Heritage Malta spending on Biennale and direct orders questioned

Heritage Malta, the national agency entrusted with safeguarding and promoting the country’s cultural heritage, has once again attracted public scrutiny following revelations about its procurement practices. Documents show that in 2024, the agency issued over 250 direct orders worth more than €3 million. The expenditure covers a wide range of services, from outdoor recycling bins at the Grandmaster’s Palace to extensive contracts linked to the organisation of the first-ever Malta Biennale.

Although government institutions may legally resort to direct orders in certain cases of urgency or uniqueness, the scale and distribution of these contracts have prompted questions from observers, stakeholders, and critics. Concerns revolve around transparency, value for money, and whether proper procedures were followed in the allocation of funds.

The case of the €16,000 recycling bins

One of the most discussed expenditures concerns the acquisition of nine outdoor recycling bins for the Grandmaster’s Palace in Valletta. Records indicate that Heritage Malta issued direct orders to Spot-On Supplies Ltd of Paola and Malta Design for this purpose.

The total value reached €16,000, averaging almost €2,000 per bin. No official explanation was provided regarding the specifications of these bins, nor whether they carried any advanced features that would justify such a cost to taxpayers. To many, the figure appeared excessive when compared with standard market prices for outdoor recycling containers.

While such installations are important for maintaining public cleanliness at historic sites, the high expense has raised eyebrows, particularly as this purchase represents only a small fraction of Heritage Malta’s wider procurement activities.

Direct orders and the Malta Biennale

The 2024 Malta Biennale was billed as a landmark cultural event designed to showcase Maltese and international art, position Malta on the global cultural calendar, and attract new tourism opportunities. However, much of the Biennale’s organisation relied on direct orders rather than open tenders.

Heritage Malta explained that the Biennale demanded swift organisation and specific expertise, which, in its view, made the usual tendering process difficult to apply. Nevertheless, critics argue that this reasoning was applied too broadly, leading to a system in which contracts were frequently awarded without competition.

Marketing contracts and the role of private companies

A notable portion of the Biennale’s budget was spent on marketing, advertising, and media. Several well-known companies benefitted from direct orders. These included Marketlink, the operators of the news portal Malta Daily, as well as Sour Punch, linked to former NET TV figures Mark Grech and Anton Attard. Another direct order was issued to ICAN Ltd, owned by the CEO of state broadcaster PBS, which also operates under the ministry responsible for Heritage Malta.

According to procurement records, the distribution of contracts concentrated heavily on a recurring circle of companies already active in Malta’s media and cultural industries. While these organisations have experience in the sector, the lack of an open call for services has raised issues about fairness, competition, and public accountability.

The case of Nocemuskata

One of the larger direct orders was issued to marketing consultant Sarah Lee Zammit, who received a number of contracts through her firm Nocemuskata, with their combined value estimated at approximately €100,000.

The scope of work covered the production of videos, advertisements, and television programmes related to the Biennale. Observers have pointed out that many other production houses across Malta could have provided such services. The reliance on a direct order, therefore, has generated debate about whether the best possible use of public funds was achieved.

Payments to artists

The Biennale also involved significant payments to artists, many of whom came from abroad. Heritage Malta records show that most participating artists received fees in the region of €10,000. However, Maltese artist Austin Camilleri was granted €30,000 for his temporary installation, “Siggu,” placed in front of the Queen Victoria monument in Valletta.

This work, which attracted considerable public discussion, was also commissioned through a direct order. The disparity in payments, as well as the absence of an open competition to select artists, has been questioned. Normally, large-scale art events often rely on curatorial committees or open calls to ensure inclusivity and transparency in artist selection.

Additional services and costs

Other Biennale-related expenditures also drew attention. A company named Twenty20 was contracted for €20,000 to manage VIPs during the opening week, while an equivalent amount was allocated for the design and production of the award artwork presented to the Biennale’s winner.

The leadership of Heritage Malta has also begun preparations for a second edition of the Malta Biennale. A direct order worth €83,000 has already been allocated for the appointment of Rosa Martinez as the event’s artistic director. Martinez is an established figure in the international art scene, and her involvement signals a desire to enhance the credibility and reputation of the event. However, the fact that such a significant appointment was again made through a direct order has continued to attract scrutiny.

International criticism

Although substantial funds were spent on the event, international critics responded with reactions ranging from lukewarm to largely unfavorable. Several art writers described the event as lacking coherence and failing to live up to expectations.

In particular, UK magazine The Spectator published a strongly worded critique of Malta’s inaugural Biennale. The review described the event as “rubbish,” “decidedly weird,” and “dysfunctional.” Paris-based art critic Digby Warde-Aldam, who wrote the piece, characterised the Biennale as a “complete flop.”

Such criticism highlights the challenge Malta faces in attempting to establish itself on the competitive global art stage. Biennales in established cultural hubs often take decades to build credibility, requiring strong curatorial vision, international networks, and careful long-term planning.

Public response and ticket sales

During the Biennale, Heritage Malta reduced the price of entry tickets by half in an attempt to boost attendance. The move was interpreted by many as a sign that visitor numbers were below expectations.

While some cultural events operate on the understanding that public subsidies are necessary to support artistic ambitions, the scale of the state’s financial outlay in this case has prompted calls for a more measured approach in the future. Critics argue that transparent procurement and more competitive processes could help ensure better value for public money while safeguarding artistic integrity.

Moving forward

The issues surrounding Heritage Malta’s procurement practices underline broader concerns about governance, accountability, and cultural policy in Malta. Direct orders are permitted under law in exceptional cases, but repeated reliance on them risks eroding public trust in institutions.

If Malta wishes to host successful cultural events of international standing, many observers suggest that a more transparent system of planning and selection should be put in place. Open calls for artists and service providers could not only widen participation but also help dispel perceptions of favoritism.

Equally, a clearer communication strategy from Heritage Malta and the Ministry responsible could assist in explaining the rationale behind certain decisions, ensuring that taxpayers understand why public funds are allocated as they are.

Conclusion

The controversy surrounding Heritage Malta’s €16,000 bins and multi-million-euro direct orders for the Malta Biennale reflects larger debates about transparency in the use of public resources. While the intention to host a prestigious cultural event was ambitious, the execution has left room for improvement.

Moving forward, the balance between artistic vision, financial responsibility, and public accountability will be crucial in determining whether Malta’s Biennale becomes a sustainable and respected feature of the international art calendar—or whether it risks being remembered for its controversies rather than its cultural contributions.

FAQs

What is Heritage Malta?
Heritage Malta is the national agency responsible for the management, conservation, and promotion of Malta’s cultural heritage sites, museums, and collections.

Why is the €16,000 bin purchase controversial?
The controversy stems from the high average cost per bin and the lack of explanation regarding any special features that might justify the expense.

What is a direct order?
A direct order is a procurement method where a public entity purchases goods or services without an open tender, usually justified by urgency or unique requirements.

How much did Heritage Malta spend through direct orders in 2024?
Records show more than 250 direct orders were issued, with a total value exceeding €3 million.

What was the Malta Biennale?
The Malta Biennale 2024 was the country’s first large-scale international art event, intended to showcase both Maltese and foreign artists.

Why were direct orders used for the Biennale?
Heritage Malta stated that urgency and logistical needs required direct orders, though critics argue the practice was applied too broadly.

How were artists selected for the Biennale?
Artists were largely invited directly, with no open competition held beforehand, leading to concerns about transparency.

Who criticised the Malta Biennale?
UK magazine The Spectator published a negative review, with art critic Digby Warde-Aldam describing it as “dysfunctional” and a “flop.”

How did the public respond to the Biennale?
Visitor numbers were reportedly lower than expected, leading Heritage Malta to reduce ticket prices midway through the event.

What is planned for the future of the Biennale?
Heritage Malta has already issued a direct order of €83,000 to appoint Rosa Martinez as artistic director for the next edition.