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31 THIS WEEK BODACIOUS BEEF PGS 38, 39 maltatoday, SUNDAY, 23 NOVEMBER 2014 SPACE SPECTACULAR PG 36 DAUNTING DUBAI PG 40 the works of original self-taught artists from all over the world. The International MNMA Art Collection counts over 2,500 works of Naive, Art-brut and Outsider Art. MNMA is supported by Ministry of Culture of Republic of Serbia and it is ranked as the Cultural Institution of Na- tional Importance. "Sadly, our collection does not, as yet, have a representative Maltese piece… so I see this exhibition as an opportunity in this regard too," Krstić said, noting that while outsider art is often intuitively identified by viewers as such, it is also a generous category, which can by defini- tion include a wide variety of artists from various walks of life. "One idea we have for the future – and which we've discussed with the Serbian Cultural Information Centre – is to even- tually hold an international exhibition from outsider art in Valletta itself. The fact is that our museum houses work from over 30 countries, and Valletta would be an adequate setting because the city works as in intersection point: so many people from various countries pass through it on a regular basis." Asked how a collaboration between the Museum and Malta would concretely come into effect, Krstić said that she's al- ready been in contact with various local cultural institutions, in the hope of find- ing Maltese artists who would be willing to participate in the museum's upcoming initiatives – which would culminate in a MNMA triennial celebration of naïve and outsider art in 2016. Krstić makes a distinction between 'naïve' and 'outsider' art, both of which will feature in the ongoing exhibition in Valletta. "To specify the definition a bit more, I would say that outsider art expresses a darker, more raw side of life. More often than not it serves as a raw, therapeutic vent for the artist, so it would have that element of internal psychological tur- moil. Whereas naïve art presents a more idealistic picture: the artists of this stripe tend to use bright colours, and often de- pict idyllic landscapes which valorize our connection with nature, and emphasise the need to cultivate it." Krstić contends that outsider art is cur- rently enjoying an unprecedented popu- larity in the world at large. "I would attribute this to newly awak- ened attention towards human rights – with all that that implies. Outsider art en- compasses marginal voices by definition, and so displays a sensitivity towards those classes of people who have been left out of the elite circles of society. Art has always been in thrall to some kind of cultural or political establishment or other, and work that falls under the 'outsider art' rubric in this sense represents a genuine, bona fide avant garde sensibility," she said. 'Naïve and Marginal Art in Serbia' will remain on display at Pjazza Teatru Rjal in Valletta until December 6. The exhibition is organised by the Museum of Naïve and Marginal Art in collaboration with the Serbian Information and Cultural Centre and the Ministry of Culture and Information of the Republic of Serbia. What led you to choose the Stations of the Cross as a subject? Did the idea come before you set about painting, or did it come to while you were already experimenting on the canvas? Religion and the spiritual were always im- portant in my life. This is mostly due to my upbringing in an environment where reli- gious cult and culture was very predomi- nant and was considered beneficial in order to grow up as a good citizen. In past solo and collective exhibitions (mainly at the National Museum of Fine Arts in Valletta), I often tackled religious and sacred subjects, first in a figurative manner and then using an abstract language. Painting the Stations of the Cross in a completely abstract idiom had been on my mind for many years. In my research I found most inspiring (amongst others), the Via Crucis of Barnett New- man (1905 -1970), that of Julian Raczko (b. 1936), and not least Austin Camilleri's semi abstract series at the Divine Mercy Church, Naxxar back in 2011. Which aspects of the subject do you deem to be the most worthwhile from an artistic standpoint? The aspect of suffering is crucial in my Stations of the Cross, but there is also the other aspect of the transition from suffer- ing to glory. Were you inspired mainly by your own faith or were you simply intrigued by the formal possibilities of the subject? Initially I was inspired by my faith; howev- er the subject of physical and psychological suffering is universal. I feel and am aware that the subject and events in the Stations of the Cross are experienced by many. What kind of role would you say the religious artist has in contemporary society? Religion will always have a significant role in societies, even if it is considered as "something eminently social" to quote the French sociologist Emil Durkheim. Religion incorporates beliefs and cultural systems that link humanity to an order of existence. Many religions incorporate narratives, symbols and sacred stories that are in- tended to explain the meaning of life. From their beliefs, people derive morality, ethics, religious laws and –why not – a preferred way of life. Whether accepted, rejected or sometimes abused, religions can in various ways help men to be an efficient servant of humanity. It is evident that there is a decline in the importance of religion in society. There- fore, although it seems that religious artists are losing ground, they still have an impor- tant role in highlighting the relevance of re- ligion in life and making these beliefs more tangible so that the faithful can understand and participate more deeply in their faith. Do you think this exhibition in particular imparts contemporary relevance, in the way it presents a 'traditional' subject? More than a traditional subject, the Sta- tions of the Cross are of a devotional na- ture. The latter is still valid today. Each year, on Good Friday, the Pope recites the Via Crucis in the Coliseum using a text that ref lect our contemporary society. It is true that the subject is very old and had been interpreted an infinite number of times. Things remain associated with the past as long as they are not made relevant in today's society. To make an analogy, we still call our religious feasts 'traditional'. How- ever, today, our feasts have a rather more social aspect then those of the past. Each Station of the Cross narrates a par- ticular episode. However, going in depth into each episode, one finds feelings and emotions that remain relevant. For exam- ple, one of the Stations details the point at which Christ meets his Mother on his way to Calvary. This in itself is for the faithful a means of contemplation on the fact that the Virgin Mary was side by side with Je- sus in his sufferings. However, the same situation holds also for many mothers (even nowadays) who experience great suffering on seeing their sons and daughters going to their death in front of their own eyes. Is this something only of the past? In order to render the Stations of the Cross relevant, these have to be associated with the ex- perience of the lives of the faithful. There are many ways of doing this. I, as an artist choose to immerse into a more inner feel- ing and therefore it was then possible for me to do away with the figural representa- tion of the subject. What would you say is the state of the Maltese artistic scene at the moment, and what would you like to contribute to it? I see three particular categories. First come those artists who are trying to be con- temporary with our society and (through art) pose questions which address relevant situations, mainly through the use of instal- lations. There are others who still make use of the traditional media but are also striv- ing to be contemporary. The last category are those who are more traditional. These feel more satisfied with providing work of arts of a more romantic idiom. I hope that I will continue to contribute to the artistic Maltese scene in my own capac- ity. My contribution will in the future be judged by others, hoping that it will not be classified in the latter category. What's next for you? Participation in the Biennale of Sacred Art, which will be hosted at the Cathedral Museum in Mdina next year. The Way will be on display tomorrow and Tuesday at the Chamber of Commerce, Valletta from 07:00 to 19:00 Contemporary notes to a Biblical narrative On display for two more days at the Chamber of Commerce in Valletta, Anthony Spagnol's striking exhibition of abstract paintings 'The Way' is a fresh take on the Stations of the Cross. TEODOR RELJIC speaks to the artist about how he set about to depict this key aspect of traditional Christian imagery through a contemporary lens Anthony Spagnol SAVA SEKULIC, Mother and her wings, 1977 '13' (detail) by Anthony Spagnol '14' (detail) by Anthony Spagnol