VC03 (2021/2022)
rajt ma rajtx ... naf li rajt
Critical Essay by Elyse Tonna for Matthew Attard's exhibition: rajt ma rajtx ... naf li rajt (2021). VC03 is a book showcasing the 2021 exhibition programme of Valletta Contemporary with contributions by various authors/curators
SURA (2021)
KIN, who we are and where we belong (EN) / sura ta' nies (MT)
A book for SURA (2021). Stories and Poems by Clare Azzopardi. Contributions by Elyse Tonna, Glen Calleja and Lori Sauer. Translations by Albert Gatt. Photos by Giola Cassar. Proof-Reading by Claire Zerafa. Designed by Brendon Gauci
fuse (2021): collection of research and process-based articles related to the thematics and interventions by Elyse Tonna
A book for fuse (2021). Written by Elyse Tonna. Photos by Elisa von Brockdorff, Maria Galea, Rakel Vella and Elyse Tonna. Edited by Ann Dingli. Designed by Elyse Tonna and the Valletta Cultural Agency. Produced by the Valletta Cultural Agency
30@20: Looking Back Looking Forward (2021): Celebrating 30 Years The Mill Art, Culture and Crafts Centre
From the Archives: A reflection. and The Mill Today: A conversation February 2021
A book for 30@20 project by the Gabriel Caruana Foundation. Contributions by Raffaella Zammit, Dr Nikki Petroni, Elyse Tonna. Designed by Mighty Box Ltd.
ħaġarna (2019)
what is 'ħaġarna'?
A book for ħaġarna (2019). Contributions by Elyse Tonna, Dr Irene Biolchini, Prof. Vicki Ann Cremona, Dr Sandro Debono, Dr Marko Stamenkovic and introductions by Hon. Dr Ian Borg, Hon. Dr Owen Bonnici, Hon. Dr Justyne Caruana, Hon. Dr Anton Refalo, Nicoline Sagona, Joe Cordina and Dr Christian Zammit. Designed by Elyse Tonna
thematics
familiarity
familiarity
the liveability of the Biċċerija
PAĠĠATUR by Chakib Zidi, Fatima AM, Noah Fabri
Bull Street, Valletta
performance, video, intervention
This multidisciplinary project places its entire focus on the stories associated with the ex-residents of the Biċċerija. The artists wanted to bring light to the most intimate, intrinsic details of existence and life of the area, as well as the community’s relationship to the physical space that they occupied over time. Both Noah and Fatima joined several community sessions to discover personal stories around place-related aspects that would have otherwise remained unknown. Their research process also entailed meeting up with ex-residents who no longer lived in Valletta. Although the process of identifying ex-residents of the Biċċerija was complex at first, it became easier once connections were being made and the artists steadily earnt the trust of community members.
Is-Sinjorini. Seamstresses. Family Lunches. Lożor fuq il-paġġatur. Tfal rieqdin.
Carnival. Id-Duddlu. Intriċċi. Poġġatur jew Paġġatur?
As we learnt more from current and former residents, we understood how the Biċċerija characterised more than just a building housing several people. People lived in close proximity to each other, they were all neighbours, they all helped each other – most even raised each other’s children. There were characters who were more prominent protagonists than others – including feuds – yet we came to know all of them as being equally proud of the place they lived in.
Following several discussions, Noah and Fatima each wrote narratives separately, in both Maltese and English, conveying different aspects of what we were told. They then came together to combine them, as if interpreting various voices as one whole. Once the script was finalised, Chakib beautifully choreographed a performance based on the different emotions reflected in the script, using the physical characteristics of the paġġatur, the Biċċerija and Bull Street to bring out prominent narrative elements that converted the built context into the artwork’s set.
As a memoir of the voices of the people of the Biċċerija, the narratives were then composed and printed on woven fabric. The three pieces were designed to hang from the walls of the paġġatur, reminiscent of the bedsheets and drapes that once hung from one side to the other, protecting the boys from the scorching sun. The fabric was left unfinished, with fraying edges as a symbol of a community that is ever changing.