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maltatoday, SUNDAY, 17 JANUARY 2016 31 This Week The truth in architecture As the first artist in residence at Blitz in Valletta, Scott Lyman speaks to TEODOR RELJIC about his video piece, Excerpts from Alan Hollinghurst's 'The Swimming-Pool Library' and his declared interest to explore Malta's 'architectural identities' as he cooks up a work based on the island during his three-week stay What have been some of your research and creative interests, and how have they evolved over the years? When first I started out I was mainly interest- ed in narrative storytelling, and while this is still a major part of my practice, I would say that I'm currently more focused on distilling the social and political impact of aesthetics within a nar- rative, and reading these aesthetics through the lens of queer and feminist theory. I'm greatly interested in history, particularly architectural history, so my research is primarily focused on identifying historical narratives that resonate in the present. How does it feel like to be the first artist in residence at Blitz, and what kind of expecta- tions do you have about the experience? Not only am I the first resident at Blitz, but this is my first artist's residency! So it's a new experience for all of us. I don't really have ex- pectations. My goal is to be as productive as possible and see what happens. I'd like to visit as much of the country as possible while I'm here, and I hope to immerse myself in the com- munity as much as I can in this short time. Your short film, Excerpts from Alan Hollin- ghurst's 'The Swimming-Pool Library', takes its cue from Hollinghurst's novel to explore the evolving currents of gay culture. Will you be applying a similar methodology to your work in Malta? I've said before that Hollinghurst's approach to The Swimming-Pool Library makes it a kind of bible for me in how I want to be working. He has a way of incorporating radical and conserv- ative elements that makes this work simultane- ously nostalgic and challenging. His approach to history in the novel is pretty revolutionary, in my opinion. In my research here, I'm definitely interested in identifying changing currents in architecture. But because I'm limited by my short time here, I'm planning to develop a sort of collage in the gallery space at Blitz, rather than another film. But I'm finding Malta to be such an inspiring place I'm hoping to come back to make a film in the near future. Your stated focus on 'architectural identi- ties' is intriguing. How would you define this term, and why do you think it's of particular relevance to Malta? Architectural identity is the complex rela- tionship between a community and their ar- chitectural surroundings. I see it as a constantly evolving set of perspectives based on the ar- chitectural history of a place and sociopolitical changes over time. For example, I come from an area in central Virginia, USA, where the dominant architec- tural identity is heavily reliant on the legacy of Thomas Jefferson, who himself was an archi- tect and developed a unique architectural style often referred to as Jeffersonian Classicism. But any discussion regarding this architec- tural identity gets very complicated because it is inherently related to social class and the history of slavery in the US. People are very devoted to an image of Jefferson as a heroic forefather, but despite his genius the man was an unrepentant slave-owner who had sexual relations with at least one of his slaves. It's a very touchy subject, and one that's really only starting to reach the public consciousness now, I think. So I'm very interested in how people within a community relate to their architectural surroundings. Malta is a particularly interesting location for this kind of research because it's been in- fluenced by so many different colonial powers over the centuries. It's a real melting pot. And my understanding is that the country is chang- ing quite rapidly at the moment due to an in- crease in tourism, prompting an economic boost, as well as a spotlight on the world stage due to the refugee crisis. How are you planning out your research in Malta? Do you already have an idea about potential 'leads' and starting points with re- gards to your work at the residency? I came to Malta with only the most basic in- formation, so it's really been like starting with a blank canvas. I've been jogging around Valletta every day as a way of trying to familiarise myself with the city, and documenting things that I discover along my way. It's been really fun, and the hills here are keeping me in good shape! Alexandra Pace and Nicole Bearman at Blitz have also been incredibly helpful in putting me in contact with a number of people to interview who live in Malta and work in the arts, archi- tecture, and human rights organisations. My goal is to develop of good understanding of the architectural history of Malta and to trace some of the changes that are happening on the socio- political level, as well as in architecture and the arts. What do you make of the island's cultural scene so far? It seems like a really supportive environment. People I've met thus far have been so gracious and helpful, and genuinely interested – very different to New York or London. It's a fabu- lous and inspiring place to work. The Blitz Residency programme will continue throughout the coming year. For more informa- tion, log on to blitzresidency.com streets December 2015, explores the sense of detachment and solitude I felt in Tokyo. Some of my favourite imag- es from the book are also exhibited this week at Architecture Project. What do you make of the Mal- tese visual arts scene? What would you change about it? There seems to be more art events happening in Malta these days, but I feel like there's a disconnect be- tween the creators of this art and the general public. Both artists and viewers need to interact and engage actively with each other if the Mal- tese art scene is to grow. In Malta, many seem think of art as only for the high brow. But this is the furthest thing from the truth. Art helps us question the reality of our lives. It prompts us to discuss the problems of our society. And it deepens the ways in which we see the world around us and ourselves. But art must be consumed in order to be alive. I'll give you an example of what I mean. Over the past three years, I've spent several months in Berlin, a city with a vi- brant art scene. Each time I go there, I see ordi- nary people from all walks of life making casual visits to art galleries. They go to exhibitions, not just for the free wine but to discuss the art. And they buy art for their homes. It's not a matter of cost or wealth, because a fine art photograph or painting can be purchased for much less than what you'd spend on a nice dinner for two. I just don't yet to see that level of engagement with art here in Malta. People here readily "like" what you do, but they don't open their wallets to support it. Malta is lack- ing a sense of patronage for the arts, and so art here cannot become a full time way of life. This situation can change, but only if schools and cultural stake- holders create more programming that seeks to expose people to art and helps them engage with it. Businesses and private companies should also spend more on art, so that it becomes a part of our eve- ryday lives. I think it's also important for local artists to make cultural and artistic exchanges beyond Malta. With help of exhibition-maker Michael Bock, I'm very fortunate to be presenting my photographs from Japan and the Netherlands alongside Maltese images in this exhibition. My next goal is to present my photographs of Malta abroad. The exhibition will be on display at Architecture Project, 4, Sappers Street, Valletta until January 29. Opening hours: Monday to Thurs- day: 10:00 to 19:00; Friday: 10:00 to 13:00 Scott Lyman's 'Excerpts from Alan Hollinghurst's The Swimming- Pool Library' Set in London during the summer of 1983, Booker Prize-winning author Alan Hollinghurst's debut novel, The Swimming-Pool Library is a lush, nostalgic coming-of- age story with complex political undertones. Inspired by the work of early gay novelists such as E.M. Forster and Ronald Firbank, Hollinghurst's novel provides a comprehensive overview of gay male history in the UK, dealing with issues such as class, race, and the remnants of colonialism in gay male culture. This investigative work, with its rich descriptions of idealized masculine beauty, subtly picks-apart gay male privilege, revealing the ways in which aesthetics and egalitarian politics are at odds. Recognizing the potential of Camp humour as a political tool with which to draw attention to the divide between beauty and ethics in gay male culture, Scott Lyman's 'Excerpts from Alan Hollinghurst's The Swimming-Pool Library' (2014) is comprised of short passages adapted directly from the novel. Intergenerational dialogue exploring pre-liberation gay life and the fetishization of black and working-class men by the gay elite is collaged with found footage and aesthetic references from Hollinghurst's text, questioning our relationship to this unconventional, hidden gay male history as citizens of a commodified, 'post-gay' culture. Still from 'Excerpts from Alan Hollinghurst's The Swimming-Pool Library' by Scott Lyman Scott Lyman