Searching and dissecting

There was much to see at Notte Bianca. But the question is, was it all relevant and did I manage to see it all? Almost (to the latter question)... but sadly... no (to both parts of the question).

Perhaps I was a tad naughty, because I allowed my mission to be detoured on several occasions (you know... needing the occasional beverage or the desperate use of facilities, bumping into the "odd" friend or acquaintance, all the while also indulging in my magpie tendencies - because I am quickly, and easily, drawn to anything shiny, fancy or colourful).

I desperately tried to stick to my pre-ordained/pre-established programme, but here and now I shall admit to having missed out on a few of the exhibitions - that showing at the Auberge de Castille, for example which was the venue dedicated to all that was Gozitan. In my defence, however, the sheer magnitude of the crowds shielding the venues from view were very off-putting, and it is somewhat difficult to find an exhibition in all that chaos when it is not even listed on the programme. This was the case with Mark Schembri's exhibition at the European Studies Agency in Old Mint Street. How was I supposed to find that without it being listed? So, I had to be selective.

I honestly feel that Notte Bianca has become too vast, and that the organisers have somehow let it spin out of control. It is a pity for so much collective work to be carried out only to have it dismantled after just a few hours, or for the final job to end up looking quite shoddy because it was put together with too much haste and not enough thought.

The programme itself was helpful, certainly, and the colour-coding of events was a great idea, but surely the final line-up should have been decided upon by the time the magazine went to print, or is that asking for too much? This was pretty much the case with the exhibition showcasing the modern art pieces from the national collection. Knowing that it was one of the few commissioned events, I was eagerly awaiting this show.

And yet it appeared nowhere on the final programme of events. Although I got the information I required from the organisers, how was the public meant to know about this event? I feel more time and energy should be dedicated to fewer events to achieve better results in the future. Notte Bianca is the oppportunity for anyone and everyone to witness all that is simply out of reach, for any such reason, to every man. But if we fail to attach the hook to the fishing-line, what hope is there of catching the fish?

I remember Notte Bianca 2007 had the abstract art/artists collection at the Auberge d'Italie - now that was truly memorable! In its stead there is (still underway) a show by Italian artist Salvatore Montanucci, which I'll admit left me very cold - the subjects, execution and technique all contributed to this. He might have spent several years living in Malta, and yet I don't see much of a reflection of it.

When it comes to the visual arts, this year I felt that little effort was made for Notte Bianca. Thank goodness that a number of exhibitions were already underway and were automatically included within Notte Bianca's programme, otherwise the visual arts would have suffered considerably.

The three exhibitions at St James Cavalier were all in place before Notte Bianca took off - Pornolitics (the Remix), Cartoons for Diversity and The Malta-Cyprus Ceramics Exhibition. So here's my breakdown for these three shows. Pornolitics: loved the concept and the combining of subjects, but I was disappointed with the size of the works and with the artworks to "manifestos" ratio in the exhibition.

The cartoons - well the competition was open to amateurs, beginners, students, professionals and all and sundry, so the levels and standards differed considerably, so I shan't comment about the works, but what I object to is the display. Aren't we over the boards/panels formula yet? Panels don't really allow for the spacing out of works resulting in the cramming and layering of images one above the other. Also, works left unframed, with just a mount, look unprofessional.

And lastly the ceramics exhibition. Now this was (and is still) worth a visit. Running until October 25, for those who haven't yet visited this show, it truly deserves at least one viewing. Although the standards of some of the works differ, for the large part it is a really good show. There's quite a large selection of pieces to view and it is quite rare for such a variety and selection of ceramic artworks to be brought together under one roof.

Besides the ceramics exhibition the next best on the list must have been The Temple of the British Empire to the Unknown Soldier exhibition: a small but highly relevant show of drawings and plans by Antonio Sciortino at the National Museum of Fine Arts. It was probably the best put together of the whole of the visual art shows organised solely for Notte Bianca. Dennis Vella would have been proud.

The exhibitions at Palazzo Ferreria, the General Workers' Union and other places still, were ok really... but still I was expectant of something more. There were many photographic exhibitions to choose from too; perhaps Alex Attard's black and white photos stood out, if only because they were hung on the arches in Republic Street (in front of Accessorize).

I also loved Tonio Lombardi's works at Chiaroscuro in Strait Street. His works were a bit lost there however; they should be blown up and exhibited in a more deserving venue.

I was surprised and highly amused (in a good way) by a particular work at the Heritage Malta head office by Carmel Bonello, who is exhibiting his works with Jeremy Ellul. Mr Bonello uses a number of objets trouvé to animate his works, one of which had a mannequin's torso attached to a surface, surrounded by photos. The peculiarity of this work lay in a gaping triangular hole in the place of the mannequin's crotch, behind which there was a slideshow of images showing scenes and happenings in Malta. My "body" is my temple? Well even churches were featured in the slideshow. I reiterate: I was definitely amused.

Another confession: I missed Samuel Carre's art and lights installation in Strait Street - realised later (much later) that his work was listed under a different colour coding. Sigh. And I would also like to make a suggestion: I love the idea of a wishing tree at the Upper Barracca Gardens. It should become a fixture and it could become an attraction in its own right.

The highlight of the night was not in the form of an exhibition really. There was no painting, sculpture or photographic show or installation which gave me a buzz as much as the following. I had just hit the crowds in Republic Street, and was looking over the shoulders of artists painting outside Vee Gee Bee when I was hit by a blonde vision. Curious I walked on, and entered Tommy Hilfiger. There in the entrance passage stood four gorgeous models (two females, two males) standing still as statues on pedestals, displaying the latest autumn/winter trends.

Some people barely noticed they were "real", some tried touching the clothes, only to get the fright of their lives at the realisation. It was such a treat to witness this. Engaging interactivity at its best. It's the closest thing to performance and installation art that I witnessed on the night, and whoever brought those stunning (foreign?) models together and came up with such a simple yet effective idea should truly be commended. The people flocking inside to gape and gawk was quite impressive. And I think that just about says it all.