The dedication of art patronage in our past has left a rich and expressive mark on our present. The arts, for years, have found a way to survive the obstacles of time, firstly due to a hunger to create, escape and explore and, secondly, due to the loyalty of patrons.

Whether it was monetary support from a sibling as in the relationship between post-impressionist painter Vincent van Gogh and his financially stable brother, or even the regal and influential opportunity  Cardinal Maffeo  Barberini and his papacy laid upon Gian Lorenzo Bernini in the 17th century, patronage brings aesthetic magnitude to the world.

Malta was not lost and forgotten when the patronage cards were being dealt – a quick look around will evidence this, with the lavish churches, highly-ornate jewellery, regal architectural structures and impact on sculpture and painting. From Mattia Preti’s patronage from the Order of the Knights of St John, to Emvin Cremona’s patronage from the Church of Malta, belief in the visual arts was prevalent in our past.

Valletta Contemporary advisers and gala co-chairs Tugce Ergul and Joanna Delia shared their perspective as collectors and supporters of the arts in Malta and expressed how art patronage needs to make a reappearance.

“Today’s cultural patronage is a complex landscape, as art infrastructures continue to grow and adapt against the backdrop of rapid technological development and globalisation,” Ergul said, adding how the need to support the arts has somewhat been distracted.

“Malta was an art patronage haven in the past and we need to get back there.”

Ergul continued: “Malta has a real potential to become a hub for contemporary art. The Maltese contemporary art scene, while still in its infancy, is getting increasingly interesting, with more funds being allocated to culture. Yet while the island has many young talented artists and new galleries, I would dare to say the contemporary art world is also relatively under-supported. Malta needs young collectors, patrons, international galleries, museums and private collections – together, these can present possibilities for a new generation of artistic communities striving for a global voice.”

For Delia, if the art scene is not watered, it dies. That said, she finds that the fact that Malta has so many artists pursuing their passion on a full-time basis is incredible.

“Since the opening of the Valletta Contemporary galleries 18 months ago, the hard work and dedication of Alexandra Pace at Blitz as well as the pop-ups organised by the MICAS team, the offer on the contemporary art scene has shot up to match international standards. Add to that the valuable work of Adrian Mamo as president of the Malta Society of Arts, and I would say people in Malta have every opportunity to enjoy, appreciate and be inspired by art,” she said.

Artist and Valletta Contemporary founder Norbert Attard also believes that in terms of the number of art exhibitions being produced and presented locally, the scene is thriving.

“But if one is specifically referring to contemporary art, then at the moment there are only very few places to look for that kind of exhibit,” he pointed out.

Attard’s concern stems from what he believes is a lack of serious collectors who purchase contemporary art in Malta.

“This is perhaps due to a lack of education or awareness about the quality offering of the local scene,” he added.

 Film producer and artist Charlie Cauchi said: “There are people making and showing work more than ever and it’s exciting – apprehensive, conservative and elitist in places and stimulating and provocative in others.”

She added that a lot of work is still largely ignored.

“I’d like to see more exposure to the arts for younger audiences without it being patronising or sheltered. Our public institutions could be a bit bolder, less conservative and more creative with their curatorial choices.”

Malta was an art patronage haven in the past and we need to get back there- Tugce Ergul

The opinion of fashion designer and Valletta Contemporary committee member Luke Azzopardi is in line with Cauchi’s, adding first-hand experience that can possibly allow the public to understand the absolute necessity of local patronage.

“I’ve had the pleasure of collaborating with many local artists, both up-and-coming and established, and it’s often been enriching. So I would definitely say there’s a cultured group of people ready to say something, who are looking for a way to ‘best say it’. Entering multidisciplinary projects with these artists is what makes it an exciting art scene,” Azzopardi said.

He emphasises his appreciation for the guidance he has received in his journey as an artist: “We need better cultural infiltration of our education system for the country to be propelled. Art is also a societal healer.”

But there has been progress. Attard remembers how, barely a decade ago, he would struggle to name one emerging Maltese artist working in the field of contemporary art. Now, there is a new, young generation of contemporary Maltese artists who are partly able to professionalise and further their practice thanks to increased opportunities that did not exist before. The same goes for writers, curators and other practitioners in the field.

“There has also been a rise in the emergence of entities such as the Malta Creative Collective and Unfinished Art Space who are validly contributing in providing opportunities for connection, collaboration and experimentation within the local creative community,” he noted.

So what is the way forward and how can patronage embellish the life of the artist, the patron and society as a whole?

The answer is more galleries and open studios, support and guidance for all emerging artists as well as financial stability that encourages projects to completion.

“If we want to have a thriving and international contemporary art sector in Malta, we definitely need to have a wider infrastructure in place, starting from government-run institutions, such as MICAS, which is still in development stage,” Attard said.

“People and institutions of means should see it as their responsibility to do this,” Delia added.

“Art patronage is also an opportunity to mark our time and generation. To not only understand the society we live in, but to project the essence of it to posterity. I always ask people, what do you remember from history? We hardly remember the names of the players, but we remember their architects, their paintings, their literature and their music. The man on the street does not remember Henry Tate the sugar magnate but everyone has heard of the Tate Modern.”

For Ergul, “patrons have the unique ability to propel and project an artist’s trajectory by means of their networks and resources, and this should not be undertaken with the immediate goal of populist exhibitions but by a genuine long-term partnership with the artist.

“Much of the world’s greatest art wouldn’t exist without the support of patrons. But where patronage once relied on the generosity of wealthy benefactors like the Medicis, Peggy Guggenheim or Charles Saatchi, now any of us can donate to help creators we enjoy. In their own quiet way, patrons are galvanising a profound change in the art world. By giving artists freedom from quotidian concerns, they are helping to shape a generation of creators who are more original and willing to take risks.”