Words are one of, if not the most, versatile tools one may employ. They may serve to sway opinions in favour of one’s own, express original knowledge to which one may be credited, and even prolong the memory of an individual long after life’s end. In a sense, words are worlds. However, there is one condition. For words to have power, people need to understand the language. Unfortunately, this isn’t always the case.
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Is-Siġġijiet is not just about chairs. It is also about nothingness and meaninglessness, miscommunication and isolation – that type when you look back and realise you never amounted to much. It’s a stark irrelevance that gnaws at you and makes you desperate to hold onto whatever significance you can and say ‘yes, it wasn’t all for nothing’. It’s not a comforting thought, but the script does well in hiding that with its quips and gags.
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‘We make place, and our actions influence how place is shaped and develops,’ reflects multidisciplinary artist, Dr Trevor Borg. Place is a multilayered term that has been used in various contexts over the years. While place and space often converge, they each carry distinct characteristics. How do the specificities of place and space emerge through contemporary art?
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URNA is Malta’s response to the 5th edition of the London Design Biennale 2025. THINK speaks to curator Andrew Borg Wirth and Arts Council Malta Internationalisation Executive Romina Delia to learn how this project seeks to create a connection between souls when experiencing a loss.
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Matthew Attard, chosen to represent Malta in the 2024 Venice Art Biennale, reimagines ship drawing by melding it with emerging eye-tracking technology.
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