This exhibition is a reaction to Paris Internationale’s invitation to take over one of the empty kitchens of the building. Embracing the domestic and historical nature of the place – kitchens and bathrooms are the only rooms that are not emptied when tenants leave – as well as the still vivid memories of the pandemic lockdown restrictions, Blitz’s exhibition tackles the comforting separation between indoor and outdoor, and unravels human interactions with nature and furniture in this highly coded space.
The exhibition begins with the psychedelic visions of artist Alexandra Pace in Dreams (2014 - ongoing), a series of ambiguous hand-printed black and white photographs featuring landscapes, objects and bodies. Rather than recording a dream, these artworks relate to the ephemeral state of dreams to create visual narratives aiming at confronting traditional iconographies, inhibitions and loss. Pace’s presentation also includes Corridorworld (2019), a claustrophobic editing of Kubrick’s The Shining. By using fragments of corridor scenes, the artist deconstructs the original film script and builds a scenario in which the characters appear trapped, looped in a state of mutual pursuit without resolution.

2020
Baryta print, framed
24 x 30 cm
Edition 2/6

2019
Digital video + sound
Duration: 2’ 20’’
Edition 1/3
Courtesy the artist and Blitz Valletta
Pierre Portelli’s strategic camouflage, instead, targets the curtain of a window with the site- specific installation The Blue Garden (2021), turning an invisible, almost neutral threshold between the building and the exterior into an opportunity to discuss psychological boundaries with nature. The title reflects the exuberance of the appropriated traditional Chintz pattern lovingly imprinted with blue roses, a flower that does not exist in nature. The result of a recent genetic hybridization, the blue rose has come to symbolize the unattainable or the impossible in popular culture. However, in Portelli’s curtain a significant number of flies, similarly rendered in blue, have hacked the idyllic picture.

2021
Fabric mounted on canvas
Two curtains, each 140 x 322 cm
Site-specific installation
Courtesy the artist and Blitz Valletta
The exhibition continues with Portelli’s Homecoming (2011), a tattoo design replicated with cutlery on painted wood. Common throughout the centuries among sailors in the Mediterranean, the swallow and heart tattoos represent a safe return home to loved ones. By replacing the ink with the cutlery and the skin with the quotidian wood of tables, Portelli translates human feelings into a tangible mix of everyday and artistic materials.
An exploration into our constructed world of pictures – with its haunting power, especially in times of confinement – the exhibition channels the liminal space between reality and imagination as we reconnect to the world that surrounds us.

2011
Cutlery on painted wood
Courtesy the artist and Blitz Valletta