An exhibition of contemporary art on the theme of female figures in prehistoric art, from a feminist perspective, is currently on at Spazju Kreattiv. This project builds on Enrique Tabone’s previous work (developed since 2019) exploring this topic, which was received with substantial enthusiasm by specialists in the field to merit further engagement. 

The earlier works in this series were intended primarily to elicit audience feedback on reimagining aspects of the prehistoric art of the Maltese islands, in a way that has never received substantial artistic consideration before now.

First presented at Spazju Kreattiv in 2020 during an Art+Feminism exhibition, this work includes research conducted on feminist approaches to female figurines through data art at the University of Salford’s Digital Curation Lab in the UK. Aspects of the data artwork were presented at the Stanley Picker Gallery in London in September 2022 while others are set for exhibition in Torino, Italy, later on this year.

The theme for the exhibition at Spazju Kreattiv is rather unusual. Prehistoric female figurines have previously almost always been interpreted and presented from a male, if not masculine, perspective. Following a period of artistic research, Tabone’s work is now also informed by University of Cambridge archaeologist Isabelle Vella Gregory, who is internationally recognised as a significant scholar on this subject.

Tabone’s work is also informed by other feminist perspectives on prehistoric artefacts and art objects.

Tabone’s ‘Ġismi’ (2020) is the artist’s own torso in plexiglass.

This is the first time that any artist has systematically approached Malta’s prehistoric artefacts from a perspective that goes beyond the conventional interpretations of deities, rituals and other dominant narratives. The key works that inform Tabone’s art in this series can be found at the National Museum of Archaeology in Valletta and the Ġgantija Archaeological Park in Gozo.

The works presented in Prestorjha can be grouped into four overlapping categories – contemporary perspectives, works in transparent plexiglass, performance, and intimacy – each of which is evident across the gallery.

On entering the exhibition, one will encounter a contemporary interaction with the subject matter through the data art produced by the artist. This is accompanied by contextual videos and an installation dominated by a vending machine, engaging with the commodification of experiencing prehistoric artefacts. The artist captures this in a series of limited edition works, with which visitors can interact instantly.

This is the first time that any artist has systematically approached Malta’s prehistoric artefacts from a perspective that goes beyond the conventional interpretations of deities, rituals and other dominant narratives

One can also see a range of structural pieces made from transparent materials − an established medium and aesthetic style in Tabone’s work for over a decade. These works are all made from plexiglass and explore aspects of Prestorjha’s central theme. They can also be equally viewed outside this context, without losing much of the vibrancy they acquire here. This is precisely what anyone who has previously encountered Tabone’s work will find most recognisable as works by this artist within this exhibition.

In another part of the exhibition, the artist shares her most intimate experiences, including a plexiglass torso modelled on her own body, in ways she believes the makers of prehistoric artefacts may have worked. This intimate space includes an invitation to join her in a meaningful interaction with the chosen theme for Prestorjha.

Within Prestorjha ­– a neologistic Maltese spelling for the established feminist term preherstory – one will also encounter what can only be described as a bold installation, presented in collaboration with the visualisation design company SolidEye. As with some of the other objects in this series, this work of art is modelled on Tabone’s own body. Besides, this installation also provides the artist with a collaborative performance space. Here she will hold a programme of performances, as well as present explorations around this installation with art photographer Alex Attard.

Works from the 'Prestorjha' series in Enrique Tabone’s signature material, transparent plexiglass.

On April 4, Kite Group will publish a book about Tabone’s art written by the author of this article. The book will also be available in a limited collector’s edition, intended for display as a unique work of art. The artist has produced a book sleeve using her signature transparent plexiglass material. Each one of these sleeves contains a one-of-a-kind engraving created by Tabone from hand drawings made specifically for this version of the publication.

The art object has been developed from motifs related to the Prestorjha exhibition. While the art case is an elegant free-standing object, the engraved front panel may also be detached and admired separately.

The book also features details and images, largely by Jean Marc Zerafa, of every work of art Tabone has produced since 2009. Many of the works included in this book, which are not being shown during Prestorjha, were exhibited in a retrospective exhibition called Transparenza, which was presented at the University of Malta’s Valletta Campus last summer.

Prestorjha, curated by Toni Sant, is open at Spazju Kreattiv in Valletta until April 9. More details at www.kreattivita.org.