Curated by Elyse Tonna with artist Dr Matthew Attard, ‘The Ship (Unseen)’ delivers the same brilliance and deep artistic intent which Attard, Tonna, and the rest of the team had been praised for during the 60th Venice Biennale. In 2025, the two sought to continue building on the themes of connection, identity, and memory established in ‘I Will Follow the Ship’, making use once again of that iconic, ever-moving, web-like linework.
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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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Art is embedded into Malta’s history, whether it may be found in Ġlormu Cassar’s astute, Mannerist architecture, prehistoric etchings on numerous temple walls around the island, or in graffiti found on wayside chapels from the 1600s onwards. Matthew Attard concerns himself with the latter, with a specific focus on ship graffiti. Now chosen to represent the Malta Pavilion of the 2024 Venice Art Biennale commissioned by Arts Council Malta, his exhibition will include artworks showcasing impressive innovation, having reimagined the method of drawing by melding it with emerging eye-tracking technology.
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