Paintings in motion

Vince Briffa’s contribution to the Venice Biennale in 2019 is OUTLAND. An audio-visual piece inspired by The Odyssey, a story intimately linked to the Maltese islands’ own folklore, the work unfurls over many layers.

On one level, it explores the lure of safety and the numbness that can bring—exhibited through Ulysses’ portrayal, who is caught in a bubble of his own making. ‘The plastic room replaces the island from the story, presenting a different interpretation,’ explains Briffa. Here, it is Ulysses’ own mind and thoughts that keep him trapped. 

The character of Calypso is also a reflection of the theme MALETH—port and safe haven. ‘She is both a lover and oppressor,’ Briffa says. ‘Calypso offers a haven for Ulysses during the seven years he spends harboured in her cave. But he is also her prisoner.’

Finally, there is fragmentation and distortion to create new from old. Penelope is Ulysses’ waiting wife, torn between longing for her husband’s safe return and an uncertainty she secretly harbours—is that even what she truly wants? Her presence in the work comes through the use of Emmanuel Mifsud’s poem Penelopi Tistenna (‘Penelope waits’). For Briffa, the Maltese language helps the story ‘take on a different life.’

The work’s duality is apparent. Images are juxtaposed against one another. One can observe two characters simultaneously, living their own truths and challenging each other. However, the conflict is not structured. ‘It’s a contemporary art piece, not film. There is no story. It’s more of a painting. I am, myself, a painter first,’ Briffa notes. 

So for those who find a narrative in this piece, know that it is uniquely yours. The question now is: will you share it?  

To watch and read more about OUTLAND visit www.vincebriffa.com 

Musical messaging: Politics in Maltese music

Music has been used as a vehicle for political commentary since time immemorial. Cassi Camilleri, Dr Mario Thomas Vassallo, and Brikkuni’s Mario Vella reflect upon the Maltese scene and its contribution to the discussion.

Music triggers all sorts of reactions and emotions in people. Hollywood’s multi-million dollar soundtracks are an eye-watering testament. Throughout history, music has also been used to transmit messages to the masses. Music can simultaneously act as a call to arms and a form of rebellion, depending on your perspective.

Dr Mario Thomas Vassallo presenting his radio show on Campus FM.

As part of his research into the relationship between music and politics, Dr Mario Thomas Vassallo points to the distinctly Maltese practice of adopting international hits to accompany political campaigns. Such adoptions have included We Take the Chance by Modern Talking, the anthem used by the Nationalist Party in 1998 after the collapse of Alfred Sant’s Labour Government, and, of course, New Tomorrow, Labour Party’s rallying call for change in 2013.

In another interview by Teodor Reljić, former radio presenter and music journalist Dr Toni Sant described the tendency of Malta’s political parties to rely on foreign songs as an unfortunate example of ‘cultural colonialism’. ‘It relates to the general Maltese idea that whatever comes from Britain, the US, Europe (take your pick) is better than what can be produced in Malta. It shows a lack of national cultural identity, unless the Maltese cultural identity is actually entrenched in its colonial past, rather than its more recent political history. And on it goes…’ Sant told Reljić.

Vassallo agrees with Sant’s reasoning, but adds that this ‘colonialism’ is not the only reason for the phenomenon.

‘In a globalised world, culture is being hybridised,’ Vassallo states. ‘You cannot tell what is local and what is foreign. Rihanna does not belong to Barbados, where she was born and raised as a kid, but to the world (and to Malta as well).’ 

Beyond this, Vassallo points to the commissioned music that political parties have funded over the years. These songs’ lyrics are usually interpretations of manifestos, used to get the electoral slogan to voters. ‘One of the most popular songs in this genre is Ngħidu Iva with lyrics by Joe Chircop and music by Philip Vella. This composition was the official song of the Nationalist Party during the 2003 referendum campaign for Malta to join the European Union,’ he writes in his paper. 

Mario Vella. Photo credit: Nicole Parnis.

But what of those operating outside the parties’ influences? Those who want to criticise and shed light on bad behaviour and problematic choices made by the powers that be? Among those most vociferous on the island are Brikkuni. Frontman Mario Vella explains his motivations saying, ‘As a songwriter, I feel inclined to delve into matters that affect me both on a personal level and in a wider context. Little matters whether one is apolitical or dismissive of this age-old phenomenon. Politics will, one way or another, force its way into our everyday lives. Addressing it is but a natural and obvious consequence.’ 

There are critics, of course. ‘I receive endearments of the ‘I hate you and your music’ variety,’ Vella notes; however, the results of this work have seen the band and its music embraced by many who see truth in the lyrics. L-Eletti’s message of contempt towards the ridiculousness embodied by those ‘elected’ (the English translation of eletti) is poignant especially when paired with the music’s fairground flavour. But loud voices often pay a price, and Vella is no different.

‘I have faced considerable censorship, but I hardly look at it as a repercussion. I tend to view it as an inevitable reaction to choices consciously made. There’s always some other way out of the hole. Even ones you dug for yourself. Unless you have a couple of kids to provide for. Then you’re screwed.’ Vella has none. 

Vella and Vassallo both believe that there are limits to artistic expression. Vassallo puts an emphasis on ‘respect and autodiscipline’. In an interview with Vassallo, singer-songwriter Vince Fabri explained that, ‘if I want to criticise someone, I’d rather not offend him. I can definitely be satirical, cynical, or mocking, but I will never resort to vilification and absurdity.’ Vella, too, doesn’t see artistic limitation as a hindrance ‘as long as you’re the one setting it.’ 

There is an element of responsibility that comes with the ability to speak to people on a visceral level. Artists can use their skills for positive effect. In 2007, at the height of the immigration crisis in Malta, singer-songwriter Claudio Baglioni pointed to the fear artists’ influence can instil in politicians. This is why, he said, ‘we have to be close to politics, but not immersed in it. We can be like sentinels.’ 

At a time when the line between truth and lies gets increasingly blurred, perspective makes all the difference. If our sentinels can provide us with that, we’ll be all the better for it.  

A multi-disciplinary life

Winner of the National Book Council’s award for Best Novel Loranne Vella has enjoyed an eclectic career, spanning literature, teaching, translation, and theatre, then circling back to literature again. But as Teodor Reljić discovers, her journey across creative modes had its roots at the University of Malta.  

It’s not every year that the National Book Council dishes out its annual Best Novel Award to a work of time-hopping speculative fiction. But that’s exactly what happened last December, when Loranne Vella won the award for her novel Rokit (Merlin Publishers), which details the journey of Petrel, a Croatian youth who travels to Malta in search of his family roots, only to find an island ravaged by climate change. 

‘With Rokit, Loranne Vella distinguished herself with another prize-winning novel that crosses genre boundaries between adult and young adult fiction,’ wrote National Book Council Chairman Mark Camilleri. 

Such a dense and knotted work suggests hard creative labour, which Vella confirms, pointing out that the novel took five years to put together. But one shouldn’t assume that Rokit was all that commanded Vella’s attention in those years, nor that writing is her only chosen pursuit. In fact, she says the process left her hankering to return to performance. 

‘I was interested in merging my two artistic passions and experimenting with various possibilities,’ Vella says, explaining how this want led to the Barumbara Collective in 2017, ‘which focuses on collaboration with artists from different spheres.’

As it happens, Vella being awarded the Book Council prize directly coincided with a Barumbara Collective project—the multi-disciplinary performance Verbi: mill-bieb ’il ġewwa. 

Loranne Vella

And while Verbi certainly had a role to play in refreshing Vella’s creative muscles in the here and now, it also channelled key elements of her past experience. The Barumbara Collective is only the latest iteration of Vella’s involvement in the performing arts. The still-active Aleateia Theatre Group was her first and most significant project, beginning as a student project in 1992 and resulting in a generous number of experimental performances held at the Valletta Campus Theatre throughout the nineties and noughties. Vella performed, trained other actors, and documented the group’s progress. 

The Barumbara project brought more deep-seated memories back to the fore. ‘With Verbi, I wanted to involve university students from the Department of Digital Arts and the Department of Theatre Studies, seeing how the project was an interdisciplinary one where visual arts, performance and literature come together in one performative installation. I can truly say I was amazed by the hard work done by the students who collaborated. Their enthusiasm reminded me of myself as a student back in the 90s.’

Vella’s own student enthusiasm did not come as immediately as all that, however. While she is now secure in her three-pronged role as writer, performer, and translator (also acknowledging her former role as a lecturer), forging an early path as a student meant first squinting through the fog. 

‘It took me quite a while to figure out which were the right subjects for me,’ Vella confesses. ‘Before ‘91, I had spent a year struggling as a BCom student. This course was definitely not for me, contrary to what my teachers and counselor advised me at the time. Before that, I had registered for the one-year-long Foundation Course at university, intended for students like me who couldn’t make up their mind… for a while I was even considering Law…’ 

It was then that Vella learned about the Theatre Studies Programme, though a couple of years still had to pass for her to take the leap. 

‘I guess I finally decided to choose what I was interested in, rather than think too much about what my future profession or career should be.’ The choices in question were Theatre Studies and English, subsequently opting to specialise in Theatre until she finished her MA in 2000. 

‘Everything about me, since then, revolves around these two disciplines: theatre and literature.’

These pursuits became an active part of student life for Vella, who loves to turn her passions into more tangible projects. Vella collaborated with fellow Aleateia member Simon Bartolo in establishing Readers & Writers, a literary journal which featured original prose, poetry, and literary criticism. Running for five editions, the journal sowed the seeds for Vella’s future literary output. 

‘I was still writing in English back then. It took me almost ten years to start writing stories again, this time in Maltese.’

The breakthrough came in 2004, when Vella began writing the first chapters of what would eventually become Sqaq l-Infern, the first volume of the It-Triloġija tal-Fiddien, together with Simon Bartolo. Like Rokit, the trilogy would be published by Merlin Publishers, and it managed to hit a fresh nerve in the local literary circuit. 

Aimed at young readers, the trilogy proved to be a ‘Harry Potter moment’ for the Maltese literary scene. Gr

La Signora Fogli (Drowning Lilies, Aleateia, 2005 Photo by Gilbert Guillaumier

aced with eye-catching covers by renowned illustrator Lisa Falzon, its mix of local folklore and coming-of-age yarn was met with excitement and healthy sales. The trio was completed by the novels Wied Wirdien (2008) and Il-Ġnien tad-Dmugħ (2009).

‘By the time the third volume came out, Fiddien had a huge following,’ Vella remembers, observing how the trilogy also marked her first shift from theatre to literature. Another influence on this decision was her move to Luxembourg to work as a translator at the European Parliament. The next step in her literary output came in the form of MagnaTMMater, a young adult work of dystopian science fiction published in 2011. 

But there was yet another step in the interim to all this—Vella’s stint as a lecturer. For five years, she taught at the University of Malta’s Department of Theatre Studies. ‘This gave me the satisfaction of examining this reality from the opposite side, working with students while keeping in mind the difficulties I had encountered myself.’

Vella had cut her pedagogical teeth much earlier. Right after graduating with a BA Hons in Theatre Studies, Vella taught Drama and English Literature at St Aloysius College. ‘Although I had not studied to become a teacher—it was the last profession I had in mind—I had the right background to teach these two subjects. After a few years at the college, I was teaching only the literature part of the English courses, and I also became responsible for directing the annual school concerts, which became bigger and more ambitious every year,’ Vella says, adding that her time as a teacher left her with many ‘proud moments’. 

‘The best of these was perhaps the mobilisation of almost the entire body of students to put up a large scale performance—with orchestra, choir, side-acts, chorus, intermezzo, and all.’

Vella is keen to credit her alma mater with the results of this varied career. She has no trouble stating that ‘everything is connected, and there is a clear connecting line between my years at university and everything else I’ve done since.’

Which begs the question:  what advice would she give to current University of Malta students, especially those interested in working in multiple disciplines? 

‘Be passionate about the courses you follow. Experiment, explore, be curious. Ask many questions and strive to find answers. Do not just study. Discover. And make that discovery your own.’ 

Architecture: A dying art?

Making smart choices for our current urban fabric through architecture requires a massive understanding of all the moving parts of the industry. But is it time to go back to basics? Cassi Camilleri speaks to Prof. Antonio Mollicone and the talented people at AP Valletta to come up with an answer.

The changes in the Maltese landscape over recent years has been drastic. All over social media, petitions keep being shared to prevent one original building or another from being torn down and replaced with contemporary apartments. This has ‘resulted in discomfort for many,’ says Prof. Antonio Mollicone, an architect lecturing within the Faculty of Built Environment (University of Malta). 

Prof. Antonio Mollicone

The discomfort is multifaceted. On one level, it has to do with the physical climate within buildings. Over the last few decades, Malta has seen a shift in the property types people buy, and these properties seem to be leaving people hot or cold in their own homes.

Through his research, which used an old Maltese farmhouse as his case study, Mollicone found that ‘a property’s orientation, double skin (having two layers of brick walls), ceiling height and window measurements all have a role to play.’ Mollicone points out that ‘orientation is most important.’ In an ideal world, based on Malta’s position on the globe, ‘houses should be north-south facing and rotated clockwise to east by eight degrees to get the best of the sun in winter and the least of it in summer.’ Higher ceilings can create a four-degree difference in the temperature inside a room. As for the floor to ceiling windows you see in all the glossy magazines, Mollicone finds them problematic, noting the costs involved in terms of energy efficiency when replacing stone with glass. ‘Certain basic techniques in design are being lost in the fast-paced world of today,’ Mollicone asserts. 

Konrad Buhagiar (AP Valletta)

On this note, founding partner of AP Valletta, Konrad Buhagiar, says that with the ‘era of radical pragmatism’ we are currently living in, ‘the commercial aspect of a project is paramount,’ adding, ‘It will always be so. It is the nature of the industry.’ But with this being said, effort needs to be put into giving buildings and new projects a depth that ‘connects [them] to [their] context.’  

Even with the best of intentions, challenges still arise. Mollicone laments the flashy features he sees added to a building’s façade before a thought is given to function. ‘It’s make-up for buildings. Nothing more. I call it lipstick architecture.’

Luca Caruso, an environmental architect at AP, also speaks frankly, noting that the ‘construction sector is the least innovative worldwide.’ However, by putting an emphasis on quality and criticism, this can change. ‘Criticism is important in order to raise awareness about the possible consequences of Malta’s ‘uncontrolled’ growth. […] Debate can lead to new, innovative ways to inspire decision-makers while respecting local characteristics.’ 

The reality, as Caruso states, is that ‘Malta has undergone massive changes over the last 30 years, and this is a process that requires some more years to mature.’ Buhagiar announces himself a cynic, saying that ‘to produce something excellent, you need an enormous amount of thought and discipline, rigour, and dare I say, sacrifice, all words that do not describe the current culture in any way.’ But Mollicone has hope that common sense will prevail. ‘All we need is to take more time to think about things. Create mindfully. That’s all.’  

Safe haven?

Dr Trevor Borg

Some refer to the Venice Biennale as the pinnacle of the international art world. Last year, feathers were flurried by the Maltese delegation and their representation of Maltese identity. This year, the works question a specific part of the Maltese narrative. 

‘We are working around the theme of MALETH,’ says Dr Trevor Borg, artist, curator, and University of Malta lecturer. Maleth refers to the ancient word for Malta. ‘It is also called HAVEN and SAFE PORT.’ These were all terms used in reference to Malta over the centuries. But is our island really that? This is the question being tackled by Borg and his colleagues. 

Immigration has been a critical issue in recent years, creating an inflammatory divide in Malta. Borg is using the first immigrants, the animals that travelled to Malta during the ice age, to make his point. ‘They travelled here because of the heat our island provided and the food that came with it. But as the ice in the North started to melt, sea level rose and they were unable to return.’

What is the relation between an (apparent) safe haven and a heterotopia? Here, heterotopia refers to Michel Foucault‘s notion of the ‘other place’. Heterotopias are described as ‘worlds within worlds’, connecting different places. They are places that constitute multiple layers of meaning, that accumulate time, that can be both real and unreal.

To represent this visually, Borg is going to create an archaeological find with hundreds of objects from history. Animal remains will feature, as will unusual artefacts and other strange finds. Borg was inspired by Ghar Dalam and used it as a starting point, but this work is not about history. ‘My work begins at the cave. But I will then leave the cave behind and delve into a distant world that never was! The work responds to fabricated histories, museological conventions, historical interpretations, and hypothetical authenticity. It is based on pseudo-archaeological objects and imaginary narratives,’ he explains. 

Collaborating on this work, bringing the artefacts to life is Dr Ing. Emmanuel Francalanza (Faculty of Engineering). The process began at the National History museum in Mdina. ‘Together we selected and scanned a number of animal bones from their archives,’ Francalanza says. This included femurs, teeth, and skulls among others. ‘I then supported Trevor in reconstructing the 3D model and preparing it for printing.’ 

For Francalanza, this was a chance to apply engineering technologies in new ways, to allow artists to express themselves. But not just. ‘At the same time, this opportunity provides us engineers and scientists with an avenue to explore concepts and even utilise thinking patterns which are not traditionally associated with our disciplines. It helps us be more creative and open to innovative practices.’ 

Working together, Borg and Francalanza are blurring the lines between what is real and what is fake. By recreating the original artefacts in such a way that a viewer cannot determine whether what is being seen is authentic, the project is poignant commentary for the post-truth era we are living in. 

Conjuring the ultimate art space

Author: Dr Joanna Delia

Form follows function. This is the maxim that rules modernist architecture and industrial design: the shape of an object or building is determined by its use or purpose. Around 10 years ago, contemporary artist and architect Norbert Francis Attard embarked on a project that would see the two merge together in a perfect marriage. 

Attard envisaged a space within Valletta’s walls that would serve as a focal point for anyone wanting to experience the world of contemporary art. He wanted a place where established and emerging artists could come together to trigger dialogue with the community and its visitors.

A few years and several permits later, three warehouses were purchased and transformed. Carefully-designed excavations and beautifully-proportioned internal apertures created triple-height spaces, interrupted only by lightweight steel stairs and floors, or glass railings. The result is a sublime canvas ready to bring art to life and inspire others.  

Note: Valletta Contemporary (VC) is open from Tuesday to Friday and admission is free of charge. VC recently published its first book, Valletta Contemporary 001, which includes a compilation of VC’s 2018 exhibition program alongside all show catalogs.

The Maltese Time Machine: Magna Żmien

As I write this article, a box full of 8mm film has just been delivered to our studio. On these tapes is local home footage featuring carnival celebrations from the 1960s, a visit by the UK’s Queen Elizabeth II, and an assorted series of family events recorded around the Maltese Islands. These films are valuable historical records opening a window onto the unfiltered and uncensored perspective of Maltese citizens.  Magna Żmien is a Valletta 2018 project coordinated by artistic director Andrew Alamango and a collective of like-minded individuals. The purpose of the project is to collect and preserve historic Maltese content recorded on home sound, image, and video equipment over the past century. Left neglected, these personal documents containing evidence of Malta’s changing landscapes—physical, social, and political—might have been lost and forgotten. Instead, the team is reusing them, reinterpreting them through art. 

Armchair Voyager Wistin (Jacob Piccinino)

The move to digitise and make available fading analogue memories is physically manifested through ‘The Magnificent Memory Machine’—the Kapsula Merill, designed and built by Matthew Pandolfino, Andre Vujicic and Late Interactive. In the driver’s seat is Armchair Voyager Wistin (Jacob Piccinino). Behind the scenes is the professional studio that makes it all happen, digitising open reel tapes, audio cassettes, vinyl, Super 8 and 8mm film, photographs, negatives, and slides at high resolution. Since February 2018, we have digitised over 2,000 items from 51 different donors, in addition to receiving a further 600 digital files from private collections.

An eager viewer going back in time!

The collected material has many stories to tell. Our performance events throughout 2018, including at Science and the City and Malta Café Scientifique, only scratch the surface when it comes to the sheer volume of material we have been allowed to copy by donors. 

One thing we often encounter is the personal voice message—greetings between diasporic Maltese. Dating back to the 1950s, these appear most frequently on open reel and audio cassette tape, but also on special vinyl discs. One particular recording is by a man named Charlie who recorded his message in a Calibre booth on a platform at London Waterloo station. In the message, Charlie sends wishes to his family and regales them with tales of all the football matches he is attending, one of which he is particularly excited about: England vs East Germany. Some minor detective work has revealed that this recording was made on 24 November 1970 when England beat East Germany three goals to one. 

Messages such as these may seem inconsequential, but of all the voice recordings we have heard, they are perhaps among the most honest. Recorded in a busy, alien environment under strict time constraints, the speakers didn’t have the luxury of retakes before their voices were forever fixed on vinyl. 

Magna Żmien will continue to collect sounds, images, and videos like these, and present its research in innovative contexts beyond 2018. We want to continue engaging citizens in the technical and cultural components at the heart of our project. Agreements are also underway to establish a formal association between Magna Żmien and the National Archives, ensuring the longevity of this material as public documents are accessible to all. What we collect, after all, belongs to the Maltese people at home and abroad. The recordings contain an essence of our national identity that cannot and should not be lost.  

For more, visit: www.magnazmien.com 

Author: Andrew Pace for the Valletta 2018 Foundation

The Bible in stone

Excavations of an ancient synagogue at Huqoq, Israel

Buried inside an unassuming hill in Israel’s Lower Galilee is a magnificent ancient synagogue with splendid mosaic panels that have been hidden away for over 1,400 years. Dr Dennis Mizzi writes about the project that is bringing them to light.

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The time for contemporary art is now!

Many feel that our country is changing at an unprecedented rate. Some would even say that it has become unrecognisable. Valletta Contemporary’s Dr Joanna Delia writes about the growing appreciation for contemporary art in Malta.

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