On Saturday, October 29, the magic of the megalithic temples of Ġgantija intrigued artists and personalities who attended the new edition of Ambit by Spanish artist Cristobal Gabarrón (b. 1945).

The Archaeological Park of Ġgantija, on the periphery of the town of Xagħra, has become a space for experimentation and reflection on the safeguarding, preservation, revitalisation and enhancement of heritage while shedding light on the creative link between culture, art and innovation with heritage as a dynamic and cohesive force that unites them all.

The artistic encounter was held between 11am to 2.30 pm in front of the main wall of Ġgantija, which was erected in three stages over several hundred years (c.3600-3200 BC) by the community of farmers and shepherds who inhabited the small island of Gozo. The rituals of life and the cycles of the seasons seem to have been practised within these enclosures, while the sophisticated architectural achievements reveal that something truly exceptional was taking place on the Maltese islands more than 5,000 years ago.

Violinist Pierre Louis Attard

Gabarrón has brought together nine artists, mostly Maltese and exponents of different artistic disciplines, with the aim of highlighting the importance of historical-artistic heritage, which more than ever needs the attention of our society, and which is fundamental to understand where we come from and where we are going.

The work has been titled Landscapes. Traces and times. Landscapes - for the multiple scenarios that can be seen from this special geographical point; Traces, those left by man, in this case for more than 5,000 years; Times, for the respect of time, first that of Mother Nature, then that of the people who erected these marvelous constructions and now us.

The piece by Cristobal Gabarrón.

The artistic encounter, organised by Heritage Malta, Spazju Kreattiv and the Gabarrón Foundation, was introduced by Russell Muscat, international relations manager at Heritage Malta. “Ġgantija holds a special place in the collective memory of many people and has different meanings for all those who in one way or another passed through or came in contact with this space.... It is an architectural jewel and a testament to sophistication, especially considering that it was built more than 5,000 years ago.

"The material evidence found at this site and in adjacent areas is a testament to the inhabitants and their practices. The more we study and research these people, the more we understand how close they were to our contemporary daily life; the need to represent the different members of the community and their animals.” 

The avant-garde dance of Julia Lundberg

Gabarrón then began to sketch in greens while the poet and writer Francesco Grech read an unpublished poem, which was written on that same day and which thematically dealt with the different aspects of the Neolithic site.

The improvised music of Charlon Calleja, sought a harmonious dialogue with the monument as well as with Gabarrón who continued to capture on the 3m x 9m canvas the architectural plan of the temples. Violinist Pierre Louis Attard, from the Gozo Visual and Performing Arts School, presented his sophisticated and beautiful contemporary discourse.

The avant-garde dance of Julia Lundberg conquered the spaces of the canvas using five stones that she moved around, and carried from one end to the other of the stage, one that integrated into the landscape of the archaeological park.

Jonathan Orchard, dressed as a harlequin.

Jonathan Orchard, dressed as a harlequin, sang, danced and expressed “his fears about the lightness of a part of our society, which did not know where it was going to take us”, as commented by the writer Albert Marshall of the Arts Council Malta.

Maribel Bajada's contemporary dance related to magical beings such as fairies and deities who were the protagonists of ceremonies performed for thousands of years in Ġgantija. All this was captured by the cameras of Lithuanian Karolis Vitonis and Spaniard Jordi Serqueda.

This fifth edition of Ámbito was curated by Rupert Cefai, chair of Fondazzjoni Kreattività, who expressed his satisfaction “for the powerful momentum that took place, for the dialogue between all the participating artists, and for the pure and free creation in a natural setting of enormous historical and artistic richness”.