Difference between revisions of "Id-Dinja M'Għadiex Ċatta"

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Malta is perhaps better known for its Neolithic temples and tourist sights. In the work of Malta-born artist [[Jean Busuttil Zaleski]], who lived most of her adult life in New York, we see an engagement with the island goddess myth and the deification of a female from what is both a symbol of fertility and a veneration of the limestone creations dating back to the earliest-known Mediterranean cultures. By contrast [[Lisa Falzon]] plays with the idea that it’s time for a new way to think about landscape, in a provocation that is concurrently about art and the balance between tradition and progress, or even nature and the built environment. This is evident not only in the visual elements presented in [[No More Mdina Landscapes]] but also in the very title of the painting.
Malta is perhaps better known for its Neolithic temples and tourist sights. In the work of Malta-born artist [[Jean Busuttil Zaleski]], who lived most of her adult life in New York, we see an engagement with the island goddess myth and the deification of a female from what is both a symbol of fertility and a veneration of the limestone creations dating back to the earliest-known Mediterranean cultures. By contrast [[Lisa Falzon]] plays with the idea that it’s time for a new way to think about landscape, in a provocation that is concurrently about art and the balance between tradition and progress, or even nature and the built environment. This is evident not only in the visual elements presented in [[No More Mdina Landscapes]] but also in the very title of the painting.
   
   
A more personal approach to the political factor is brought forward in this line of thinking. This is why personal politics are also included in this exhibition. Negotiating emotions and communicating feelings through art can be a way to look at the remaining works selected from [[Fondazzjoni Kreattività’s collection]]. The work of [[Anna Grima]] brings to mind the famous saying that the personal is political, a feminist stand embraced by other marginalized communities over the past few decades, even if this is not an overt element in the series of works shown here.
A more personal approach to the political factor is brought forward in this line of thinking. This is why personal politics are also included in this exhibition. Negotiating emotions and communicating feelings through art can be a way to look at the remaining works selected from [[Fondazzjoni Kreattività Art Collection]]. The work of [[Anna Grima]] brings to mind the famous saying that the personal is political, a feminist stand embraced by other marginalized communities over the past few decades, even if this is not an overt element in the series of works shown here.
   
   
In [[Kapitell]], [[Victor Agius]] is slightly less subtle, even if still rather delicate, in his attempt to capture his precarious struggle to reimagine public art in ways suggested by overbearing bureaucrats who seemingly misunderstand the very nature of site-specific works of art. What remains is a fragment of ruined ruins, which in the hands of a masterful artist becomes a significant piece with a micro-political aspect. This contrasts well with [[Il Suono del Silenzio]] by [[Jean Karl Izzo]], a lesser-known Maltese artist whose work has gained political value by entering Malta’s national art collection through mandatory work donation long associated with exhibition in state-owned spaces, a practice that was discontinued by [[Fondazzjoni Kreattività]] in 2016.</q></blockquote>
In [[Kapitell]], [[Victor Agius]] is slightly less subtle, even if still rather delicate, in his attempt to capture his precarious struggle to reimagine public art in ways suggested by overbearing bureaucrats who seemingly misunderstand the very nature of site-specific works of art. What remains is a fragment of ruined ruins, which in the hands of a masterful artist becomes a significant piece with a micro-political aspect. This contrasts well with [[Il Suono del Silenzio]] by [[Jean Karl Izzo]], a lesser-known Maltese artist whose work has gained political value by entering Malta’s national art collection through mandatory work donation long associated with exhibition in state-owned spaces, a practice that was discontinued by [[Fondazzjoni Kreattività]] in 2016.</q></blockquote>


:::'''Toni Sant''', Artistic Director, Spazju Kreattiv <ref>Exhibition catalogue contents - The World Is No Longer Flat, published by Fondazzjoni Kreattività, 2018</ref>
::'''Toni Sant''', Artistic Director, Spazju Kreattiv <ref>Exhibition catalogue contents - The World Is No Longer Flat, published by Fondazzjoni Kreattività, 2018</ref>


==Artworks==
==Artworks==
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*[[Untitled (from Il Suono del Silenzio)]] - [[Jean Karl Izzo]]
*[[Untitled (from Il Suono del Silenzio)]] - [[Jean Karl Izzo]]


=Opening Session=
=Opening Event=


The opening of the exhibition occurred on the 6th September 2018 and was attended by the Chairman of Fondazzjoni Kreattività, Rupert Cefai.<ref>https://www.tvm.com.mt/en/news/first-maltese-artistic-exhibition-at-european-court-of-auditors-in-luxembourg/</ref>
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=References=
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[[Category:A-Z of Visual Arts in Malta]]
[[Category:A-Z of Visual Arts in Malta]]
[[Category:Fondazzjoni Kreattività Art Collection]]
[[Category:Visual Art Exhibitions Outside Malta]]
[[Category:Visual Art Exhibitions in Malta]]

Latest revision as of 10:57, 4 January 2019

Id-Dinja M'Għadiex Ċatta is the title of an exhibition of contemporary artworks from the Fondazzjoni Kreattività permanent collection. The title translates to The World Is No Longer Flat. The exhibition took take place at the European Court of Auditors, Luxembourg between the 3rd September 2018 until the 28th September 2018.

Exhibition Catalogue

Globalisation is one of many facets of politics that permeates our everyday lives. While it impacts different parts of the globe in unequal measures, there’s no denying that it has also firmly inflected the sphere of art quite broadly in the contemporary context.

The works in this exhibition all have a political dimension, which in most cases addresses issues of a global nature from a local perspective. The cultural conversations contained within them and possibly through experiencing them ranges from the hardship of displaced people to the internal conflict of individual identity politics. All the artists in this exhibition have a strong connection with Malta but like many other individuals they are also associated with realities in Africa, China and the United States of America, aside from various other European connections.

As a basic form of construction, a wall is a good place to start a discussion on art. Alex Attard’s photography stems from his personal perspective on two very different structures: the new Malta Parliament building designed by Renzo Piano and the Great Wall of China. From the assumed flatness of these structures come insights into details that are frequently overlooked or taken for granted. These works stand interestingly next to He Ping’s paintings, which develop classical Chinese brushwork into what Western eyes may (perhaps lazily) perceive as a type of abstract expressionism. The mounting of the rice paper onto stretched canvases adds another layer of intercultural meaning to what was the first work of contemporary art from China exhibited at Spazju Kreattiv, during the Valletta International Visual Arts festival (VIVA) in 2017.

Art photography can also overlap with photojournalism. This is clear from the work of Darrin Zammit Lupi. The image shown here from the Isle Landers series has been compared to Jacques Louis David’s Oath of the Horatii (1784) by Maltese art critic Giulia Privitelli. In the hands of a masterful photographer, the heart-wrenching situation of seafaring African migration into Europe moves subtly from journalism to art, capturing a transformative moment. World events are often embedded within contemporary art so it is no surprise that iconic photojournalism such as that capturing the Yalta Conference that brought together Churchill, Roosevelt, and Stalin to discuss the future of Europe towards the end of World War II serves as a starting point for Mario Abela’s Dislocated Geographies. Malta’s place in the extended narrative ending the subsequent Cold War resonates with the decision to hold the 1989 Bush-Gorbachev summit that formally ended it in a Mediterranean island nation whose name simply rhymes with the location of the 1945 power meeting in Crimea.

Malta is perhaps better known for its Neolithic temples and tourist sights. In the work of Malta-born artist Jean Busuttil Zaleski, who lived most of her adult life in New York, we see an engagement with the island goddess myth and the deification of a female from what is both a symbol of fertility and a veneration of the limestone creations dating back to the earliest-known Mediterranean cultures. By contrast Lisa Falzon plays with the idea that it’s time for a new way to think about landscape, in a provocation that is concurrently about art and the balance between tradition and progress, or even nature and the built environment. This is evident not only in the visual elements presented in No More Mdina Landscapes but also in the very title of the painting.

A more personal approach to the political factor is brought forward in this line of thinking. This is why personal politics are also included in this exhibition. Negotiating emotions and communicating feelings through art can be a way to look at the remaining works selected from Fondazzjoni Kreattività Art Collection. The work of Anna Grima brings to mind the famous saying that the personal is political, a feminist stand embraced by other marginalized communities over the past few decades, even if this is not an overt element in the series of works shown here.

In Kapitell, Victor Agius is slightly less subtle, even if still rather delicate, in his attempt to capture his precarious struggle to reimagine public art in ways suggested by overbearing bureaucrats who seemingly misunderstand the very nature of site-specific works of art. What remains is a fragment of ruined ruins, which in the hands of a masterful artist becomes a significant piece with a micro-political aspect. This contrasts well with Il Suono del Silenzio by Jean Karl Izzo, a lesser-known Maltese artist whose work has gained political value by entering Malta’s national art collection through mandatory work donation long associated with exhibition in state-owned spaces, a practice that was discontinued by Fondazzjoni Kreattività in 2016.
Toni Sant, Artistic Director, Spazju Kreattiv [1]

Artworks

The artworks included in this exhibition are:

Opening Event

The opening of the exhibition occurred on the 6th September 2018 and was attended by the Chairman of Fondazzjoni Kreattività, Rupert Cefai.[2]

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References

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  1. Exhibition catalogue contents - The World Is No Longer Flat, published by Fondazzjoni Kreattività, 2018
  2. https://www.tvm.com.mt/en/news/first-maltese-artistic-exhibition-at-european-court-of-auditors-in-luxembourg/