XEMXIJA, MALTA with its windswept bay, Mellieha with views that stretch past the isle of Goza, Mostar, with its magnificent dome, Mdina the silent city, and Rabat. Hot, dusty, and international. Roses, cactus, olive trees and lemons. In Malta, we go to see the Goddess temples Hagar Qim and Mnajdra. These two temples comprise one of the three UNESCO Heritage sites on Malta, but together there are seven megalithic temples. So, of the three sites heritage sites, one represents all of the temples combined, plus the city of Valletta, and the Hypogeum. Additionally, located at the island of Gozo are the temples rumored to built by the giants.
While onsite at the MOM Art Annex, Batya Weinbaum will be constructing a fertility goddess mural from 6000 BCE. Her work elaborates on the Neolithic period, influenced by the works of Marija Gimbutas, Riane Eisler, Monica Sjoo (The Great Cosmic Mother) and Elizabeth Barber (Women’s Work: The First 20,000 Years), who discuss periods of human history when motherhood was not a liability but something to be revered.
The Mother of Frankenstein’s Monster (2021) researches the production of bodies and identities in relation to motherhood. ” My children were produced by and within my body”. Production continues after birth: children’s bodies grow and their identities develop. The identity of the mother is also born in relation to the child’s birth. This inquiry revolves around the idea of maternal “split subjectivity” and the child as an “unruly descendant” of the mother. It researches the conjunction of symbiosis and struggles present within a mother-child relationship.
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