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27 July – 2 September, 2012Curator: Raphael Vella

$�HQ]LMD�ÆJÍD�DJÍDivergent Thinkers

St Joseph High RoadSt Venera SVR 1012, Malta

Tel: +356 2388 6139Email: agenzija.zghazagh@gov.mt

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No part of this work may be reproduced or used in any form or by any means ��JUDSKLF��HOHFWURQLF��RU�PHFKDQLFDO��LQFOXGLQJ�SKRWRFRS\LQJ��UHFRUGLQJ��WDSLQJ��:HE�GLVWULEXWLRQ�RU�LQIRUPDWLRQ�VWRUDJH�UHWULHYDO�V\VWHPV���ZLWKRXW�WKH�ZULWWHQ�SHUPLVVLRQ�RI�$�HQ]LMD�ÆJÍD�DJÍ��5DSKDHO�9HOOD�DQG�WKH�DUWLVWV

Thanks to Dr Vince Briffa and Mr Trevor Borg for their kind assistance.

Photography credits: The artists

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It gives me great pleasure to write the foreword for this publication that presents the work of seven young Maltese artists. Art as we all know is a means of individual expression and collective recognition – as Degas put it “art is not what you see, but what you make others see”. Far from being the preserve of the elite, the appreciation of art can and should be a living experience that enriches all our lives.

In promoting artistic expression and appreciation among young people we are helping them shape and express their own individual emotions and identities. Art and culture, in conjunction with our values, traditions, attitudes and customs, have shaped and will continue to shape the identity of our society and our country. The contribution that young people can make through their artistic endeavours to the cultural life of the nation and its further enrichment is, I believe, immense.

The government is conscious of the benefits that can accrue to society as a whole through the active participation and involvement of young people in cultural life. Culture and the arts are among the seven vertical themes identified in the 1DWLRQDO�<RXWK�3ROLF\�������������WKDW�VHWV�RXW�D�number of strategies with the aim of promoting and encouraging the interest of young people. These strategies stress, in particular, the importance of individual creativity which allows access to and participation in cultural expression as well as the need to afford young people the opportunity to organise cultural activities and showcase their talents.

7KLV�SURMHFW�XQGHU�$�HQ]LMD�ÆJÍD�DJͪV�<RXWK�Empowerment Programme is, I believe, a practical example of giving effect to the National Youth Policy.

foreword

Hon. Clyde PulIParliamentary Secretary for youth and SPort

The idea of empowering young people is central both to the National Youth Policy and to the role of A©enzija ÆJÍD�DJÍ��7KH�1DWLRQDO�<RXWK�3ROLF\�������������VHWV�out how government “can support young people to develop the knowledge, skills and attitudes they need to take part positively in society, now and the future”. $�HQ]LMD�ÆJÍD�DJÍ�LV�JLYLQJ�SULRULW\�WR�SURPRWLQJ�DQG�implementing greater participation, empowerment and dialogue for young people. But what do we mean when we speak of empowering young people?

Empowering young people means creating and supporting the conditions under which young people can act on their own behalf, and on their own terms, rather than at the direction of others. Young people are empowered when they acknowledge that they have or can make choices in life, are aware of the implications of these choices, make an informed decision freely, take action based on that decision and accept responsibility for the consequences of their actions. Empowerment is a process that has two dimensions:�� Empowerment as a process of supporting young

people to explore and build their identities;�� Empowerment as a process of supporting young

peoples in giving expression to these identities.

In seeking to explore, build and give expression to their identities young people need to develop self awareness and self reflection, interpersonal communication and UHODWLRQVKLS�VNLOOV�DV�ZHOO�DV�SUREOHP�VROYLQJ��GHFLVLRQ�making and reviewing skills.

Youth empowerment is not only societal and political but also profoundly personal. It is the start of a lifelong endeavour for every individual that seeks to recognise, balance, reconcile and most of all render fruitful what is unique about them and what it is they share with all others.

2QH�RI�WKH�SULRULW\�DFWLRQV�IRU�$�HQ]LMD�ÆJÍD�DJÍ�in its first year was to initiate a youth empowerment programme at both national and local level.

The aim of the Youth Empowerment Programme is to serve as a medium through which young people are given tools to understand issues that are influencing their quality of life and that empower them to take action. At national level the programme aims to create a learning environment that enables young people voice their own opinions, become more active citizens and identify and develop their creative potential through various projects administered by $�HQ]LMD�ÆJÍD�DJÍ�DQG�RWKHU�VWDNHKROGHUV��,Q�WKLV�OHDUQLQJ�HQYLURQPHQW��$�HQ]LMD�ÆJÍD�DJÍ�LV�SURYLGLQJ�the space and tools to help young people in openly expressing themselves through positive outlets such as structured dialogue, art, drama, literature and media.

Divergent Thinkers was among the national projects initiated in 2011. This project considers and investigates contemporary artistic practices by young, emerging Maltese artists that explore divergent thinking. The concept of divergent thinking is generally defined as a creative process through which one investigates various possible solutions to a problem or alternative ways of dealing with an issue. As part of the project a call was issued for young Maltese artists to submit works that responded to the concept of divergent thinking or typified processes of divergent thinking.

The works of the seven artists displayed in this book are the end result. This project is a practical exercise in exploring, building and giving expression to young SHRSOHªV�HPHUJLQJ�LGHQWLWLHV�WKURXJK�D�SURFHVV�RI�exploration, investigation, reflection and action.

emPoweringemerging artiStS

MIrIaM TeuMachief executive officer, aÌenzija ÛgÓaÛagÓ

,Q�D�ZHOO�NQRZQ�FUHDWLYLW\�WHVW��RQH�LV�DVNHG�WR�WKLQN�RI�as many different uses for each item in a standard list of everyday objects. Developed by US psychologist J.P. Guilford in 1967, this test is known as the Alternative Uses Task, and the method it employs requires individuals to think of novel uses for, say, a paper clip or a brick, with unique responses obtaining higher points. The thought process that is analysed in such tasks is known as divergent thinking, a process that involves people in a quest for multiple, even unorthodox, solutions to a problem. Creative children and adults regularly engage themselves informally in such mental activities but some educators like Sir Ken Robinson have argued that the ability to think divergently generally decreases as people get older. 6FKRROV�DQG�FRPSDUWPHQWDOLVHG��H[DPLQDWLRQ�RULHQWHG�educational systems are often blamed for weakening or even killing, rather than cultivating, processes of divergent thinking.

The combined fear of taking risks and the false reassurance of single, correct answers make many people look down upon divergent thought processes that seem largely intuitive and fraught with uncertainties. In educational and social settings that favour convergence to divergence, a paper clip is just that: a thin piece of twisted wire that holds several sheets of paper in a single stack. Thinking beyond this use – for instance, imagining that paper clips FRXOG�EH�XVHG�WR�IDVWHQ�FKLOGUHQªV�VRFNV�WR�D�FORWKHV�line, or straightening a clip to use it as a toothpick – is considered abnormal, a capricious abuse of standardised functionality. An inbred horror of failure – worrying that the socks will surely fall off the line or WKDW�WKH�LPSURYLVHG�WRRWKSLFN�ZRQªW�ZRUN�¥�LQKLELWV�many of us to venture beyond the norm or beyond what we already know.

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raPHael Vellacurator

Failure is a dreaded word in the world of business, yet many artists will tell you that failed or unrealised projects that may have excited their minds at some point in their career play as central a role in their daily lives as those projects that are finalized successfully and shown to an audience. In her introduction to a volume on the role of failure in contemporary art, Lisa Le Feuve reminds us that artists “have long turned their attention to the unrealizability of the quest for SHUIHFWLRQ��RU�WKH�RSHQ�HQGHGQHVV�RI�H[SHULPHQW��using both dissatisfaction and error as means to rethink how we understand our place in the world” and adds that the “inevitable gap between intention and realization of an artwork makes failure impossible WR�DYRLG�¨��/H�)HXYH�������S�������7KLV�§JDS�EHWZHHQ�intention and realization” supplies artists with a risk factor that amplifies the possibilities of divergent thought processes. At a conceptual level, one first comes to terms with the task of seeing or categorising WKLQJV�GLIIHUHQWO\��IRU�H[DPSOH��3LFDVVR�VHHLQJ�D�EXOOªV�KHDG�LQ�D�FRPELQHG�ELF\FOH�VHDW�DQG�KDQGOHEDUV���DQG�secondly, the actual production of a work sometimes leads artists to unforeseen or uncharted territory, broadening even further the range of possibilities that they conceptualise during the initial stages of creation. Stated simply, artists usually surprise themselves before they surprise others. The “laughter WKDW�VKDWWHUHG¨�0LFKHO�)RXFDXOWªV�V\VWHP�RI�WKRXJKW�ZKHQ�KH�UHDG�%RUJHVª�DEVXUG�WD[RQRP\�RI�DQLPDOV�(categories like “belonging to the Emperor” and §GUDZQ�ZLWK�D�YHU\�ILQH�FDPHOKDLU�EUXVK¨��LV�IDPLOLDU�to artists who quite literally bump into a new way RI�UH�SUHVHQWLQJ�DQ�ROG�REMHFW��)RXFDXOW�������[Y����When Robert Rauschenberg transformed a pillow, quilt and sheet into a painting support in Bed ��������he not only challenged the idea that one paints on conventional materials like canvas, but radically

VKLIWHG�SHRSOHªV�SHUFHSWLRQV�RI�D�FRPPRQ�SLHFH�RI�furniture that is usually associated with horizontality, VOHHS�DQG�HYHQ�GHDWK�E\�KDQJLQJ�WKH�SDLQW�HQFUXVWHG�bed vertically on a wall.

From the outset, the exhibition Divergent Thinkers was inspired by the belief that many visual artists test the boundaries of accepted ideas, including their own previously held ones, by exploring alternative materials, compositions and solutions to a given DUWLVWLF�©SUREOHPª��7KH�WLWOH�RI�WKH�H[KLELWLRQ�LV�QRW�intended to imply that all artists create their work using identical thought processes or that artists think only in divergent ways. Yet, it is clear to anyone who works closely with artists that many of their initial insights into things they have observed or reflected upon are followed by intense mental and visual processes that bring them face to face with a variety of possible courses of action that could take their vision to the next stage. With some artists, this brainstorming process evolves in multiple directions as they work in series, presenting their public with a range of artistic possibilities. With others, it is over in a flash: a chance encounter with an idea

or object sparks off a sequence of thoughts that quickly leads to a single artistic decision. In fact, many artistic insights and possibilities are never actually brought to fruition. Typically, artists (and in a similar way, architects, designers, and people ZRUNLQJ�LQ�D�YDULHW\�RI�RWKHU�SURIHVVLRQV��GLVFDUG�PRVW�of their available options in favour of a very specific resolution that seems to encapsulate their concept most appropriately. The physical outcome (a video, SDLQWLQJ��VFXOSWXUH��DQG�VR�RQ��UHSUHVHQWV�DQ�DUWLVWªV�initial idea to a public that may not be aware of the VHYHUDO��DOWHUQDWLYH�RSWLRQV�WKDW�DQLPDWHG�WKH�DUWLVWªV�mind and cluttered his or her studio during the early stages of creation.

Divergent Thinkers aims to transfer some of this mental clutter into the exhibition space by bringing together young Maltese visual artists who work in various media, from sculpture and drawing to video, installation, digital media and photography. True to its VWDWHG�DLP��WKH�H[KLELWLRQ�GRHV�QRW�GLFWDWH�RYHU�ULGLQJ�themes or aesthetic ends. Instead, it explores several possible ways of thinking about and making art. Indeed, a paper clip can serve many different ends.

)RXFDXOW��0����������The Order of Things, New York: Pantheon

/H�)HXYH��/���HG����������Failure, London: Whitechapel Gallery, and Cambridge, Massachusetts: The MIT Press

$GULDQ�$EHOD��E�������LV�FXUUHQWO\�UHDGLQJ�IRU�a Degree in Architecture and Civil engineering at the University of Malta and he also studied DW�WKH�3RO\WHFKQLF�RI�0LODQ��$EHODªV�ZRUN�VSDQV�painting, video, objects, sculpture, actions and architecture. He has had both personal and collective exhibitions in Malta and his work has been shown in Europe and Asia.

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$DURQ�%H]]LQD��E��������LV�FXUUHQWO\�D�)LQH�$UW�student at MCAST Institute of Art and Design, Mosta. His works tend to pass through a highly experimental process where both medium and composition are extensively analysed and tested before any conclusive decision is taken.

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*LROD�&DVVDU��E��������LV�DQ�+1'�SKRWRJUDSK\�VWXGHQW�at MCAST Institute of Art and Design, Mosta. In all her photographic work, she explores diverse possibilities which the medium offers.

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/XFD�&DXFKL��E��������LV�FXUUHQWO\�IROORZLQJ�D�FRXUVH�LQ�Graphic Design and Interactive Media at MCAST Institute RI�$UW�DQG�'HVLJQ��0RVWD��+H�LV�VHOI�WDXJKW�LQ�WKH�VWXG\�RI�human anatomy and has furthered his studies under the tuition of artist Eman Grima. His work has been exhibited at the Digital Arts expo at the Intercontinental Hotel in St Julians, Malta, and his work was featured in Imagine FX Magazine.

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Patrick mifSud

3DWULFN�0LIVXG��E��������FRPSOHWHG�D�%$��+RQV��)LQH�$UW�at University for the Creative Arts, Canterbury, and an MA in Fine Art at Wimbledon College of Art, London. He was a prize winner at Creekside Open 2011, selected by Phyllida Barlow, and a finalist in the 10 Gales Art Prize 2011. Recent exhibitions include Futura Bold/

Futura Oblique��7KH�1XQQHU\�*DOOHU\��/RQGRQ���������Relocation: Emerging Artists from Malta, Bank of Valletta ��������DQG�Alturnertive��&UDWH�6SDFH��0DUJDWH��������In 2009 he was commissioned to create a permanent sculpture for theUniversity of the Creative Arts, Canterbury and in 2012 he had his first London solo exhibition On Different Levels at Marsden Woo Gallery.

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Patrick mifSud

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michael xuereb

0LFKDHO�;XHUHE��E��������*R]R��VWXGLHG�3KRWRJUDSK\�DW�the University of the Arts London and has shown his work DW�1HZ�*DOOHU\��/RQGRQ���)ULH]H�$UW�)DLU�DQG�WKH�1DWLRQDO�Open Arts Exhibition. He is a contributing writer for Saatchi Online. He was brought up in New York and currently lives between Malta and London. Recent group shows in Malta include A new Generation��������DQG�Relocation: Emerging

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michael xuereb

michael xuereb

michael xuereb

1R�3URJUHVV�LQ�5HSHWLWLRQ�������sculpture; found objects, resin. 18x7x5cm

michael xuereb

1R�3URJUHVV�LQ�5HSHWLWLRQ�,,��GHWDLO��������wall piece; found objects, pins. 700cm

www.agenzijazghazagh.gov.mt

www.sjcav.org

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