Collecting has always been an indispensable part of my life, though my perspective has mainly been that of an onlooker observing a collection grow and evolve across my formative years. Effort and dedication were injected into the creation of an archive of historical artefacts and documents that were all individually studied and continuously researched upon. Each object is like a piece of an infinite puzzle acting as a clue to finding the next item. Less rigorous approaches to collecting that lean toward the haphazard and quirky have also fascinated me. Collections are an extension of the collector's personality, their outlook on the past and how that translates into the contemporary reimagining of old and new memories.
It was about three years ago when I first came across an article in a local magazine about a new organisation dedicated to showcasing collections of art, literary and popular cultural artefacts called the Storm Petrel Foundation. After a deceptive silence on the project (little did I know that the foundation members were tirelessly working on building a solid infrastructure) the launch of an exciting first exhibition was announced.
Entitled Vanities: Collecting Oscar Wilde, the exhibition showcased Francis Spiteri Paris's admirable collection of Oscar Wilde-related objects; books, theatre posters, letters, and the much-prized key to Wilde's Reading Gaol prison cell. Besides the Wilde artefacts, the walls of the foundation's premises in Attard were covered with Vanity Fair lithographs of esteemed British gentlemen, artists, writers, poets of the Victorian era. Spiteri Paris collected over 120 lithographs of characters linked to Wilde, constructing a network of relationships from the writer's life through caricatures of some of his most prominent contemporaries.
As a foundation headed by educators and academics, the weekend-long launch programme, held last March, included a series of talks delivered by scholars of literature and cinema, with the opening presentations delivered by Prof. Ian Christie on both nights. Prof. Saviour Catania, Prof. Ivan Callus, both founding members, and Dr. Maria Frendo all offered engaging papers related to the exhibition subject that left much for the audience to ponder upon when visiting the display. Prof. Gloria Lauri Lucente, another trustee, eloquently introduced speakers and added to the magic on the two evenings
After the bustling opening weekend, I had the opportunity of meeting with Ms. Bernie Mizzi, a founding member of the Storm Petrel Foundation, who enthusiastically described the objectives of this wonderful organisation. Mizzi's introduction to the world of collecting came about due to her curiosity on the locked-up collections exploits of one of Malta's most reputable collectors. As a frequent visitor to Dr. Albert Ganado's home when a young girl, Mizzi wanted to discover why her host would spend hours alone in his study. She soon discovered that Ganado's study was a world of knowledge that extended beyond the four walls of the room.
Mizzi understands collections to be stories of the collector and the collection that fill intimate spaces, which in many cases are never shown to a public audience. Collectors want to surround themselves with objects that intrigue them and to which they may return over the course of their life. In fact, there is nothing finite about collections; they evolve without necessarily increasing quantitatively. Books provide a similar experience as even when all the words have been read, the story is never really concluded. History, stories, images live on in memory. The ultimate aim is to keep things alive by allowing everyone to experience, know, and enjoy these well-curated selections of objects and artefacts.
Hence the importance of this foundation, as the drive is to encourage collectors to emerge from their private domains for the public to witness the outcome of their long-term practice. It is difficult to convince anyone to openly share that which for them is sacred. For this reason, Mizzi wanted to create a safe space for collections which could capture the collector's story. The beautifully-converted and designed house in Attard provides an intimate atmosphere, fresh yet sheltered, with the type of warmth that fills a content home. Ms Romaine Petrocochino, archivist and Assistant Administrator is meticulously cataloguing all the resident collections using a specialist software for small museums.
It is not only the physical infrastructure that is remarkable, but the entire set up that the Storm Petrel Foundation has professionally developed for collectors. The foundation may administer all collections by offering secure storage space, exhibition space, and a structured legal system that would permit collectors to donate or loan their collections to an organisation that will ensure their safekeeping.
Such an infrastructure for collections that do not necessarily fit within the parameters of Malta's national heritage institutions is promising for future exhibition practices. Popular culture is strongly represented in Malta with the town or village festa and events such as carnival. However, other forms of popular cultural items such as film, film memorabilia, comic books, posters, lithographs, books, and several other artefacts, are institutionally homeless.
My research has led me to some interesting private settings that are host to enviable art and historical collections. On many occasions I left certain homes feeling a sense of awe undermined by an urgent need to place these items on public display. All should marvel at collections built across many years of incessant research and effort. The Storm Petrel Foundation can offer a temporary or permanent home to these rarely-viewed prized and loved objects.
For more information on The Storm Petrel Foundation visit http://www.stormpetrelfoundation.org/
https://www.facebook.com/The-Storm-Petrel-Foundation
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