INTERVIEW WITH CO-MA In the lead up to his exhibition No:28 +
Practice, Patience, Perseverance:
Introducing Salvu Scerri – one of Malta’s first graphic designers
‘Practice, patience, perseverance’ — a resolute mantra Salvu Scerri lived by in his personal life and career as, possibly, one of Malta’s first known modern graphic designers…
His approach and visualisation was clearly influenced by the distinctive style of mid-century modern graphic design — a modernist design movement that emerged between the mid-1940’s and mid1950’s in America and Europe, visually defining the optimistic spirit of the post-war period.
>> Read the full feature on pg. 29
The ‘Mediterranean,’ with its alternative logics, slowness or wasting time, promiscuity, and street life, could it be a resource rather than a problem?
>> Opinion: Liquidity, not Stability, pg. 16
LEONARDO CAFFO
MARCO SCERRI
C Contents / Highlights
October - December 2024
Sam Alekksandra’s art delves deep into the human experience, boldly traversing the spectrum of emotions that define our lives. From her earliest artistic endeavors to the rich tapestry of experiences gained through global travel, her work is a vivid reflection of life’s dualities.
PAGE 15
The exhibition by the artist at 2B gallery, invites viewers to embark on a profound exploration of the delicate interplay between pain and pleasure.
The Mediterranean has increasingly become a fascinating ‘territory’ for contemporary art, which is less focused on the dynamics of continental Europe… What is the function of ‘localizing’ the most current curatorial and artistic reflections within the Mediterranean basin?
PAGE 16
Leonardo Caffo discusses the idea that we are witnessing a continental gentrification of ‘peripheral’ places.
I would like to see a stronger international representation of local artists at international institutions, fairs and galleries, and better synergy between art communities.
PAGE 20
The Head of the School of Art, Roderick Camilleri, shares his opinion on the art scene, AI, digital art and the institution’s current educational priorities.
I like to change ideas as it keeps me interested in the creation of the work – not following a set procedure or plan. I just prefer having an idea and trying to get to it but still allowing myself to drift away to then go back on track and, maybe, find new unplanned ways of getting there.
PAGE 23
‘Intimate Summer’ captures the intimate moments and human connections that evoke a sense of nostalgia for anyone who has spent their summers in Malta. In contrast, ‘Lbic’ invites us to appreciate the vast and intricate beauty of our coastline, revealing its sublime nature to those who take the time to look.
PAGE 24
Joanna Delia shares her latest discovery of Contemporary photography books of Malta by Sarah Scicluna and Inigo Taylor.
His approach and visualisation was clearly influenced by the distinctive style of mid-century modern graphic design - a modernist design movement that emerged between the mid-1940’s and mid1950’s in America and Europe, visually defining the optimistic spirit of the post-war period.
PAGE 29
Introducing Salvu Scerri – one of Malta’s first graphic designers
Laure Prouvost
Contact
info@artpaper.press
Website
www.artpaper.press
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Editor
Lily Agius
Graphic Design
Nicholas Cutajar
Writers + Contributors
Leonardo Caffo
Roderick Camilleri
Joanna Delia
Hannah Dowling
Marco Scerri
Featured Artists
Emma Agius
Victor Agius
Sam Alekksandra
Kamy Aquilina
Keit Bonnici
Luke Bugeja Gauci
CO-MA
Nicola Deinino
Ryan Falzon
Iella
Renato Leotta
Gabriel Lia
Aymen Mbarki
Salvu Scerri
Sarah Scicluna
Inigo Taylor
Julien Vinet
Jade Zammit
Museums + Galleries
2B Gallery
Christine X Art Gallery
Lily Agius
Gallery
Malta Society of Arts
Malta Postal Museum &
Arts Hub
MICAS
Spazju Kreattiv
The Malta Society of Arts
The Victor Pasmore
Gallery
Valletta Contemporary
Supported by AP Valletta
Babel BAS
Chemimart
Edwards Lowell
iLab Photo
Light Design Solutions
Mercury
Myoka No.43
People & Skin
Teatru Manoel
VeeGeeBee Art Supplies Vivendo Projects
A Conversation with CO-MA in the lead up to his exhibition at Spazju Kreattiv.
“RITUAL” Explores the Mediterranean’s Enduring Cultural Ties Through an Immersive Art Installation
Artists Julien Vinet and Sam Alekksandra bring ancient rites and contemporary challenges into dialogue in a groundbreaking installation.
French visual artist Julien Vinet and Maltese poet Sam Alekksandra present
RITUAL, an ambitious art installation that transcends borders to explore the timeless human rituals of the Mediterranean region between the 8th of October to the 9th of November. The piece, made of old maritime charts, ink, and cured glue, serves as a suspended, floating tunnel, inviting visitors to reflect on the deep cultural and historical connections between the sea, sun, and the people living in this unique part of the world.
Set against the backdrop of the Mediterranean, RITUAL weaves together the voices and experiences of sailors, poets, and local communities, manifesting as a space where poetry—written
CUMULUS
A Collective Exhibition until 23 November Curated by Norbert Francis Attard
History has preserved the collections of several prominent collectors, their discerning eye, measured taste and connoisseurship assembles the finest pieces under a single roof. This collection, draws together the work of 29 radically different artists from across the globe, including Gilbert and George, Ai Weiwei and Tracey Emin among several others. The thread which connects the artists’ work is the collector, namely Norbert Francis Attard.
The work presented in this exhibition, is a reflection of the collector’s attuned eye. Not connected thematically and eclectic by its very nature, it represents a collection which has grown organically, slowly over decades. The exhibition illustrates his ever-evolving tastes, his varying interests thus capturing moments in time.
The exhibition’s title is firmly grounded in the definition of the word Cumulus. The word has two varying meanings, one referring to an “accumulation” or “a collection of several things grouped together as a whole.” Its second meaning, though loosely connected,
in English, French, and Arabic—floats above the installation, embodying the fluidity and interconnectedness of Mediterranean identities. The piece draws heavily on the region’s rites of passage, using metaphors of the sea and sun as symbols of continuity, identity, and transformation.
RITUAL engages with the research framework established by Professor Silvana Carotenuto’s “Matri-archive of the Mediterranean,” highlighting the area’s unique cultural tapestry while addressing the pressing challenges of the 21st century. The installation is the first of many iterations that will travel across 23 Mediterranean countries, culminating in a 113-meter-long tunnel—a monumental homage to this cradle of civilization.
Julien Vinet (b. 1980, Paris) brings his monochromatic, layered approach to the piece, deconstructing and reshaping objects to challenge the viewer’s perception of truth. Vinet’s recent solo exhibitions include Shanghai (2024), Chengdu (2024), and Berlin (2023), with an upcoming Paris show in November 2024.
Maltese poet Sam Alekksandra (b. 1998) contributes a multidisciplinary perspective, blending text, performance, and objects. Known for her work that challenges linguistic and cultural boundaries, she has exhibited across Europe and China. Alekksandra’s latest works include performances in Malta (2024) and her award-winning film debut, “If You’re Sure I Want To” (2023).
RITUAL is an ongoing collaboration, envisioning the Mediterranean not only as a geographical space but as a unified mosaic of identities and histories—inviting critical engagement with its past, present, and future.
touches on a specific type of cloud formation. Derived from the Latin word “cumulus,” meaning “heap” or “pile,” cumulus clouds are detached, individual, cauliflower-shaped clouds typically seen in fair weather conditions. When illuminated by the sun, the tops of these clouds are brilliant white tufts, though their bases are often relatively dark. The two definitions capture the very essence behind this collective exhibition.
Cumulus puts forward just a small part of the collection; it is brought together to open the door to the Norbert Francis Attard Foundation’s collections. To invite the public to peer into a collection of contemporary art, amassed over half a century, to spark debate and intrigue.
Featuring work by: Pedro Cabrita Reis, Georg Basselitz, Joseph Beuys, Ai Weiwei, Thea Djordjadze, Ilya Kabakov, Nadine Baldow, Michael
Craig Martin, Los Carpinteros, Gilbert & George, Denis Pondruel, Eduardo Paolozzi, Beatrice Hug, Carlos Coronas, Christo, Yeoul Son, Doug Cocker, Gary Hume, Genie Portesky Lee, Richard Deacon, Silvia Poloto, Tracey Emin, Alicia Kwade, Gerhard Richter, Piero Dorazio, Lisa Iglesias, Dan Hudson, Eberhard Bosslet, Michelangelo Pistoletto, Maria Rebecca Ballestra
VALLETTA CONTEMPORARY, 15, 16, 17 Triq Lvant (East Street), Valletta, Malta.
Open Wednesday to Saturday 2-7pm, closed Sunday to Tuesday. +356 2124 1667
Odyssey is an industryfirst initiative that seamlessly integrates immersive storytelling with informative scenesetting shows and an exhilarating historical, story-driven flying theatre ride. Designed specifically for the Maltese heritage attraction sector, this pioneering project will redefine how visitors experience Malta’s culture and history.
The Odyssey is brought to life through collaborations with leading experts in the immersive experience industry. With over 50 years of experience, Sarner is a global award-winning leader in experiential design and production, responsible for many of the world’s most loved immersive exhibitions, museums, attractions, and theme parks. With over 30 years of experience, Simtec is renowned for delivering cutting-edge technology
The Odyssey at Mercury
to entertainment venues worldwide such as the thrilling Dark Rides, HEXaFLITE® Flying Theatres, and FUNRIDE motion-based systems.
The Odyssey promises to revolutionize the Maltese entertainment and cultural landscape. By combining innovative flying theatre technology with Malta’s rich historical narratives, this attraction will deliver a groundbreaking sensory experience that is unparalleled in the region. With a lineup of captivating shows and cutting-edge special effects, The Odyssey invites you to embark on an unforgettable journey into the heart of Malta’s past, present, and future. The attraction will be launched this October at Mercury Towers, St, Julians. Stay tuned for the official launch date and experience the extraordinary adventure that awaits.
www.odysseymalta.com
www.mercury.com.mt
MALTA
October - December 2024
Final touches as Malta International Contemporary Art Space is set to be inaugurated on 25 October
Ongoing works at the Ospizio complex bring to life the Malta International Contemporary Art Space, with doors open to the public on 10 November 2024. One of Malta’s most ambitious projects for the arts and culture, the Malta International Contemporary Art Space, will be officially inaugurated by Prime Minister Robert Abela on Friday 25 October.
MICAS is a Government of Malta infrastructural legacy project for the culture and the arts that is partfinanced by the European Union under the European Regional Development Fund – European Structural and Investment Funds 2014-2020.
The ambitious restoration project brings back to life the 17th century Ospizio as well as the Floriana Lines’ Knights-era fortifications, namely the San Salvatore Counterguard and the La Vittoria bastion, with an intervention that has delivered a multifaceted campus of indoor gallery spaces.
Marking this historic date will be the exhibition of celebrated Portuguese artist Joana Vasconcelos, whose large-scale installations will bring to life MICAS’s four-storey galleries in a colourful and exuberant show presented in the beauty of the ‘raw’ building with natural light flowing throughout its excavated and historic walls.
The iconic element of the new MICAS space is surely its new structure, capped by a monumental roof of welded steel beams that seamlessly overcomes the conflict between the historical fortress
and the contemporary arts museum. In this dialogue with the historic, 17th century Bastion of Provence, the MICAS roof can be seen vertically and then turning into the main façade, highlighting the contemporary character of the intervention.
Internally, the four levels of the MICAS Galleries appear like terraces in between the bastions and under the same roofing, with natural ventilation and lighting all provided by the functionality of the MICAS steel roof.
The forthcoming opening of MICAS on 25 October will host dignitaries and special guests, with speeches by Prime Minister Robert Abela, and Minister for National Heritage, Arts and Local Government Owen Bonnici, as well as MICAS executive chair Phyllis Muscat, artist Joana Vasconcelos, and Restoration Directorate’s directorgeneral, Norbert Gatt. An open day follows on 10 November for the
UPCOMING EXHIBITIONS AT THE MALTA SOCIETY OF ARTS
PARADISE LOST - AN EXHIBITION BY JADE ZAMMIT
‘Paradise Lost’ marks the debut solo exhibition of Jade Zammit, a personal exploratory journey. In this new body of work, Zammit confronts the fragility of paradises – both real and imagined – that are perpetually “hanging by a thread.” How do these paradises unravel over time? What remains when the thread finally snaps, and the utopian visions dissolve into disillusionment? The works vary not just in form, but in their thematic undertones, reflecting the multifaceted nature of paradise itself – a concept that is as fragile as it is alluring. Curated by Marie Gallery 5, 3 to 24 October.
THE RHYTHM OF FADING - AN EXHIBITION BY JOSEPH FARRUGIA
Through “The Rhythm of Fading” Farrugia delves into the fleeting nature of existence, set against the continuum of time and space. Drawing inspiration from spirituality, philosophy, and scientific exploration, his paintings offer a meditative reflection on the transitory experience of being and consciousness. Through the interplay of voids, layers, and intricate forms, Farrugia invites viewers to transcend the constraints of the present moment, contemplating not only the impact of time on the self but also its extension into the infinite. 31 October to 21 November.
public to view the exhibition and the architecture of MICAS.
“MICAS will strengthen Malta’s cultural infrastructure by providing a platform for contemporary art and internationalisation. With its launch, Malta is about to take a great step forward and become a proactive player in the contemporary art world,” said MICAS executive chair Phyllis Muscat, who has stewarded the project ever since inception. “Most importantly, this is a community project that has liberated a massive expanse of historical fortifications once used as a store for the national utility company. This land is now returned to the public, who can enjoy its rich, historical landscape, apart from offering Malta a cultural destination attracting international artists and audiences,” Muscat adds.
Follow the journey: www.micas.art and @micasmalta on Instagram
THE 59TH MALTA PHOTOGRAPHIC SOCIETY’S ANNUAL EXHIBITION
The Malta Photographic Society’s annual competition and exhibition of photography showcases the winning works in four different categories, as well as special awards for Best Portrait, Best Landscape, Best Still Life, Best Nature, Best Architecture, and Best Street Photography works. 28 November to 19 December.
News / Malta / Exhibitions
October - December 2024
MIGRATION NATION
Iella returns
to Spazju Kreattiv with new large-scale works and collaborations
London-based Maltese artist and designer Iella is set to unveil her latest exhibition, Migration Nation, at Spazju Kreattiv in Valletta. The powerful exploration of climate migration is Iella’s second solo show at the venue and marks a significant development in her artistic practice.
Migration Nation relates the profound challenges faced by individuals and populations forced to migrate due to climate change. Through large-scale acrylic paintings and intricate etchings, Iella offers a moving portrayal of the human experience of displacement; her imagery evokes a deep empathy for the displaced, highlighting the shared struggles of humanity across borders.
The body of work within the exhibition began development during a residency in BigCi – Bilpin International Ground for Creative Initiatives in Sydney, Australia, during which Iella worked on early sketches and two large-scale paintings within an area vastly affected by the devastation of 2020 wildfires. On returning to London she then undertook intense training in the etching process under the guidance of tutors at The Royal Drawing School. Now a resident of Bow Studios in London, Iella has worked on
several other pieces in-studio, working in acrylic. Of particular note is one work within the exhibition which was selected by jury and shown at the Royal Society of British Artists Annual Exhibition, 2024.
In collaboration with the Malta Community of Illustrators, Iella has invited several additional artists to contribute towards a large-scale installation, creating a powerful symbol of solidarity and collective action. At the same time, artist SeaPuppy (aka Christian de Souza Jensen) has been invited to create a new animated film continuing the exhibition’s themes of climate migration.
Migration Nation at Spazju Kreattiv runs until 10 November 2024. A related workshop for children is scheduled for Saturday 2 November at 11am.
Migration Nation is funded by Arts Council Malta’s Arts Support Scheme.
More information can be found here: https://kreattivita.org/en/event/ migration-nation/.
THE ALFRED CHIRCOP TRUST PRESENTS
“... the struggle seems to be eternal”
Alfred Chircop: paintings, prints, drawings, is an exhibition dedicated to the late Maltese abstract painter Alfred Chircop (1933-2015). This exhibition offers a profound exploration of Chircop’s artistic journey, revealing the complexities and inner turmoil that characterised his life’s work. Curated by Dr Christian Attard, Dr Mark Sagona, and Dr Charlene Vella, this exhibition provides a rare opportunity to engage with the diverse facets of Chircop’s artistic legacy.
The curatorial team has meticulously selected works that not only showcase Chircop’s technical mastery but also his deep philosophical and spiritual inquiries. This exhibition is more than a retrospective; it is an invitation to step into the mind of one of Malta’s most enigmatic artists and to experience the eternal struggle that defined his life and work.
The exhibition’s title, drawn from a letter that Chircop wrote to his friend and art critic Emmanuel Fiorentino, encapsulates the relentless, introspective struggle that permeated his work. Chircop’s art was a continuous quest to reconcile opposites: the human with the divine, abstraction with figuration, and surface beauty with expressive depth. The exhibition showcases the remnants of this internal battle, offering viewers a glimpse into the soul of an artist whose search for meaning was both Sisyphean and deeply personal.
The exhibition is split into five thematic sections that look into portraiture, Chircop’s academic formation in Malta and abroad, his shift towards non-representational, abstract art, and it will conclude with his fully-fledged, large-scale abstract paintings: the great hallmark of his legacy.
A highlight of this exhibition will be the faithful recreation of Chircop’s studio using his personal items and furniture as well as featuring the painting he completed just before his death.
Also offering a more immersive experience is a video of photographs, videos and music by Charlie Cauchi will provide a better context in understanding who Alfred Chircop was and his main inspiration and complex thoughts. Each section will also feature works by Chircop’s contemporaries to give the proper historical context to Chircop’s art and artistic evolution.
The exhibition will be open until 3 November at Space A, Spazju Kreattiv, Valletta. It is supported by Heritage Malta, Prevarti Art Restoration and Conservation, DB Foundation, The Farsons Foundation, Mapfre MSV life and Visit Malta and organised in collaboration with the Department of Art and Art History at the University of Malta.
MALTA
Empty Gold Man Black
Photo by Paweł Ławreszuk
Journeys at Sea, Copper plate etching - hard ground, aquatint and soft ground, 2024
Photo by Lisa Attard
News / Malta / Malta Design Week
- December 2024
Betrayal & Vengeance: The Slaves’ Conspiracy of 1749
FAR FROM SOMEWHERE
IHeld at the Inquisitor’s Palace and National Museum of Ethnography in Birgu until 31 March 2025, this exhibition explores one of the most turbulent periods in Maltese history.
The exhibition analyses one of the most intriguing and tumultuous periods in Maltese history, through more than 58 news sheets exchanged between the Inquisitor and Apostolic Delegate Paolo Passionei and the Vatican between 1748 and 1751.
It features a collection of 19 contemporary drawings, each vividly depicting the intense and often brutal aftermath of the conspiracy. These rare illustrations, recently restored by Heritage Malta, serve as the centrepiece of a narrative that delves deep into the political, social, and cultural dynamics of 18th-century Malta.
Visitors to the exhibition will explore the dramatic events that were set in motion with the arrival of the mutinied Ottoman galley named ‘Lupa of Rhodes’ into the Grand Harbour on February 2nd, 1748. The exhibition delves into how the subsequent attempts at escape and revenge of the galley’s owner, Mustafà, the high-ranking Pasha of Rhodes, could have dramatically altered the trajectory of Malta’s history.
The exhibition also offers insight into the broader themes of power, diplomacy, treason, and the complex relationships between the West and the East during this period. Historical documents, including contemporary reports, sermon sheets and more recent literature on the subject, will provide rich context and deepen visitors’ understanding of the era and the impact that this episode had on collective memory. Entrance to the exhibition will be included in the Inquisitor’s Palace and the National Museum of Ethnography experience. Persons with impaired mobility may find access to the exhibition hall challenging, given the historic building’s structural limitations.
n recognition of World Mental Health Day, and in collaboration with Prohealth Malta, Far from Somewhere is an interdisciplinary contemporary art exhibition which articulates overlapping narratives related to mental well-being, and which places itself in pursuit of more resilient environments and increased sharing and co-responsibility. The exhibition seeks to explore the challenges presented by ever-increasing changes to our physical and urban contexts, and how environmental and social transformations can influence our state of mind and our sense of wellbeing in the world.
As the title suggests, Far From Somewhere reflects on our surroundings and urban environments and their subliminal associations with mental health and wellbeing. Building analogies between physical space, mental space, and social and mental well-being, the exhibition recognises the need for more resilient environments and increased positive influences on our mental health.
A lack of open spaces and the densification of our urban environments can have implications on mental health, such as uncertainty and increased stress and anxiety, loss of familiarity, loss of identity, social disconnection and a lack of positive regard towards the future. By creating spaces - both physical and non-physical - which can nurture, support and protect us in navigating these changing environmental and emotional conditions, we can unearth potential strategies for self-care and opportunities for mental well-being.
World Mental Health Day (10 October) is an international day for global mental health education, awareness and advocacy against social stigma. The overall objective of World Mental Health Day is to raise awareness of mental health issues around the world and to mobilise efforts in support of mental health.
Curated by Elyse Tonna and Margerita Pulè, and with artists Emma Agius, Victor Agius, Kamy Aquilina, Keit Bonnici, Luke Bugeja Gauci, Ryan Falzon, Gabriel Lia, opensound. network, Katie Sims, Sasha Vella, and Raffaella Zammit. Assisted by psychotherapist Umberto Buttigieg. Far From Somewhere is a collaboration with Prohealth Malta.
FAR FROM SOMEWHERE, Until 24 October 2024, Malta Postal Museum, Archbishop Street, Valletta
MALTA
Keit Bonnici, Mr Bill Pill (detail) 2024 angle grinder, steel. Image courtesy of the artist
Lighting by Light Design Solutions
Exhibition / Malta / 2B Gallery
October - December 2024
2B Gallery & Joanna Delia Present Sam Alekksandra’s Debut Solo Exhibition in Malta
SAM ALEKKSANDRA’S EXHIBITION EXPLORES PAIN & PLEASURE THROUGH NEW WORKS.
Open until the end of November, 2B Gallery, in collaboration with art enthusiast Joanna Delia, proudly presents the inaugural solo exhibition of the innovative Maltese artist, Sam Alekksandra, in Malta. This significant event invites viewers to embark on a profound exploration of the delicate interplay between pain and pleasure—an essential motif woven throughout Alekksandra’s captivating body of work.
In August 2024, Sam Alekksandra made her mark with her first solo show in China, titled OSCILLATIONS, which showcased her contemporary artistry and was highlighted on Lovin’ Malta.
A DEEP EXPLORATION OF EMOTIONAL EXTREMES
Sam Alekksandra’s art delves deep into the human experience, boldly traversing the spectrum of emotions that define our lives. From her earliest artistic endeavors to the rich tapestry of experiences gained through global travel, her work is a vivid reflection of life’s dualities.
The exhibition features an enthralling assortment of new works – ranging from expressive sculptures to exhilarating
performances – that seamlessly blend her multifaceted skills in visual arts, journalism, and poetry. Each piece stands as a testament to her extraordinary talent for transforming intricate emotions into striking artistic expressions that provoke thought and inspire the audience.
AN INVITATION TO EXPERIENCE THE EXTRAORDINARY
Experience an unforgettable evening of reflection and inspiration with 2B. Step into the captivating realm of Alekksandra, where art serves as a powerful conduit for delving into the intricate layers of human emotions and relationships. This landmark event guarantees to awaken your senses and encourage deep contemplation through the vibrant perspective of contemporary art.
JOANNA DELIA’S VISIONARY COLLABORATION
This exhibition highlights Joanna Delia’s dedication to supporting local artists and elevating their presence on the global stage. Through her collaboration with 2B Gallery, Joanna seeks to showcase exceptional talents such as Sam Alekksandra, creating an environment where innovative and stimulating artwork can thrive. This partnership represents a mutual commitment to honoring contemporary artists and ensuring their narratives and creative expressions resonate with an international audience.
ABOUT SAM ALEKKSANDRA
Sam Alekksandra is a versatile Maltese artist whose creative endeavors encompass visual arts, performance, journalism, and poetry. Her work bravely navigates the complex emotional terrains of life, addressing themes such as vulnerability, resilience, and the intricate interplay between suffering and joy. With a unique perspective and a daring artistic vision, Alekksandra is leaving a significant mark on the contemporary art landscape.
ABOUT 2B GALLERY
Nestled in the vibrant center of St. Julians, 2B Gallery stands out as a premier hub for contemporary art in Malta. Committed to presenting cuttingedge and avant-garde creations, the gallery serves as a vital space where both renowned and up-and-coming artists can express their unique perspectives and creativity to a diverse audience.
To learn more about the exhibition, visit www.2B.mt/sam.
MALTA
Sam Alekksandra, Ecstacy 1, Digital sublimation print on fabric, 146x196cm, edition of 2, 2024
Feature /Mediterranean Epistemology
October - December 2024
Liquidity, not stability
The Mediterranean has increasingly become a fascinating ‘territory’ for contemporary art, which is less focused on the dynamics of continental Europe. Malta recently hosted the first (and wonderful) edition of its biennial, generating a wealth of international commentary about its distinctive character. What is the function of ‘localizing’ the most current curatorial and artistic reflections within
the Mediterranean basin? Before getting too caught up in a list of more or less valuable artistic initiatives, there is what we could define as a ‘Mediterranean epistemology’ that has regained philosophical interest. This is one of those epistemologies that Boaventura de Sousa Santos might define as ‘of the South,’ and which for too long has been a victim of one of the colonial phenomena that has least interested modern intellectuals: the suppression of continental Europe at
There are too many borders… only art can attempt a political anticipation of a reunification.
the expense of a less geopolitically clear but certainly more unified anti-territory: the Mediterranean, precisely. Moreover, the Mediterranean also had its own language (Sabir), which united Malta with Sicily, Tunisia, and southern Spain, and in the Mediterranean, ‘reality’ had a completely different face (which is why we speak of ‘epistemology’).
Reality... not so much as things are, but as we can approximate how they are. In this, art, which is itself a nonstandard form of epistemology, plays a crucial role. And what if there were a totally different way of narrating the crisis of the contemporary? Ecological problems? Welfare or the ethical challenges of the near future? Standard epistemology is essentially based on performativity, the achievement of objectives, speed, and capitalist production... the ‘Mediterranean,’ with its alternative logics, slowness or wasting time, promiscuity, and street life, could it be a resource rather than a problem?
It is along this complex line of inquiry that many artists and curators are trying to understand their specific relationship with the Mediterranean territory. For example, I asked the Albanian artist Adrian Paci, also founder of the Art House institution in Shkodër, what he thinks about this relationship with reality filtered through the Mediterranean, and he told me that “having a relationship with the Mediterranean means having a relationship with a sea, therefore a liquid reality, which unites lands, peoples, and ancient and modern histories, containing relationships, desires, tensions, and conflicts. A sea that has given birth to and seen the collapse
LEONARDO CAFFO
Nicola Deinino, Progetto Liquido, 2024
Aymen Mbarki, Mare Nostrum, 2024
MALTA
We must try to understand if we are witnessing a continental gentrification of ‘peripheral’ places
of many civilizations but continues to be a fertile territory full of possible imaginaries.” Renato Leotta, who has chosen Sicily as his field of action, and Sam Vassallo, a Maltese artist, say more or less the same thing.
Liquidity, not stability. Movement, not static erosion of forms.
In the years I worked alongside Carolyn Christov-Bakargiev in the search for the Castello di Rivoli Museum of Contemporary Art, one of the most influential curators in the world often told me that contemporary art (even after her Documenta V) has opened
up to alternative thoughts but has remained centered on extremely colonial productive and curatorial logics. This seems to me to be the crucial point: not the Mediterranean as a theme to deal with, but the Mediterranean as a general transformation of the mechanisms underlying the production of knowledge.
The challenge here is twofold: cognitive on the one hand and practical and operational on the other. There are flashes of brilliance, like the Manifesta in Palermo or Barcelona, but then we must try to understand if we are witnessing a continental gentrification of ‘peripheral’
places. Discussing these issues with the Montevideo artist Nicolas Denino, who has chosen to divide his time between Italy and Tunisia, and who tells me that his “work takes shape starting from water. I was born by the sea, in South America, and I know the oceanic feeling: intimate and immersive. However, I learned the ability to reason in different terms about this element of nature by living for a long time in countries bordering the Mediterranean basin where water tangibly carries pragmatic, political, cultural, and artistic values. An endless challenge for my plastic research”... I realize that this fluid element is perhaps the key to the question.
The issue, therefore, is how not to neutralize a place by bringing it to what Michel Foucault would have defined as the ‘order of discourse,’ and perhaps for this reason the biennial in Malta was particularly successful: place and theme were married in a significant way, and as the artist director Sofia Baldi Pighi has repeatedly said, it was above all a matter of understanding how the center of the Mediterranean was a universe with
different laws and with alternative value systems to those that contemporary art finds itself closed within.
During a business trip to Tunis, in one of my first mappings of the Mediterranean as a territory of contemporary art, the artist Aymen Mbarki tried to explain to me how, in his opinion, creativity was the first real place where Mediterranean Studies could be reunited. There are too many borders, Frontex cuts in half a sea that is actually unitary, and only art can attempt a political anticipation of a reunification. The philosopher Youssef Seddik, whom I interviewed on this same trip, told me that with the Mediterranean it is above all a spiritual question: something unites us, and no matter how much one can force a political division, a Sicilian will always be more similar to a Moroccan than to a German.
All true, and in art this similarity should perhaps translate into a project or a common charter of contemporary Mediterranean art. Perhaps the time has come to try together.”
LEONARDO CAFFO is a philosopher, writer and curator.
Sam Vassallo, Moody Covid Outing, Ghajn Tuffieha, 20th August 2020
Renato Leotta, Un riccio, 2024
Laure Prouvost, Dreaming of No Front Tears, Malta Biennale, 2024
Promotion / Diego Dalla Palma
October - December 2024
Celebrate Natural Beauty & Unleash the Drama
with Diego Dalla Palma
Milanese make-up artist and brand ambassador LEONARDO DE LUCA, at Chemimart
Discover a legacy that spans 70 years. Explore the evolution of this esteemed brand and its journey from its inception to its current standing. What is your favourite product from the collection, and what makes it stand out? Consider how professional makeup can be effortlessly applied at any time, making it accessible to every woman, including beginners.
De Luca emphasises, “Celebrate your uniqueness, even the features you may consider flaws. Embrace your individual beauty and skillfully highlight your distinctive attributes. Utilize shadows and contouring techniques to create more sculpted profiles. The emphasis is on natural beauty, which remains timeless!”
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International make-up artist and Brand Ambassador Leonardo De Luca. Photo by Artpaper.
Interview / School of Art / Malta
October - December 2024
LILY AGIUS
The Malta School of Art
The School of Art has undergone a huge transformation over the years to align with the demands of the contemporary world. Lily Agius speaks with the Head of the school, Roderick Camilleri, to discuss its developments and plans as well as his thoughts on AI, digital art and the institution’s current educational priorities.
How many courses do you offer, and whom are they targeted at?
The school has a diversified list of courses with over 70 units across different levels, from elementary to higher diploma programmes in painting, printmaking, and sculpture. Besides the formal accredited courses, there are also non-formal classes designed for students who are interested in learning a subject without being formally assessed.
How would you say the school evolved over the years?
The school has changed over the years and has created a beautiful community of students, artists and art lovers with almost seven hundred students. Moreover, we have done a lot of work to consolidate a differentiated cycle of MQF-level units which covers different fields, providing a creative context that encourages individual interpretation and, innovative research and experimentation.
Can you discuss The School of Art’s history and its priorities today?
The School of Art has a century-long history. It has played a pivotal role in the formal and artistic development of some of the most illustrious modern artists in Malta. Its historical origin started from a chain of strategic political achievements traced back to the acquisition of selfgovernment in 1921.
Within the political and historical context of the early twentieth century, the local administration and government felt the need to set up a State School dedicated to fine arts. It was during this period that the Malta Government School of Art was established. The school opened its doors to its first cohort of students in 1926. It had a strict curriculum similar to the typical academies on the continent. However, its formative and conducive context emanated a very productive ambience that stimulated important students granting them an important scholarship to further their artistic
practice abroad. Thus, the school was more than just a hub for artistic training, it was an instrumental springboard to further their artistic knowledge and horizons outside the local landscape.
Nowadays the school forms part of the Mikiel Anton Vassalli College (MAVC) and strives to preserve the artistic heritage and academic prowess of
the past. However, it fosters creative thinking and innovative research and experimentation, grounded in solid technical competencies.
In addition, the school is establishing crucial links with local and international art institutions, museums, cultural institutions and various other entities through partnerships and collaborations.
Through these joint ventures, the students are given opportunities to engage with professionals and explore new territories. For instance, every year the MAVC college organises an interdisciplinary production which brings together different students from different art fields to work together in a production amongst professionals. Moreover, we also create exhibitions and projects such as IdeArti, Junior Exhibitions and Diploma exhibitions amongst others, to further expand the students’ artistic portfolio.
Moreover, this year the School of Art is also designing a digital education module integrating the visual arts for an Erasmus Project+ which the MAVC is coordinating to elevate the digital proficiency of educators with key EU policies. This project also entails the participation of two partners, one from Turkey and one from Greece, respectively.
You have recently developed the studios as well as the public areas. Why did you feel this was needed and what more do you have to offer now?
The renovation of the school and its studios were amongst the most significant upgrades, boosting all the facets of our programme. The studios are fully supplied with all the equipment required to offer the best possible learning experience and formative training. The life-class studios, painting studios and printmaking workshops are among the most beautiful spaces; I would also say that such spaces are amongst the best educational art studios on the island.
For instance, the printmaking studio is fully endowed with lithography, etching and relief presses which also act as inspiring centrepieces of the workspace. Moreover, these spaces are also complimented by some of the most remarkable artworks by prominent Maltese artists who used to work at the
MALTA
school, such as Carmelo Mangion, Esprit Barthet and Frank Portelli to mention only a few.
Why did you feel that you needed to offer more and include a digital art studio?
The digital art studio is another valuable addition to our educational resource. Nowadays digital art is a vital medium which needs to be integrated into our educational programme. Students need to be conversant with the latest technologies and sources to keep abreast of what is happening in the contemporary artistic scene. The new media have permeated all elements of our lives and surely cannot be overlooked. I believe that such an asset should be part of the students’ formative training to cater for the needs and expectations of the contemporary world.
You are also an artist yourself. Would you agree, fine art has been overshadowed by digital art? And if so, what is the School of Art doing to prioritise academic fine art.
Digital art is a very resourceful and attractive medium and most of the students gravitate towards this field due to the new working opportunities which are emerging. However, nowadays there is an interesting cross-fertilization between the two realms. Needless to say, there are a lot of students who start their artistic journey through digital platforms. This has turned the old system on its head, inverting the educational
process of young art pupils. There is a considerable number of students who start exploring and experimenting with artistic expressions through digital software and then gravitate slowly towards traditional forms at a later stage of their educational process.
Unfortunately, one downside which might affect us is that such software and platforms provide shortcuts for our up-and-coming art students and thus certain facets linked to material literacy, such as technical drawing skills might be negatively affected. This might be a temporary phase and I still believe that the two realms can co-exist in a healthy symbiosis.
The school of art is aware that these new technologies provide challenges which proffer positive as well as negative effects. We are doing our best to foster a productive context which sustains our traditional legacy of technical and formative basis whilst providing a creative flair where students can research, experiment and integrate different media.
What is your opinion on the artscene and art that you see at galleries today in both Malta and abroad? Is there anything that you wish to see more of?
In Malta, the art scene has developed drastically in the past decades. The resources, and the number of projects, events and exhibitions have gained traction across different realms. There
are several galleries and art spaces which are organising shows regularly and consistently. At an international level, the art market has become increasingly globalised, with the proliferation of art fairs, auctions and galleries, connecting artists worldwide. Digital media and NFTs have also affected the market in various ways, offering new opportunities. All these facets contribute to the versatile artistic milieu, making the art world more interesting, challenging and appealing.
If I had to pick one particular thing that I would choose to see a stronger international representation of local artists at international institutions/ fairs/galleries. Moreover, I think there is also a dire need for a stronger synergy between art communities.
How do you feel about the rise of AI and digital art?
Well, the role of AI is a seamless hot potato with numerous layers which are continuously emerging. What is certain is that its presence is inevitable and its impact cuts across all the realms of technology. AI is a doubleedged phenomenon. It proffers new opportunities and establishes effective trajectories through algorithms and configurations. If such opportunities are not filtered or well managed, they might generate an overkill. Probably, the development of new artificial resources will bring about another drastic paradigm shift and its ramifications and still to be considered. Nevertheless, I still find it very hard to believe that it can ever subsume human creativity.
What would you say are the benefits of going to art school today?
Attending an art school offers more than just skills and knowledge. It is a rewarding transformative learning
experience that fosters personal growth, self-expression, and an appreciation for the arts. Besides the cultural and experiential capital that students gain, learning from artists and seasoned professionals is an unreplaceable opportunity to develop one’s cultural baggage.
For decades schools such as the SOA have fostered a vibrant community of artists and art lovers, boosting an endless list of creatives who have established a name within the artistic field.
Do you have any plans and hopes for the future?
Yes, we are working on a series of exciting projects which will enhance the school footprint and its legacy. The centenary anniversary is now approaching and we are drafting a chain of intriguing events and exhibitions, showcasing parts of the school’s rich archive and art collection.
In addition, we are working on new opportunities and academic projects that will generate links with foreign art institutions and academies. This year the school will host special talks and workshops by professionals from international institutions who will provide specialised sessions for our students and the public at large. Moreover, we are designing new artistic ventures that will provide new gateways for our students to feature their work abroad in foreign art spaces.
How can someone apply and see the full list of courses available?
The full list of courses is available on the official website of Mikiel Anton Vassalli College and the Malta School of Art Facebook page. The new applications are usually published mid-July and late applications are accepted in September.
Interview
/ Exhibition / Malta / CO-MA
October - December 2024
MALTA
ARTPAPER
A Conversation with CO-MA
In the lead up to his exhibition
What’s the idea behind your upcoming solo and how is it developing?
The idea for this upcoming collection started from the want to make large scale works. I began researching old Maltese paintings and those in places of worship and it developed into a fascination with how I would interpret the themes and compositions in a contemporary way. The process will be documented from start to finish.
Has the subject that you will be depicting been developing for some time?
Yes, it’s been a while. I’ve had a lot of time to explore some ideas since building my home studio for the last 4 years. The high stone arch ceilings have also been part of the process of forming the general idea. My previous studio was a garage, now I can step back and see 8-metre-wide walls which has helped me visualise what I have in mind.
The way I will approach the idea is constantly changing in my head, but I think that’s always been my way of
making something – it always adds up in the end. I like to change ideas as it keeps me interested in the creation of the work – not following a set procedure or plan. I just prefer having an idea and trying to get to it but still allowing myself to drift away to then go back on track and, maybe, find new unplanned ways of getting there. All I can say about the theme now, is that it will be touching on the topic of the 7 deadly sins.
How would you characterise your studio environment and how has it influence your work?
It’s organised chaos. My workshop/ production area is the ground floor. The middle space is for thinking, generating ideas and making music. And the top floor is my relaxing space. It allows me to work in my way – constantly shifting from one thing to another whilst simultaneously working on different things.
What materials and mediums are you employing in this collection?
A very vast rage of materials. My main medium is charcoal, but there will be
use of inks, oil paint, acrylic, anything and everything…
Do you ever engage in creating art digitally?
I have sometimes used digital tools to create a rough reference for a composition. It’s easier than sketching the whole thing and having to move something slightly – you can get a good idea of the placement of things. But I wouldn’t trust a robot to do my drawings.
What are your views on AI and digital artwork?
I think the use of digital and AI is being abused by some artists, to be quick and make things easy, skipping the process of sketching and getting the final drawing before its painted. I feel that it is taking away the beauty of art and appreciation of the skill.
In your opinion, should artists be trained in traditional drawing techniques?
I don’t believe that all artists should be trained. It depends on what you are
after as an artist. It’s just a pity when some artists try to emulate the skill by using digital tools – such as with 3D printing and digital drawings… you can’t call yourself a sculptor if you use a 3D printer!
Where did you hone your drawing skills?
I had a couple years at a trade school. I didn’t really draw much after that apart from some illustration work for record labels and small drawings. I fully focused on my own drawings when I got bored from producing music and my music studio gradually turned into an art studio.
What instigated this need to get back into art?
Even though it was going well, I wasn’t feeling fulfilled in the music industry and I needed another creative outlet. I watched Lord of the Rings on a plane flight back home from a gig in Japan and was fascinated by the costumes and scenery that I then watched 12 hours of behind-the-scenes and bought a ton of materials of anything I could find to try some works in clay, and paints. I just wanted to make things!
Why is charcoal your main medium of choice?
I started using charcoal a year before my first show which was in 2021. Charcoal has given me the results I’m after. You can go into detail as much as you want, and it offers an unlimited range of values that you can play around with.
How would you narrate your journey as an artist so far?
A curse that you can’t live without.
The exhibition (yet to be titled) will take place from the 9th of May until 29th of June at Spazju Kreattiv (Space C), Valletta. Follow the artist via his Instagram page @Comacomaart. If you wish to visit the artist’s studio, contact Lily Agius Gallery for an appointment by email on info@ lilyagiusgallery.com or call +356 9929 2488. Sign up for updates via the website www.lilyagiusgallery.com & follow the gallery via Instagram and Facebook.
“Art, a curse that you can’t live without”
Interview / Photography / Books
Eyes wide, shuttered.
Contemporary photography in Malta
JOANNA DELIA
MALTA
Inigo Taylor, Lbic
The looming arrival of winter has been made more bearable for me this year thanks to two remarkable contemporary photography booksInigo Taylor’s ‘Lbic’ and Sarah Scicluna’s ‘Intimate Summer’ - which now rest on my bedside table. Both of these collections are filled with stunning imagery, showcasing a striking diversity that reflects the unique perspectives of the artists behind them. Yet, despite their differences, both books convey a profound and passionate bond with the sea. ‘Intimate Summer’ captures the intimate moments and human connections that evoke a sense of nostalgia for anyone who has spent their summers in Malta. In contrast,
‘Lbic’ invites us to appreciate the vast and intricate beauty of our coastline, revealing its sublime nature to those who take the time to look.
The community of artists utilising contemporary photography as their medium is expanding in Malta, with talents like Alexandra Pace, Therese D’Ebono, Joe Smith, Amelia Troubridge, and Nigel Baldacchino among my personal favourites. However, there remains a notable absence of dedicated spaces where photography as an art form can truly be celebrated. As a result, the primary way to engage with the works of these artists is through their published books.
I recently had the opportunity to speak with Sarah and Inigo, delving into their
JOANNA DELIA is a medical doctor who specialises in cosmetic medicine. She is also a cultural consumer and art collector who tirelessly supports local contemporary art and culture.
creative journeys and discovering the inspiration behind their remarkable books.
When did you first begin capturing images with a camera? Did you pursue any formal education in photography?
SS: Photography has always captivated me, and I first delved into it with a DSLR in my teenage years. However, my passion for street photography really took off when I acquired my first film camera—a Nikon L35AF pointand-shoot—that I still occasionally use today. I now find joy in capturing images with both digital and film cameras, appreciating the distinct characteristics that each medium brings to the art. Although I have not pursued formal training in photography, I feel that my
background as a graphic designer has profoundly shaped my outlook on the world and the way I compose my images.
IT: I pursued my passion for photography initially at a college in Grimsby, followed by further studies at a university in Lincoln. During my college years, I was fortunate to have two exceptionally insightful instructors. I graduated from high school without any qualifications or a clear sense of direction, which led me to complete a foundation year to qualify for the National Diploma and A Levels. My A Level photography course was conducted during the evenings, alongside adult learners, where my teacher, Ian, played a pivotal role in shaping my artistic journey, guiding me on influential photographers and encouraging my unique approach to
Sarah Scicluna, Intimate Summer
Interview / Photography / Books
October - December 2024
photography. I embarked on my photography journey during a transitional period; while digital photography was rapidly gaining traction, my instructors emphasized the fundamentals of 35mm film and darkroom techniques. I am truly grateful for that experience. I continued to shoot on film until 2011, but after relocating to Malta and facing challenges in finding a reliable lab, I made the switch to digital photography. Currently, I primarily use digital equipment for my commercial work, but in 2020, I rekindled my love for film. For my personal projects, I focus solely on black and white photography. I enjoy both 35mm and 6x6 formats, but if I had to choose one, I would favor 35mm. To streamline my creative process, I limit my options by using just one type of film and rely on a moderately wide-angle lens for nearly all of my work, whether in 35mm or 6x6.
Are there any photographers who have inspired you?
SS: I have a profound admiration for Martin Parr, and I can see his impact reflected in my photography. While I primarily focus on capturing moments at the beach, I deeply respect his ability to connect with his subjects on a personal level. This approach has significantly inspired me, particularly in
the last year. Furthermore, I have immense appreciation for the works of Nan Goldin, Fred Herzog, and Joel Meyerowitz, all of whom have played a crucial role in shaping my artistic path.
IT: Over the past few years, I’ve noticed that I’m less inclined to examine the work of other photographers. However, I still find myself returning to the inspiring landscapes captured by Fay Godwin and Robert Adams; their dedication to the places they cherish serves as a powerful example. Additionally, I am gradually curating a collection of photo books focused on Sicily, which has led me to discover the intriguing work of Angelo Pitrone. I’m eager to delve deeper into his artistry.
Do you wish there was a photography museum in Malta?
SS: Absolutely! A photography museum in Malta would provide a unique and enriching alternative to typical social venues. Beyond the humour, such a space would truly enhance the public’s understanding and appreciation of photography as an art form. It could exhibit the wide-ranging styles and narratives within photography, highlighting both local talent and international works, thus serving as a significant contribution to Malta’s cultural landscape.
IT: A photography museum dedicated to showcasing innovative photography that explores a myriad of ideas and themes, particularly within a Maltese context, would undoubtedly be beneficial. The increasing number of photographic archives made available through books and exhibitions here is truly inspiring. However, a photography museum should aspire to do more than simply reflect on the past. The Bradford Museum of Photography has long been a prime example of this, featuring outstanding exhibitions of contemporary photography alongside an extensive archive. Its rebranding as ‘The National Media Museum’ signifies a notable shift in the perception and role of photography in the broader media landscape.
Do you feel contemporary photography is respected enough as a medium/an art form in Malta?
SS: While I appreciate and am grateful for the positive feedback I receive on the photographs I showcase online, I do feel that photography in Malta is often viewed more as a hobby than a serious art form. People seem to enjoy viewing the work, but there’s a noticeable hesitance when it comes to purchasing prints or fully acknowledging photography as an art worth collecting. This contrasts with how photography is perceived in other parts of the world, where it’s given more recognition and value as a legitimate art form.
Sarah Scicluna, Intimate Summer
Inigo Taylor, Lbic
I have to admit, I haven’t immersed myself deeply enough in the Maltese art crowd to have a fully formed opinion on this. However, it’s encouraging to see a growing number of diverse projects emerging. I do think Malta is evolving and making strides in pushing the boundaries of creativity and what we present to the public. Ultimately, I care more about connecting with people who truly understand and value the art form, regardless of the wider crowd’s opinion.
IT: I remember a few years ago I approached a publisher who wanted “something different” I showed my prints, and at the end of the meeting his response was “but where is the azure window?” I think things have changed since then. We still need to be realistic in terms of what kind of audience there is here in terms of numbers.
In terms of whether or not photography is appreciated here in Malta from the point of view of exhibitions I’d say we have had some great exhibitions over a range of genres over the last few years and that is very promising. Zvedzdan Relic and Ede books did a sterling job publishing many locally based photographers in affordable books, accessibility to art is important and unfortunately photobook publishing here can verge on the
prohibitively expensive. We will all miss him and he certainly allowed many artists to show that Malta has a lot to offer.
What do you hope people see in your book?
SS: While my photos on Instagram and my website showcase an assorted collection, this book offers a deeper narrative about returning home for a summer. It highlights the diverse characters I’ve encountered, from strangers to the most significant people in my life, including a past lover and newfound friendships. Ultimately, it serves as a personal exploration of human connection, growth, and transformation.
IT: I hope that people see a place worth caring about, I’ve seen a big growth in interest in the outdoors and outdoor pursuits, Many people, locals and visitors , through hobbies and sports get a tremendous amount of pleasure from our landscape, what should we give back?
Intimate summer can be bought online from www.saraheatsfilm.com while Lbic can be bought from Il-Local - Valletta.
Inigo Taylor, Lbic
Feature /History/ Graphic Design / Salvu Scerri
October - December 2024
MALTA
MARCO SCERRI
Practice, Patience, Perseverance:
Introducing Salvu Scerri –one of Malta’s first graphic designers
‘Practice, patience, perseverance’ — a resolute mantra Salvu Scerri lived by in his personal life and career as, possibly, one of Malta’s first known modern graphic designers. Scerri, born in Floriana on 22 February 1921, spent approximately twenty-four years practicing in the field of visual communication.
It is not entirely clear how Salvu Scerri got introduced to graphic arts. In his résumé he states to had studied drawing with prominent artist Edward Caruana Dingli, presumably at the Malta Government School of Art in Valletta. Scerri joined the British Admiralty Service in 1939, following the completion of his secondary education at St. Albert Central School in Valletta. His employment with the British services lasted until 1967 – over 28 years of service he worked as a Yard Boy and Labourer, served as a Corporal in Field Hygiene for his wartime military service, after which he passed his exams, he moved to a clerical post with the British Naval Armament Stores from 1945 onwards and finished with full merit as a grade A clark.
We have no clear evidence suggesting that Salvu Scerri trained or worked professionally as a graphic artist up until circa 1954, when he applied for a oneyear distance learning course in Press Art at London Art College. Scerri’s son, Joseph, who is also a graphic designer, believes his father was encouraged to pursue commercial art by tutors at the Malta Government School of Art. At this time, training in the graphic arts was not offered locally. When considering the colonial post-war context that was shaping Malta at that time, it’s no surprise that Scerri looked towards the British for his design education and main point of professional reference. This course suited Scerri perfectly, as it was a part-time skills-based course that allowed him to learn the basic practices used in contemporary British commercial art, while balancing his work and family life in Malta.
The London Art College had been founded recently, in 1931, by a collective of working artists and art editors whose aim was to create a practical alternative to the academic art school model.
Leading the collective was A.W. Browne, a renowned editorial artist (press artist) of Fleet Street, then the home of the British newspaper industry.
MARCO SCERRI is a third-generation graphic designer, following in the footsteps of his father, Joe, and his grandfather, Salvu Scerri. His design practice is based in Glasgow and teaches at Edinburgh College of Art, University of Edinburgh.
The course consisted of 10 lessons covering lettering, figure drawing, pen and ink illustration, wash and half-tone drawing, colour painting, advert design, book jacket and cover design, catalogue illustration and fashion drawing, cartoon strip drawing, and mechanical and machine drawing.
Through the written correspondence between Scerri and Browne, one can admire an eager student – curious, patient and hard-working, and very keen to absorb as much knowledge within and beyond the course. In his questions and observations Scerri clearly showed he was thinking ahead about how to apply as well as introduce newly acquired skills and practices in the local commercial art scene. In fact, Scerri seemed to have been applying his skills before the end of the course – in a letter to Browne, from April 1955, he proudly mentions an artwork he had produced and submitted for the Malta Trade Fair poster competition, while also expressing his disappointment at the selection panel’s apparent inability
to declare any winners that year, in order for the commission to be given to an established fine artist.
Following the completion of the Diploma in Press Art, Scerri appears to have gained the skills and confidence to set up a part-time freelance commercial art practice, at home, in Floriana.
Between circa 1955 and 1968, he worked as a freelancer independently and for local advertising agencies the British Publicity Company (BPC) and Malta Publicity Services (MPS). BPC, an advertising agency founded by the late Joseph Brockdorff in 1958, largely employed British ex-servicemen with a background in commercial art to run its studio in its early days.
According to Joseph Scerri, Joe Brockdorff had mentioned to him that Salvu Scerri could have been the first Maltese commercial artist to be employed by his company, and was considered to be a true commercial artist, when compared to other local contemporaries of his.
Feature /History/ Graphic Design / Salvu Scerri
October - December 2024
Scerri designed artwork for a wide range of outputs, including packaging and point of sale displays, press adverts, leaflets, brochures and posters. He worked with some of the best known local printers of the time – Progress Press, Union Press, Empire Press, Bonavia Press and Clear Type Press. Scerri regularly used British suppliers for pre-press work, mostly consisting of artwork block-making to be used on letterpress units while Letraset and Cow gum were his staple graphic design tools.
His approach and visualisation was clearly influenced by the distinctive style of mid-century modern graphic design — a modernist design movement that emerged between the mid-1940’s and mid-1950’s in America and Europe, visually defining the optimistic spirit of the post-war period. As a style it applied the rationality and simplicity of modernist design, with an added emphasis on eye appeal and playfulness. Scerri’s work shows varied application of this style, but doesn’t rule out the use of ornamentation.
A common tendency from this era was for commercial artists to merge the traditional boundaries between graphic design and illustration – Scerri’s graphic design work was often illustrative –graphically illustrative.
Scerri’s confidence was galvanized further in November 1956, when a set of labels he designed for local winemaker, Marsovin, were featured in the then prestigious Art & Industry — an independent journal of industrial
design incorporating ‘commercial art’, published in London. As a budding designer, he must have felt a great sense of recognition and appreciation when seeing his artworks published alongside the work of established contemporaries, Abram Games and Tom Eckersley.
One of Scerri’s finest and most contentious set of works was produced in 1962, on a commission by the Diocesan Junta of Catholic organisations. The Junta, which had been set up in 1959, ran an extensive politico-religious campaign that staunchly supported five pro-catholic political parties which were running against the Malta Labour Party (MLP) in the General Election of 1962. This campaign emerged as a response to a long and bitter dispute between the Maltese Catholic Archdiocese and the MLP – the church was concerned about the dangers of Protestant influence in the form of civil marriage and divorce entering Malta, as part of the MLP’s plan to integrate the island with the United Kingdom. Scerri designed a set of three bold and witty screen-printed posters, each communicating sharp messages that underlined the core arguments of the Junta’s support for the archdiocese’s stand against the MLP. Artworks for stamps and flyers were also produced as part of this commission. The effective use of conceptual graphic symbolism and the reductive style employed by Scerri in this work, bears the trademark of an emerging graphic designer who had gained a good grasp of the functions and sensibilities of their profession. Nevertheless, this work was produced for a very controversial cause etched in
Malta’s post-war socio-political history.
Following Malta’s independence from British colonial rule in 1964, Scerri’s full-time clerical post with the Admiralty started winding down gradually. Since Scerri had developed a keen interest in calligraphy, two years later he took up the freelance post of official engrosser for graduation and ceremonial documents issued by the University of Malta and the Sovereign Order of St. John of Jerusalem, Knights Hospitaller.
In late 1968, after Scerri had left the British Services, Paul Laferla hired him as a fulltime Chief Design Executive at Crown Cork Works in Hamrun – the company specialised in crown & can making, tin printing, process photography and plate-making. Besides heading the design department of the company, he was also responsible for budgeting, costing and stock control. This was the first time Scerri worked as a graphic designer in a fulltime capacity.
During this period, he was elected as an associate member of the Institute of Printing, London (1974), and as a lay
member of the Society of Scribes & Illuminators, London (1978). Throughout his full-time employment, Scerri appears to have kept his freelance practice going, from his family home studio, now located in Birkirkara. Grafoteknik Art Studio was the name of the practice. The details of the studio’s letterhead included the strong latin motto “Pictura Productionem Generat” (art generates production) — reiterating Salvu’s strong believe in the communicative power and economic impact of graphic design. The studio specialised in Graphic Art, Technical & Industrial Design, Architectural Rendering, Illustration, Tinting & Retouching, Make Ready & Production, and Engrossing. His son, Joseph, who was introduced to graphic design as his apprentice at Crown Cork Works, also recalls his father running well-attended private lessons in graphic art at their house in Birkirkara.
Scerri’s career reached an end in January 1978, when he retired following a near fatal heart attack. He went on to live for another thirty-three years, during which he emigrated to Canada with his family in 1982, and returned to Malta in 1987, where he remained until 2011– he passed away at the age of 90.
