Issue link: https://maltatoday.uberflip.com/i/952911
maltatoday SUNDAY 11 MARCH 2018 30 This Week What led you to focus on the dynamics of public space and the dichotomy between the public and private for this exhibition? For this show at MCA (Malta Contemporary Art), I developed a series of works that reflect upon interpretations of 'public- ness', the creation of bounda- ries and other social constructs. Except For Access Only is a humorous look at human urges to be part of exclusive groups, the division between public and private, the politics of fear, island-like monocultures and normative rules for design. The work 'Gazebo (monu- ment for the public-private space)' especially questions the loss of public space. The Gazebo as a structure is quite peculiar, in the sense that throughout history it was used as either a very pub- lic or explicitly private place to meet and seek shelter. However, the distinction between the pub- lic and the private as we know it, is not that clear-cut. Public space has turned into quasi-public space under strict surveillance and increasingly into privately owned public space that is only conditionally made available to the public. What does public space actually mean to us? Es- pecially in the wake of exploding media where private and public spheres have become so inter- twined with each other. How exactly does your architectural background inform your more "creative" work? What do you carry over from the 'day job' into such projects and constructions as are featured in this show? The work shown at the exhibi- tion is very much influenced by my endeavours in architecture. Architecture deals with sociol- ogy, anthropology, politics, sci- ence, ecology, to name a few and brings along a myriad of inter- esting questions to work with. My activities as an architect and sculptor are tightly connected and I enjoy the way they inform each other non-stop. I wouldn't call one more creative than the other. They both have their own interesting dynamics and contri- butions. The work 'ERNST (Neu- fert) I' reflects upon the way the world of architecture (and there- fore any 'user') has been domi- nated and to a certain extend stifled with normative rules for design. Departing from a specific set of normative rules, I deliber- ately constructed a sculpture that is not that obviously evaluated, measured, quantified or catego- rised. The cavalier attitude to public space – both in terms of treating it with "sensitivity", as well as its appropriation – which you appear to be drawing on for 'Except for Access Only', feels all too familiar. Would you say there is something particularly Maltese in this theme, and how are you inspired by your most immediate surroundings? The exhibition title – Except for Access Only – lifted off a DIY sign that was found in the Mal- tese countryside – is a miscon- strued phrase made up by some- one who, so intent on denying access, merges 'except for access' and 'access only'. I find the phrase and this spe- cific sign quite humorous but the actual message and reality of it is obviously graver. It is very much in line with the current rhetoric dominating world politics, em- phasising exclusion, isolation- ism and the building of walls and fences. On a local level, with relatively limited availability of space it translates into the appropriation or grabbing of a substantial por- tion of public space. Be it through informal struc- tures that colonise the country side, plastic tents that overtake the city streets, or PVC pop-up gazebos that privatise a section of the beach, there is definitely a lot of creative territorial kleptocracy going on. What are some of the ways in which Malta Contemporary Art strengthens both the particularities and the message of 'Except for Access Only'? Having the opportunity to show work at Malta Contempo- rary Art, immediately provides a wider platform for my work and allows me to get out of the studio and share ideas. In that sense it definitely helps to make my endeavours more public and accessible. The work is available online 24/7 and the physical work is available to visitors from Tues- day to Friday between 13.00 and 18.00 and Saturday's between 10.00 and 13.00. What do you make of the local visual arts scene? What would you change about it? My knowledge of the local art scene is a bit limited to give you any outspoken opinions. The scene is definitely very busy, however, not always as outspo- ken or as critical as I would like it to be. Initiatives to link the local scene to overseas opportunities are es- sential. Be it the Arts Council, a private gallery or the Curato- rial School, they are all crucial in linking us up with international curators, alternative exhibition platforms and larger audiences. The persons I know from the local scene enjoy working locally and with 'the local', but find it equally essential to look beyond. It is geographically impossible to rely on the infrastructure, op- portunities and audiences that are available in bigger cities and could trigger a professional sta- tus. Hence, I would strengthen and build upon the previously men- tioned initiatives and similar ones to help a greater section of the local scene in becoming full- time professional artists. What's next for you? Hopefully, lots of projects and interesting collaborations. It would be fantastic to produce a larger-scale site-specific sculp- ture for any of the upcoming new museums and creative institu- tions in Malta. I'd like to take part in more oversees exhibitions and increase collaboration with other artists and disciplines. And finally, I need to stop procrastinating and get a proper website going. Architect and sculptor Tom Van Malderen speaks to TEODOR RELJIC about his new exhibition Except For Access Only, which aims to investigate how our public spaces are becoming increasingly more private, and vice-versa Who controls our access? Tom Van Malderen ERNST (Neufert) I, 2018, timber, paint by Tom Van Malderen. Courtesy of the artist and Malta Contemporary Art Tables for the 1%, 2018, marble, timber, box steel, paint, poster print by Tom Van Malderen. Courtesy of the artist and Malta Contemporary Art Gazebo (monument for the public-private space), 2018, marble, timber, box steel, acrylic sheet, paint, chipboard and micro Led spots by Tom Van Malderen. Courtesy of the artist and Malta Contemporary Art Except For Access Only will be on display at Malta Contemporary Art, Valletta until April 21. Opening hours are 13.00 – 18.00 (Tuesday to Friday) and 10.00 – 13.00 (Saturday) For more information, log on to: www.maltacontemporaryart.com