COEXISTENCE is the exhibition wrapping-up MOMENTUM’s tenure at the Kunstquartier Bethanien. To bid goodbye to our home of 14 years, MOMENTUM is proud to invite eminent Maltese artist Norbert Francis Attard to make a new site-specific installation for our space. Forming the latest work in his ongoing Coexistence Series, RED vs BLUE refers to the political and philosophical divisions fracturing our contemporary world. Attard’s direct frame of reference is the growing polarization between the two political parties in Malta. Yet RED vs BLUE can readily take on far more global connotations. This work came into conceptual being during the death pangs of the highly contentious US elections in November 2024, when every news cycle spotlit a country fractured in a patchwork of Red and Blue extremes. And whereas Red and Blue are the colors of politics the world over, this ideological color palette is far from shackled to the political.

Referring to one of Attard’s first works in his Coexistence Series (“I See Red Everywhere”, Malta 2002), Raphael Vella writes, “Red is probably the most abused colour in the spectrum. It shocks television viewers when it makes a sudden appearance at war scenes but returns to banality whenever it colours fast-food chains. The sheer strength and brilliance of red make it the most ambiguous of colours: it can represent sexual passion or even maternal warmth and patriotic love but it often borders on vulgarity. Its multivocal character is probably a result of its “excessive” nature. Red is always “in excess”: it is always too hot, too eye-catching, too partisan, too greedy, too painful, too noisy. It doesn’t ask politely for our attention; it demands it! This is the essence of its vulgarity. Red refuses to be subtle. It doesn’t know when enough is enough.”

By that same token, blue is the calming color of nature; of bright blue skies and deep blue seas. Blue is associated with peace, tranquility, spirituality and healing. Yet blue is also the word used to denote emotions of depression and despair. Historically, blue has been the precious purview of royalty, wealth, and power. Blue is a highly cultured color; Picasso had a whole period of it, Yves Klein monopolized it, and a vast musical genre is encapsulated in it. Blue is all around us, yet it is the rarest color in nature. Blue is the calm before the storm. Blue runs cold where red runs hot. They are opposing extremes, open – in all their diversity of meanings – to endless interpretation.

COEXISTENCE SERIES

Permanent and Emphemeral Pieces

For decades, Norbert Francis Attard has been creating installations that explore the theme of existence. He delves into the art of striking a balance between opposing concepts like life and death, as well as the interplay of familiarity and unfamiliarity within visual language. He achieves this by using several everyday materials, including ready-made objects. The conceptual tapestry woven into the works of the Coexistence Series, is an intricate interplay of philosophical musings, personal inspirations, and a profound reflection on the symbiotic nature of existence. This philosophical maxim encapsulates the existential imperative of coexistence, asserting that the very foundation of our existence hinges upon the harmonious interplay of diverse elements. It sets the stage for a deeper contemplation on the interconnectedness of all things, framing coexistence not merely as a choice but as an intrinsic law governing the universe. The title “Coexistence” transcends its literal interpretation, unfolding into a philosophical treatise on the highest principle that underlies the universe. It goes beyond a mere thematic choice, becoming a profound exploration of existential reality. Coexistence, in this context, emerges as the essence of the universe itself. It signifies a holistic principle where nothing exists in isolation and every element contributes to the support and sustenance of others. This notion elevates coexistence to the status of a universal law, shaping the very fabric of our reality. The Coexistence Series encapsulates a profound narrative about the purpose of life. It suggests that our journey is twofold – we live to learn the art of coexistence, and in turn, we coexist to learn the true essence of living. This cyclical interplay becomes a guiding philosophy, emphasizing the interconnectedness of life’s experiences and the invaluable lessons embedded within the tapestry of coexistence. In essence, Coexistence is not merely a title; it is a philosophical exploration that invites viewers to delve into the intricate dance of existence, where the threads of life, philosophy, and cultural symbolism converge to create a tapestry that resonates with the very essence of the universe.

Born in Malta in 1951. Based on the island of Gozo (Malta) and since 2010 in Berlin (Germany).

www.norbertattard.com

Norbert Francis Attard started as a self-taught painter and graphic artist before turning to installation art in 1998. He graduated in Architecture from the University of Malta in 1977, practicing the profession as architect for twenty years until 1996. He lived in Germany in 1978/1979 working with the firm ‘Licht in Raum’, directed by Johannes Dinnebier, one of Germany’s pioneers in light design. Attard now focuses on a contemporary art practice that incorporates architecture, sculpture, photography, video and installation, to explore his major interests in places and their memories. He blurs the boundaries of these disciplines to incorporate the irreducible physicality of sites, and to explore their sedimented multiple layers of memory, treating them as a product of place, of social interaction, and as a generative process.

He is a founding member of stART (2002) – a group of Maltese contemporary artists; a committee member of the Malta Council for Culture and the Arts (2002-2005); committee member of Piazza Teatru Rjal (2013-2020), director of GOZOcontemporary since 2001 – an art space, offering self-directed residencies to international and local artists, on the island of Gozo. Norbert Francis Attard is founder of Norbert Francis Attard Foundation (formerly META Foundation) which is the organising body of Valletta Contemporary (VC) which he established in April 2018. He is currently the artistic director of Valletta Contemporary.

Since 2002, seven books have been published about his work: I See Red Everywhere (2002); Four Olympics (2004); Between Earth and Sky (2007); The Archetype Series (2021); Soap to Think With (2022); Holistic (2023), Phase & Occasion: Art and Poetry in Malta (2024); His first monograph, Grey is Hard to find, a publication (3 volumes) covering the last 30 years of his work will be published in 2027.

Yeoul Son’s work questions the inaccuracy and ambiguity of data experienced in our daily lives. Her practice critically examines the process of converting phenomena into data, questioning the representations and interpretations that emerge. In translating data into visual language, she focuses on uncovering imperfections, local diversity, and multiple perspectives, rather than privileging generalized or standardized data. Throughout her artistic and academic work, Yeoul Son examines issues of technology and information transparency, questioning the invisible sources and processes behind data and technology.

In the site-specific multi-media installation “Data vs Data”, Yeoul Son explores the contrasts between public and individual data specific to Berlin. The installation at MOMENTUM consists of three parts: “Personal Weather Station”, pieces from the “Colors from Data” series, and a QR code linking to the “Data Drawing” webpage.

Born in South Korea in 1984. Lives & works on the island of Gozo (Malta).

www.sonyeoul.com

Yeoul Son is a multidisciplinary artist whose creative journey spans the realms of traditional Oriental painting and contemporary new media. Graduating from SangMyung University in Seoul with a BFA in Oriental Painting in 2007, Yeoul Son’s artistic evolution led her to explore the intersection of art and technology, prompting her to pursue an MA in Computational Arts at Goldsmiths University, London. Central to Yeoul Son’s artistic practice is a critical examination of the process of converting phenomena into data. Through her work, she seeks to express the intricacies of data through vibrant color, intricate visual landscapes, and the imagery of nature. Yeoul employs a range of optical and metaphorical techniques, embracing the diverse possibilities of artistic expression rather than merely quantifying phenomena through data.

Yeoul Son’s solo exhibitions include: 2020 Data Landscape, Place Mak 3, Seoul, South Korea; 2018 The Data Storage, SeMA (Seoul Museum of Art), Seoul, South Korea; 2014 ‘Export Selected’ – Son Yeoul solo exhibition, KunstDoc Project Space Nanji, Arts Council Korea, Seoul, South Korea; 2012 Digital Cistern – Space HAM, Seoul, South Korea; 2009 brief thinking about Information Technologism –Space Zero, Seoul, South Korea. She has participated in group exhibitions in South Korea, Malta, London, and Rotterdam.