I am in the black box “after several Covid-postponements”. I can finally experience watching a performance collectively as part of an audience. “It feels like there’s still much to discover about the work, and I’m excited to share it with a home crowd and open up some dialogues about the experience of it.” Ira writes in her mail-shot before the Amsterdam premiere at Frascati of LIKE THE PARTY HAS BEEN CANCELLED
I have worked with Billy Mullaney since 2018, in the role of a live video editor (on-stage). In the Glory Machine, we see an ensemble of 6 performers including Billy (and excluding me). They are executing a series of 75 shots which is being made life for the audience.
The artist studio is a space that separates private life from the art practice of the artist. A place to develop works, skills and methodologies.
So at the gates of the airport, I found myself thinking about gates and gatekeepers. I often find myself pondering about various aspects of cultural policy especially when I visit the micro-cosmos of the Maltese scene.
he remembers a passage in his school textbook called The Legend of Holland. The centre character is a young boy from the countryside who turns to be a national hero after saving the country from flooding by blocking a leak in the dam with his finger and staying there for days and nights before he was found and the dam was fixed. My father says this story is imprinted in his mind and this is how he sees Holland. I said it’s the Netherlands now
“…jien is-soltu nħares lejn il-qamar. Għax il-qamar, meta jkun ġej maltemp ikollu l-qiegħa. Jekk ikun ġej ftit ikollu ftit. Mhux ikun ċar bħal ma hija l-bozza imma jkollu qiegħa miegħu. Sinjali li jkun hemm xi riħ. Imma dan kellu qiegħa imma jien peress li kont flgħaxija għall-għasafar, mort u ma ħaristx ’l hemm. Li niżel… mhux taqtir niżel. Qisu bil-bramel. Però kien hemm tmien trombi fuq il-baħar. Ngħidulhom ‘bżieżel tal-ajru’. Beżżul meta tkun sħaba u tniżżilha hekk.”