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
The Mill Art, Culture and Crafts Centre, Birkirkara - Malta (2021)
Artists: Matthew Schembri, Sheldon Saliba, Ian Farrugia
Curator: Elyse Tonna
GCF Programme Manager: Raffaella Zammit
part of the Gabriel Caruana Foundation SPRING (v1.2) Artistic Programme for Emerging Artists 2021
Found objects have always presented multiple opportunities for artists to play around between the ordinary and not-so-ordinary, between the usual and unusual. Whilst being a focal point of conflict and contradictions, found objects are primarily discarded objects with meanings that vary from one context to another.
Such occurrences, hereby exposing both the natural and the man-made, present strong parallelisms and contrasts. Their unusual presence incites a sense of mysticism whilst their contradictory juxtapositions facilitate elements of serendipitous encounters. The run-of-the-mill objects (pun intended), as presented here, enable the heightening of sentiments and facilitate an understanding of a dialectic which these works embody; expressions of the anti-power, subtle references to modes of production, or even so, hyper-modes of production. Interactions with the works generate a certain formation of consciousness and state of mind, about our environment, about movement and our state of health. Currently, all three present an opportunity to evaluate equally relevant and pertinent matters. Especially in Sheldon Saliba’s interventions, the work presented triggers and articulates a necessity, an urge to question. Within the context of The Mill, the work presents interesting parallelisms to the development of the context of the 300-year-old structure; itself exemplary of the imaginable faith of the undeclared sites represented through the found objects cemented together in Tiles of Occupation. The glorified motorbike as presented by Ian Farrugia, is testament to identity formation as dictated by contextual yet contested narratives which yearn for interaction and contemplation. Matthew Schembri’s ‘why I was absent’ instigates a direct testimony of the artist’s absence and foments a sense of curiosity. Its jarred presence within this already-charged space in a context overridden by an influx of health-related narratives, magnifies the relevance and transmits snippets of the experience