The space at Pjazza Teatru Rjal overlooking the city now boasts a new addition – Inhabit, encouraging passers-by to stop, chill and enjoy. Charlene Vella reviews the concept behind this interactive installation.

Entering Valletta through its new main gate and past the Parliament house is a refreshing experience, especially when you take the time to look around and take it all in (well, focusing towards the right). The truth is, that those who frequently visit our capital city for work or errands tend to generally rush past Pjazza Teatru Rjal but, now something new will catch their eye.

I am referring to Inhabit, by Maxine Attard. This installation will immediately capture one’s attention due to it being un-familiar and it is an interesting idea to put forward in the local context. The installation has been set up on the steps of the theatre and the site in itself provides a beautiful vantage point that is, perhaps, little appreciated.

The landscape changes completely at night.

Better known for her meticulous drawings and paintings, Attard – who obtained a History of Art degree from the University of Malta and an MA in Fine Art from the University of Brighton – also creates site-specific installations, her latest being Inhabit. This installation was commissioned by Pjazza Teatru Rjal, the first in a series of installations by Attard that are being led by Norbert Francis Attard.

Inhabit consists of a see-through structure that is amply visible from Republic Street. The enclosed space that is shaped like an elliptical dome has been constructed of a framework of triangles out of wood, galvanised metal and clear plastic. Internally, the space has been decorated with carpets, plants and vegetation that includes an orange tree, tables, stools and lighting. Although clearly visible and relatively large, it is not ostentatious and its lightweight nature aids in making it less obtrusive.

A project that reflects 21st-century art being produced in forward-thinking centres in the world

Inhabit has been set up precisely for passers-by to occupy a space that is not usually habitable. In fact, this interactive installation temporarily bestows the space with a new function, providing a sheltered interior, which encourages passers-by to venture inside and utilise it and its props as if it were your own personal garden. The atmosphere is also different, whether you are looking at it during the day or at night.

The structure mimics that of a conservatory – more popular in colder countries – where people can while away their time with a book while sipping tea and such. The installation, therefore, impinges sensitively on the former Opera House’s original structure and its more recent interpolations. Inhabit is not permanent and can be easily removed without any consequents to the landmark. Attard has designed an ulterior experience that is spatially literate.

The structure is visible even from the streets surrounding it.

What is immediately obvious is the choice to have so much greenery inside the space, making this installation a commentary on the need for public green spaces or gardens that are important for any community, especially those living in a city.

It is, all in all, a very public work of art, one which is easily accessible to a wide audience, even that not interested in art or exhibitions. Such interactive installations are the rage in major artistic centres – from temporary to permanent, from an LED seesaw to a virtual flower garden, from typographic installations to a roller coaster staircase, from Penang’s street art to Anish Kapoor’s Cloud Gate – all these artworks are set up in busy city centres and the possibilities for such artistic displays and artists’ inventiveness are infinite.

This is a commendable exercise by Pjazza Teatru Rjal, Maxine Attard and Norbert Francis Attard, a project that reflects 21st-century art being produced in forward-thinking centres in the world. This contrasts with many other works being commissioned by wealthy, local patrons, the results of which are waste of money, energy and resources and missed opportunities for patron and artist alike. This also proves that it is important not only for the artists to have vision, but also that whoever commissions it is able to conceive of something truly contemporary. Kudos to all involved.

Inhabit remains at Pjazza Teatru Rjal until April 7.