- definition of British imperial history. a rationally ordered vision of writhing able and our inability to stop repeating Walker uses water and formal hierarchy figures and pathetic sea creatures. But Walker has been lauded for the work’s fatal brutalities is mournfully confirmed. to bring the scenes of the transatlantic when taken in at some distance, the layered integration of art historical, po- slave trade into a mainstream narrative. fountain’s incredible height and immen- litical and pop cultural allusions. J.M.W Kara Walker’s Fons Americanus is on She highlights the terror of colonialism sity disguises its own atrocities, placing Turner, Damien Hirst, Kanye West, San- show at the Tate Modern until 5 April through the creation of a grandiose “al- it instead within the realm of a family dro Botticelli – these are the most obvi- 2020. www.tate.org.uk

Walker’s grand fountain, as it sits within the orbit of Tate’s vast audience, is as impactful for its didacticism as it is for its act of disappearance.

No.9__ Artpaper / 033 RICHARD ENGLAND is an architect, poet, artist and the author of several books on art and architecture. His Opinion / Fine Art / Poussin buildings have earned him numerous International priz- December ‘19 - March ‘20 es and awards.

MALTA

RICHARD ENGLAND An Enduring Mystery The brooding, unknown message in Nicolas Poussin’s iconic painting, Et in Arcadia Ego

icolas Poussin, a French paint- er who spent most of his work- ing life in Rome, is considered one of the major artists of the French Baroque – his work focused mainly on mytholog- ical and religious subjects. In N Rome, he worked for important ecclesiastical patrons producing an impressive number of devotional paintings, enhanced by his knowledge of religious history and literature. Besides his sacral works, Greek and Roman mythological subjects were also among his favourite themes and personalities such as Bacchus, Romulus, Adonis, Apollo and Venus often featured in his works.

Perhaps his most famous paintings on a mythological theme were his two versions of Et in Arcadia Ego painted around 1630. It is the second painting housed at the Louvre that I count as one of my favourite art- works. The painting portrays shepherds in an Arcadi- an landscape visiting a tomb in a pastoral setting. Ar- cadia, in ancient Greece, was a rural milieu in which one could enjoy an idyllic life-style; a shepherd’s realm of poetry and paradisiacal delight. Arcadia is first re- ferred to by Virgil in his Eclogues in a lyrical medita- tion on the Tomb of Daphnis, and over time Arcadia has also been interpreted as a surrogate locus for the lost Edenic garden.

In the painting, two of the shepherds investigate the inscription on the tomb, trying to decipher and under- stand its meaning. Their stance is balanced between seeking and finding, perhaps contemplating that ulti- mately it might be better not to find, for the depicted tomb does not reveal its secrets. It gives no answers Et in Arcadia ego (Les bergers d’Arcadie or The Arcadian Shepherds), Nicolas Poussain, photo credit wikimedia and its message remains impossible to decipher. The question which comes to one’s mind is: why does the may well be etching his own name on the tomb, as if to somehow relates to the arcane stories and mysteries tomb have no name and only the mysterious inscrip- evoke Pliny’s Greek tale of the daughter of the potter of Rennes le Chateau and its hidden treasure. Many tion Et in Arcadia Ego? Do the words really conceal Butades, who etched the shadow of her lover on a wall believe that the phrase Et in Arcadia Ego is incom- a secret encoded message, or are they just saying that and thus gave birth to the art of drawing. plete, lacking the verb sum. If sum is applied to the even in Arcadia death is present and inevitable? anagrammatic code, it can then be read as ‘Arcan Dei While two of the shepherds focus their puzzled looks Tengo Iesu’ – I touched the tomb of God Jesus. How- The whole painting, despite its elegiac pastoral setting on the memento mori sarcophagus as if attempting to ever, these are conspiracy theories best not taken too harbours a strange brooding mood, hints at the point comprehend the passage of time and the inevitability seriously. What they do however demonstrate is the that even in the blissful ambiance of Arcadia human of death, the third seems to have understood the mes- complexity and incomprehensibility of Poussin’s work. life is transient. In Poussin’s first painting of the sub- sage and looks back on the female figure on the right On a personal level, I find the painting one of the most ject, the tomb featured a skull effigy, while in the sec- as if contemplating that she too will one day die. There intriguing works I have ever seen, leading me to ask ond version it is a shepherd cast shadow which accord- have been many attempts to interpret this ambiguous whether it really harbours so many hidden mysteries ing to some interpretations, is a scythe to make both painting including some esoteric, abstruse versions. or if it is just a message to remind us that wherever the depicted shepherds and viewers of the picture One of these refers to rearranging the letters of Et in we are and whoever we are, death is an omnipresent aware of their own mortality. Another interesting de- Arcadia Ego and have the anagram read as ‘I Tego Ar- finality. tail is the cast shadow of the kneeling shepherd, who cana Dei’ – I hold the hidden secrets of God – which

No.9__ Artpaper / 034 KENNETH ZAMMIT TABONA is Artistic Director of the Valletta International Baroque Festival and of Malta’s Teatru Review /Tate Britain / William Blake Manoel. He is also one of Malta’s best-known visual December ‘19 - March ‘20 artists and illustrators.

MALTA

KENNETH ZAMMIT TABONA The Infernally Mystical World of William Blake

Kenneth Zammit Tabona takes us on a Biblical journey through William Blake’s world at Tate Britain

While on a flying visit to London, I man- aged to visit the current William Blake exhibition at the Tate Britain. Beautiful- ly curated over five large rooms, the ex- hibition covers Blake’s life and develop- ment as an archetypal printer, engraver, water-colourist, and lithographer culmi- nating in his illustrations for Dante’s Di- vine Comedy and the biblical Book of Job with its trials and tribulations.

Born in 1757, Blake lived through the Ages of Enlightenment and Reason through the tumultuous period of the French Revolution and its side effects into the Romantic Age. He died in 1827, still considered to be either a visionary or a lunatic.

I personally love his work; whimsical, mystical, different; a plethora of adjec- tives can be applied to Blake’s work with its odd mixture of Christian and Biblical morality combined with pagan mythol- ogy.

There are the great well-known works like Albion Rose from 1793, and the iconic Ancient of Days from 1821, which many art lovers would recognise instantly. Plus illustrations for great lit- erary works, like The Pilgrims’ Prog- ress. Three coloured engravings that I’d never seen before immediately caught my eye in the times in my Children’s Bible, about how Joseph for- first room, entitledBlake as an Artist. Early works gave his brothers for the terrible deed they had done that echo the linear magic of Henry Fuseli depicting to him when he was still a boy and the roundabout way three scenes from the Story of Joseph. The Brothers that he did it. bowing before Joseph wherein the prophet hides his face to avoid being recognised, Joseph ordering his For the record, I always found the Old Testament as brother Simeon to be bound, and Joseph revealing exciting as Lord of the Rings when growing up; walls himself to his brothers. crashing down to the sound of rams’ horns, evil queens being eaten by dogs, seas parting and food falling from I tend to be very emotionally led when it comes to my the sky; you name it, the Old Testament has it. But likes and dislikes in art but out of all the hundreds of the Story of Joseph is like a calm oasis in a chronology works on display it was these three which somehow of exiles, battles, plagues and other disasters which touched my heart. The Story of Joseph and his Amaz- depicts an almost Christ-like human being, in an age ing Technicolour Dreamcoat has, since Andrew Lloyd when prophets thundered furiously or lamented end- Webber immortalised it, been part of our youth and is lessly! in Blake’s own words a modern ‘song of innocence and experience’. What was indeed a voyage back in time William Blake is on at Tate Britain until 2 Febru- for me was the story that as a child I had read so many ary 2020. www.tate.org.uk

‘Europe’ Plate i: Frontispiece, ‘The Ancient of Days’, Wil- liam Blake, 1827, etching with ink and watercolour on paper, The Whitworth, The University of Manchester

No.9__ Artpaper / 035 S Spotlight / AfricaEvents / /Budapest Global DecemberDecember ‘19‘19 -- MarchMarch ‘20‘20

PAINTING + SCULPTURE A selection of art events from around the world 12.19-03.20 Events until March 2020

19.09.19 20.09.19 12.10.19 22.10.19 13.11.19 24.01.20 Until 5 January 2020 Until 13 January 2020 Until 8 March 2020 Until 2 February 2020 Until 16 March 2020 Until 2 February 2020

CHICAGO DESIGN SPITZMAUS I RISE – I’M A A TALE OF CHRISTIAN TRANSMEDIALE BIENNALE MUMMY IN A BLACK OCEAN, TWO WOMEN BOLTANS- 2020 – END TO COFFIN AND LEAPING AND PAINTERS KI: FAIRE SON END Titled …and other such OTHER WIDE (PART 2) TEMPS stories, the 2019 Chicago In celebration of its Inspired by a pre- Architecture Biennial is TREASURES This is the first institutional bicentenary, the Museo del An exhibition covering Internet idea of networks, rooted in close readings An exhibition project solo exhibition in Europe Prado presents the work the life and work of transmediale 2020 – End of the spatial realities conceived by Wes of work by the Brazilian of Sofonisba Anguissola one of France’s leading to End focuses on both of its host city. A city of Anderson and Juman artist Sonia Gomes. and Lavinia Fontana. For contemporary artists, forgotten and potential cultural encounters and Malouf, and organised Gomes transforms found the first time ever, the Christian Boltanksi, famous futures with and without differences, Chicago has in collaboration with the or gifted materials, such exhibition brings together for having blurred the networks. Leaving behind been shaped by waves of Kunsthistorisches Museum as old textiles, driftwood, key works by two of the boundaries between his a decade marked by a migration from Europe, the in Vienna, this exhibition furniture or wool, into most notable women life and his work. As a backlash against the American South, and Latin features 538 artworks and sculptures or room-sized painters of the second half visual artist, photographer, Internet and the network America. Yet its urban fabric objects selected by film installations, blending of the 16th century. sculptor and filmmaker, society, transmediale aims displays clear demographic director Wes Anderson crafts skills traditionally Featuring a total of 65 Boltanski appropriated to present a comprehensive demarcations and acute and illustrator, designer associated with women works – including 56 a multitude of artistic re-evaluation of networks forms of spatial segregation and writer Juman Malouf, such as embroidery, paintings, loaned from expressions and materials and their limits. The festival that have been forged from 12 collections of the wrapping, sewing or tying more than 20 European and throughout his career and – which acts as a space for through uneven planning Kunsthistorisches Museum with a range of references. American collections – the continues to explore the media art and digital culture and housing policies. The and from 11 departments In the process, Gomes Museo del Prado presents intersection between the – includes an exhibition, Biennale is spread across of the Naturhistorisches draws on African folk art a survey of the careers absent and the present in live performances, a the city of Chicago, in Museum in Vienna. The and spiritual traditions, of these two painters, his work. 35 years have film and video, as well venues such as the Chicago title of the exhibition along with the form who each achieved fame passed since Boltanski’s first as symposiums and Cultural Centre, the pays homage to one of languages of surrealism, and renown among their exhibition at the Centre workshops. By drawing Jane Addams Hull-House the exhibits, Coffin of a Brazilian modernism, and contemporaries but whose Pompidou. Designed by on the legacies of critical Museum, and the future Spitzmaus – an Egyptian recent contemporary art. artistic personalities became Boltanski himself as a vast and autonomous network site of the National Public wooden box with a The exhibition combines obscured over time. journey into the heart of his cultures, transmediale 2020 Housing Museum. mummified shrew from the works from the early 2000s work. Christian Boltanski: makes the limits of visible

4th century BC. with Gomes’ latest mixed- Museo del Prado Faire Son Temps is not Internet-based networks City of Chicago media sculptures. www.museodelprado.es so much a retrospective and highlights relevant www.chicagoarchitecture Fondazione Prada, Milan as a series of sequences alternatives. biennial.org Image: Self-Portrait at the Easel, www.fondazioneprada. Museum Frieder Burda, Sofonisba Anguissola, oil on marking the steps and canvas, c. 1556-57, Poland, The Haus der Kulturen der Image: Tanya Lukin Linklater, org Baden-Baden transformations of his Castle - Museum in Łancut Welt, Volksbühne Berlin Tiffany Shaw-Collinge, www.museum-frieder- approach. Indigenous Geometries, 2019, Image: Wes Anderson & Juman burda.de www.2020.transmediale. Courtesy of Chicago Architecture Malouf, Spitzmaus Mummy in de Biennale / Cory de Wald, 2019 a Coffin and Other Treasures, Centre Pompidou, Paris installation view. Photo: Andrea Image: Sonia Gomes, To de www.centrepompidou.fr Rossetti, courtesy Fondazione Kooning, 2019 © Sonia Gomez Image: The Laboratory of Manuel Prada Bürger Image: Misterios, 2017 – photographie, Archives Christian Boltanski, photo © Christian Boltanski © Adagp, Paris, 2019

Don’t Miss: JACQUES-LOUIS DAVID MEETS KEHINDE WILEY Jacques-Louis David Meets Kehinde Wiley brings the iconic painting – Kehinde Wiley’s Napoleon Leading the Army 09.10.19 over the Alps (2005) – into dialogue with its early nineteenth-century source painting: Jacques-Louis David’s Napoleon Until 6 January 2020 Crossing the Alps (1800-1801). The two paintings, displayed together for the very first time, are on view in consecutive Château de exhibitions at the Château de Malmaison and at the Brooklyn Museum. Malmaison, France The exhibition questions how ideas of race, masculinity, representation, power, heroics, and agency play out within the realm of portraiture. The Brooklyn presentation marks the first display of David’s painting in New York. Video also accompanies the project, incorporating Wiley’s perspectives on how the Western canon, French portrait tradition, and 24.01.20 legacies of colonialism influence his own practice. Until 10 May 2020 Brooklyn Museum of The exhibition represents an intimate conversation between two key artists of the nineteenth and twenty-first centuries Art, New York and illuminates how images construct history, convey notions of power and leadership, and monumentalize figures in the form of aggrandizing icons. Image: Kehinde Wiley, Napoleon Leading the Army over the Alps, 2005, oil on canvas. Brooklyn Museum, partial gift of Suzi and Andrew Booke Cohen in memory of Ilene R. Booke and in honour of Arnold L. Lehman, Mary Smith Dorward Fund, and William K. Jacobs, Jr. Fund, 2015.53. © Kehinde Wiley. (Photo: Brooklyn Museum)

No.9__ Artpaper / 036 ALEX BARTHOLOMEW is a Maltese-English freelance writer and social media. Having studied languages and linguistics, Alex appreciates the power of language in art and has traveled the world, enjoying the Review /Tate Britain / William Blake international art scene. She relishes art which she can connect to on an emotional level; the works which offer December ‘19 - March ‘20 enough vulnerability to ‘know’ the artist behind them.

UK

ALEX BARTHOLOMEW Endless Worlds Tim Walker’s Wonderful Things at the Victoria & Albert Museum

‘Box of Delights’ Section 2, Wonderful Things, Tim Walker, installation view © Victoria and Albert Museum, London ‘Cloud 9’ Section, Wonderful Things, Tim Walker, installation view © Victoria and Albert Museum, London

It has been scientifically proven that al- ing gently in a library, a bird-like lady It is a captivating experience to follow Although it can be said that this exhi- most everyone is born with creative ge- perched on a frame surrounded by pink Walker on the creative journeys leading bition is one of beginnings and endings, nius. By the time we reach adulthood, flowers, a giant doll towering over a to each photoshoot. The visitor witness- with the V&A archives as the beginnings however, only 2% of us hold onto that model; Walker’s scenes are a breath of es Indian animal chess pieces become and the photographs as the endings, this potential. Knowingly or unknowingly, fresh air amidst the anxious fumes of creatures on stilts, and a snuffbox be- linear concept is one of much contention we have all been worn down by formal modern-day life. come a UV-lit dragon-walker. It is ev- for Walker. The exhibition closes with education and societal pressures, yet ident that Walker’s upbringing in the Walker’s giant scrapbook – the pages of a tiny proportion of mankind has risen Walker has created some strange, beau- countryside and his youthful freedom it open. Walker writes; “ends are always from the ashes of conformity, like phoe- tiful and strangely beautiful works to explore the outdoors has formed and followed by beginnings. Something new nixes ready to use their fire to light up throughout his career (many of which informed the work we see today. Given could start right here. There really are the world. are thoughtfully displayed in the V&A’s that he sees objects with the same fasci- so many wonderful things”; alongside a introductory rooms). From his early ca- nation as a child, this is an apt reference. quote by C. S. Lewis, “you can’t go back Tim Walker is one such person. A man reer as an assistant to Richard Avedon and change the beginning, but you can who doesn’t just daydream, he day-‘re- in New York, he has evolved to become A joyful energy emanates from the ex- start where you are and change the end- alities’-, creating the real life fantastical a favourite for Vogue editorials and has travagant rooms, which have each been ing”; and D. H. Lawrence, “things men worlds we all used to have the keys to established himself as the go-to man for arranged to set the scene of both the in- have made with wakened hand… go on unlocking when our imaginations ran ethereal scenes in uncharted artistic ter- spiration of the respective collection of glowing for long years”. Walker both ac- wild as children. Walking under the rain- ritory. While anyone who has followed photographs and the photographs them- cepts and denies endings, affirming the bow-tinted balloons spelling the words Walker’s career knows of his talent, this selves. A velvet-clad room houses the continued life of art long after a piece ‘Wonderful Things’, and into his exhibi- exhibition offers more than just a collec- erotic ink illustrations of Aubrey Beard- has been completed, thanks to the touch tion at the Victoria & Albert Museum, it tion of his work; it offers an insight into sley, a pretty-in-pink 1750’s formal court of creative genius that never wears feels as though I have been given exclu- the creative process of Walker, from in- dress found more recently in a dressing down. This exhibition is a love song to sive access into Tim Walker’s mind – a spiration to creation. up box, is accompanied by nightclub the V&A, its objects and the people who bold, limitless and wild realm where ev- music, and architecture fit for a chapel preserve them. Walker’s ability to con- erything and anything seems possible. Two years ago, the Victoria & Albert invites you into a stained glass-inspired nect to the people behind the objects Museum set Walker the honourable room. Everything from the décor to the brings all these wonderful things to life. It is perhaps this induced feeling of end- challenge of creating a series of photo- music has been designed to give the less possibility that makes Walker such graphs inspired by its archives. Since visitor an explanation of how the photo- Tim Walker: Wonderful Things is on an appealing and crucial photographer then, Walker has been exploring the graphs came to be, each one recreating at the V&A until 8 March 2020. www. at this present time. In a one-size-fits- museum, picking out the pieces which the thrill that Walker must have felt as vam.ac.uk all world where order, bureaucracy and have captured his imagination and using he set eyes upon the V&A treasures for impersonal expectations reign supreme, them as a platform for his work. The re- the first time. As you come to the final we are hungry to feast our eyes on some- sulting collections of photographs are an rooms of the exhibition, you can hear a thing disorderly, irrational and reckless. ode to the V&A with a flamboyant Walk- combination of the music from all that Tim Walker’s photography gives us this er-like twist. came previous, the notes layered over chance to dream. Bed-topped car rooves each other like a symphony of inspira- in the middle of a woodland, tents glow- tion.

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S Spotlight /Africa Events / /Budapest Malta December ‘19 - March ‘20

VISUAL ART EXHIBITIONS A selection of curated events in Malta + Gozo 12.19-03.20 Events until April 2020

07.10.19 20.12.19 16.01.20 13.02.20 18.02.20 05.03.20 Until 3 January 2020 Until 9 February 2020 Until 5 February 2020 Until 28 February 2020 Until 17 April 2020 Until 25 March 2020

TATOM DING LI: HIDDEN SOUTHERN STILL STILLS UNDER CON- MEMORIES FROM Ana [Against] Khronos BY SEALING DEPTHS AND Following last year’s solo STRUCTION: MARS [Time] – through a series Chinese artist Ding Li often NORTHERN exhibition in Malta, STILLS, SPACES BEYOND Memories from Mars is of oil paintings Dominique feels anxious about changes LIGHTS Anna Galea is pushing ART AND ARCHI- an exhibition featuring a Ciancio takes a look at in the world, and with an Built on the observation boundaries in STILL TECTURE collection of large abstract the fleeting nature of time artist’s innate sensitivity, of the delicate creatures STILLS – this time using Architecture shows an paintings by the Italian and how values seem he unexpectedly brings and glass sponges living her favourite medium, impressive flexibility as a artist Lucio Dubini. The to shift with it. TATOM these real experiences into under Antarctica, this watercolour. Most of the partner for the arts – as show presents lyrical and stems from a number of his work. Ding Li: Hidden contemporary jewellery works in this challenging subject of investigation, colourful expressions of the enduring controversies. By Sealing showcases exhibition by JAD (Gioia and unforgiving medium venue for experience, and artist’s personal narratives Are there everlasting and representations of his Clavenzani + Ivano Ghinelli) are huge by watercolour source of spatial imaginary. related to the concept of unchanging principles that life profoundly imprinted will explore similarities standards – many well over This partnership between attraction. The exhibition stand through time like with these reactions. His and differences between a metre high or wide. Anna’s architecture and the visual will be showcased at solid immovable trees? And art transforms internal deep seas and surfaces dramatic use of watercolour arts enriches and broadens Palazzo de la Salle and will how can a painting discern conflicts or deep emotions of the North and South in large-scale paintings does our perception of both the be curated by Roderick the heart and thoughts of linked to everyday Pole – darkness and light, away with the perception built environment and visual Camilleri. man? TATOM is an attempt experiences into rapid, transparency and solidity, that watercolour is a culture. The exhibition is at exploring a few of these impatient, brushstrokes, strength and fragility as medium used solely for curated by Lukas Feireiss, Where: Palazzo de La ideas. and compositions, thereby metaphors of the apparent romantic landscapes. and will include work Salle, Valletta creating universal visual contrast between the by Marlon de Azambuja, Monday to Friday Where: art..e Gallery, themes. human perception of a solid Where: Palazzo de La Clemens Behr and Tomás 8am – 7pm Victoria, Gozo reality and the possibility Salle, Valletta Saraceno among others. Saturday 9am - 1:30pm Monday – Saturday: Where: Space A, Spazju that reality, as we perceive Monday to Friday 9.30am to 12.15pm Kreattiv it, might be only a creation 8am – 7pm Where: Valletta www.artsmalta.org Sunday: 10am - 12 noon Monday: 9am – 5pm Saturday 9am - 1:30pm of the observer. Contemporary Image: Nude, courtesy the artist Tuesday – Friday: Tuesday to Saturday: Image: TATOM, courtesy the artist. 9am – 9pm Where: Palazzo de La www.annagalea.com 11:30 – 19:00 Saturday – Sunday: Salle, Valletta Image: courtesy the artist 10am – 9pm Monday to Friday www. 8am – 7pm vallettacontemporary.com www.kreattivita.org Saturday 9am - 1:30pm Image: Installation view of Marlon Image: courtesy of the artist de Azambuja’s Brutalismo, 2014, www.artsmalta.org industrial clips and elements of construction, source: artist’s Image: Maltese Garden, courtesy website. the artists

11.12.19 Until 29 February 2020 ISN’T LIFE UNDER THE SUN JUST A DREAM Blitz Valletta presents a survey of German artist Tobias Zielony, including a new commission created in Malta. Zielony investigates social realities by challenging the distinction between photographic genres and questioning old – yet hard to dismiss – preconceptions on truth and fiction in the realm of documentary research and so-called photojournalism. His work oscillates between photography and moving images as he creates psychologically charged portraits and immersive slideshows that overrule visitors’ emotions. He addresses many crucial topics of our society including adolescence, migration, and globalisation, offering a reflection on people and communities, and by extension, on the architectural spaces that determine their experiences and desires. Zielony has exhibited extensively in international museums and represented Germany at the Venice Biennale in 2015.

Where: Blitz, Valletta Tuesday - Friday 2:30pm - 6:30pm Saturday 10am - 1pm www.thisisblitz.com

Image: courtesy Tobias Zielony and Lia Rumma Gallery, Milano and Napoli

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