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
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.
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
Street games and leisure activities. Surveillance.
Seesaw by Aaron Bezzina
Eagle Street, Valletta
Noli. Ħarba. Ball-rails. Balloon taċ-ċarruta. Ċrieki.
Erbgħa kantunieri. Boċċi. Ħabel.
The development of the work and the choice of the location was two-fold. Aaron’s moving sculpture was intended to interpret the multiple facets that related to play. It used a sphere to make reference to games that involved a ball, as well as the repetitive use of ċrieki for its main body. Taking the form of a seesaw, the movement interpreted the upward and downhill characteristics of the physical landscape of the area, without which none of these games could have been played. As the work was being made and drawn up, we had an interesting conversation with one of the residents who made custom-made toys for the children in the Baviera area, evidencing how much play was still alive in the neighbourhood.
Mari tal-ħanut gathered children in the street (West Street) and crafted objects such as weighing scales, seesaws and wind vanes from tins of food and shoe polish boxes.
The notion of surveillance in this scenario makes direct reference to the mothers overseeing their children play in the streets from balconies above. It also addresses the sensation of walking underneath a niche, with its statue looking down on you as you move past. The concept of height was therefore important to the final work. Eagle Street was selected as an ideal location for the installation – its narrowness allowed for the dominant height of the sculpture, lending an imposing effect on viewers as they walk beneath it. In addition, the nearby arches complemented the shape of the circular ribs, which made up the main body of the work.
Parts of the main supporting structure of 'Seesaw' was donated to nearby neighbours.