Issue link: https://maltatoday.uberflip.com/i/302202
28 sector. I believe we should in- troduce contemporary art at schools if we want to appreciate it as grown-ups. The majority of people are stuck in the past, hav- ing no idea what contemporary art is. This can be remedied only with education starting from a young age. I certainly think that the title of European Capital of Culture in 2018 will put us on the right road, on a par with what is already happening abroad. We should be getting our act to- gether in spite of whether or not Malta will be Capital of Culture THIS WEEK CULTURE | TV | FILM CINEMA LISTINGS FOOD | WHAT'S ON THIS WEEK Why did you decide to hold a retrospective? The original intention was simply to have a studio open weekend but as always, a high degree of ambition, just as with my works and projects, turned my initial idea into a retro- spective exhibition. Ideas developed and one thing followed another very fast. At one point during this devel- opment, it dawned on me that I have been a practicing artist as for as long as Malta has been and independ- ent nation, the 50th anniversary of which we are celebrating this year. For some reason, I thought this co- incidence was worth pursuing. I made sure to include examples of works from more or less all the dif- ferent creative phases, including the formative one. I displayed a small selection of works from as early as 1964, a significant year for me be- cause I had changed schools in that year which allowed me to have my first studio at my parents' house at Birkirkara. Apart from show- ing works in transition, three main phases are exhibited: The Printing phase (1977-1988), Abstract paint- ings (1988-1996) and the Contem- porary Art phase commencing in 1997 until the present. I basically wanted to show, under one roof, and for the very first time, my entire development as an artist, including my early influences and interest in architecture. What did working as an architect teach you about art? Architecture has been a contrib- uting factor since my teenage years. It is one of the threads that links all my very different and distinct phases. I conscientiously termi- nated my practice as an architect in the late 1990s to work in other methods of visual expression, pre- ferring the politics of form over those of function. However, archi- tectural idiosyncrasies are evident in the foundational layer of all my artworks. Architectural knowledge and experience has permitted me to produce and create in all sorts of environments, using a vast array of simple and complex materials, while retaining great consideration for that existing beyond the materi- ality of my pieces. The interventions in public spaces, built environments and outdoor territories are testimo- ny to my architectural education. Given your experience, how would you say the Maltese art scene has evolved over the years? Fifteen years ago (in terms of con- temporary art in particular) I used to say that there was much to be de- sired. The contemporary art scene started in the late 90s. Events and opportunities for contemporary artists were seldom up until recent years. I believe the Malta Arts Fund has made a difference, contributing to the increase in diverse projects which can only happen with fund- ing. However, at the educational level, we need more support in this From abstract dreams to solid structures Architect-turned-artist Norbert Attard speaks to TEODOR RELJIC about his currently ongoing Retrospective exhibition, charting the artist's works from 1964 to 2014 Norbert Attard at Gozo Contemporary Sacred Journey I – 1999 but we need this kind of excuse to es- tablish the necessary infrastructures which are much needed. I hope con- temporary art will be given its due. How did Gozo influence your views on your own art? And more recently, how did alternating between Gozo and Berlin affect the way you view your work and its cultural context? Gozo, in more ways than one, has for many years been a great haven for the creation of my works. When I re- discovered Gozo in the 70s I consid- ered it my 'South of France' just like the Modernist painters who traveled to the South of France and elsewhere to find inspiration. Gozo and Berlin are on opposite sides of the scales. My works deal with the concept of dualities and paradoxes, so I needed to choose a city which contrasted to Gozo in a multitude of ways. I like liv- ing within this polarity. What first led you to installation art, and how did your relationship with it develop? When I see all the different phases I have gone through (this exhibition has helped me to see my own works in perspective), I often wonder why I did not start creating installations earlier. I could have done away with the abstract phase between 1988 and 1996. Even though I had great success with this phase, I stopped painting abstracts, feeling I had arrived at a cul-de-sac. It would have made more sense to have gone from the litho- graphic prints (Walled Cities, Mihrab and Kimono Series) directly to doing installations but for some reason this did not happen. I wanted to express ideas which were not possible to ex- ecute with abstract works, so I had no alternative but to change direction. Abstract art was in complete contrast to what I wanted to do so maybe it had a good purpose as it led me, through my complete frustration with it, to the world of installation art. Today, I am still comfortable work- ing with installation art because each project is extremely different and challenging all the time. The architectural element, especially in site-specific works, the collaborative spirit and – ultimately – engaging audiences in my works are important components. The conceptualisations of my installation works are inextri- cably linked to a given sites' history and natural environment, as well as to its socio-political histories which determine the purpose and meanings of the space. I practice different dis- ciplines and the choice of materials are endless, giving me great scope to avoid repetition, which I dislike. What would you say is the philosophy behind Gozo Contemporary, and how will it translate to your upcoming venture – Valletta Contemporary, in East Street? Gozo Contemporary is an artist- in-residency program I initiated in 2000. I have always believed that cre-