Spatial considerations

Art in a restaurant. A common occurrence admittedly, unlike having art in Strait Street’s public toilet... apparently.

I often ask myself why curators or artists would resort to the utilisation of spaces possessing a pre-ordained function that departs from a primary concern for art. Really, I can only come up with one answer: The scarcity of proper exhibition spaces in Malta.

For the past few weeks, there has been a collection of paintings on show by Italian artist Pietro Piccoli at the relatively newly-refurbished and expanded Café Premier in Pjazza Regina, Valletta. Now it is not a custom of mine to review exhibitions in restaurants, cafés, hotels or other commercial premises, simply because of the inherent commercial value of the venue. However, exceptions are always made when confronted with a good enough counter-argument. And in this case, Mr Piccoli’s works spoke for themselves, and definitely enhance and dominate the labyrinthine space.

Having said this, I do generally feel compelled to make that extra effort to take an artist and their work seriously when viewing shows in commercial premises. This is not to criticise the venue – because, in this case, Café Premier is quite stylish – but because my key concern when visiting a café or restaurant is usually their cuisine and my focus would hopefully be directed to the company I’m in, and not the art or decor. Choosing a commercial venue for a show could sometimes also mirror an artist’s or organiser’s level of insecurity and could be seen as playing it safe by selecting a place which automatically draws people to it for reasons other than art. Ultimately, unnecessary distraction when viewing and supposedly appreciating works of art, of whatever medium, is never a good thing.A

lthough Mr Piccoli’s work can be classified as commercial – in that the representational themes and subjects would satisfy the tastes of many, resulting in a higher probability of sales – his work possesses a certain j’ai ne sais quoi which is altogether quite alluring and captivating. His paintings are vibrant – literally. Strong bands of light, mesmerising reflections and weightless buildings are all bathed in this sheen of Mediterranean colour which has earned him more than a mere reputation abroad.

His paintings are moreover incredibly clean and his confidence with the oil medium simply oozes out of each and every work. The majority of Mr Piccoli’s scenes might induce a sense of déjà vu in viewers, as most of his paintings can almost be classified as postcard-pictures. However, the quality of his work, his refined technique and overall execution sets him distinctly apart from the average land- or seascape painter, of which we already have plenty in Malta. And for such reasons, I feel that Mr Piccoli’s work deserved to be exhibited in a proper gallery or museum space.

Then again, I’m not sure the organisers – newcomers to the scene ArtConnect – had much choice when it came to choosing an exhibition venue for Mr Piccoli’s work – as the spaces, most especially those in the capital, seem to be dwindling before my very eyes.

First the Upper Galleries of St James Cavalier were designated to the Malta Contemporary Art Foundation – which, whether a wise decision or not, has severely limited exhibition possibilities in one of the island’s top locations. And now, to exacerbate the situation, the Auberge d’Italie – a space in high and constant demand – has been “booked” for 2011’s entire calendar year. Apparently, the occupant is set to be Heritage Malta, which has supposedly scheduled a whole series of shows in the premises of the Malta Tourism Authority, even though the National Agency has a multitude of sites under their care and protection which can readily be utilised for such matters. I can only hope the powers that be are taking note of the degenerating situation, especially since the draft cultural policy is nearing finalisation and actualisation.

The infrastructure for the creative/cultural industry needs to be built on the existent foundation. But where are we left if those very foundations are destroyed? And where do serious/professional artists like Mr Piccoli stand in this scenario, not to mention all the Maltese artists who have yet to be properly acknowledged or commemorated?

In the meantime, I can only praise ArtConnect for having taken such a bold step into this difficult industry in which they have decidedly taken the plunge by bringing foreign blood to our shores for their first venture. I just hope that in the near future we can offer foreign and local artists a better package for the setting up of shows – one that justifiably emulates the calibre of the artists exhibiting their work in Malta.