Naima Morelli

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November, 2018 Monthly archive

ThaiArtistsSpirit

My new article “5 Thai Artists that Connect Us to Spirituality” has just been published on CoBo Social. Some of you may know my new research scope is Thailand, and I’m planning to visit for a reportage in 2019. My previous long-form reportage have been Indonesia (2013), Australia (2014), Singapore (2015-2017) and Cambodia (2018).

So what form do these reportage take in our multimedia world of information and “liquid society” (to quote Zygmunt Bauman)? Well, the form must also be flexible. The bulk of the Indonesia research ended up in a book. My Australian reportage took the shape of a series of articles and an exhibition in Rome. The Cambodian material has also come out as articles. The Singapore research has also become a book which is the process of being published as a web-series, every Monday on this blog and on Medium. For Thailand, I’m planning to realize some videos as well. Will see how it unfolds.

To go back to “5 Thai Artists that Connect Us to Spirituality”; I love to write these kind of pieces because they allow me to look deeply into the practice of artists thematically, and then summarize the essence of their work in few paragraphs. I learn so much from doing this work, and I’m so happy to have the chance to share it with you guys!

Here is the link to the article

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Migration

Geographically small and without local resources, Singapore has historically based its entire survival on the presence of the sea as a strategic location to commerce. A city port and a global trading hot spot since the beginning, creating a good relationship with the region and projecting a reliable image has always been key. In shaping their identity, the Singaporeans couldn’t afford to be purely preoccupied by the way they perceive themselves, but also in the relationship they have with the outside world.

These two narratives are not parallel, but blend into each other. Singapore is a city in constant and rapid flux; his port is bustling with activity and the airport is almost a mandatory stop for fights to and from Asia. You would expect that in such a mobile space, “the local” and “the other” won’t look that different. However, those who aspire to become locals learn quickly that the papers granting Singaporean citizenship can’t really grant a inner sense of belonging to the individual and they don’t make the community accept you.

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Here is an art event where contemporary art don’t lose itself in mere theoretical speculations, but rather tackles important and timely issues. The 12th edition of the Biennale Manifesta called “The Planetary Garden: Cultivating Coexistence” (16 June to 4 November 2018, Palermo, Italy) examines through site-specific artworks the themes of migration and the environmental concerns of our times.

I spoke about it with founder Hedwig Fijen and creative mediator Ippolito Pestellini Laparelli for Culture360, the webmagazine of the Asia-Europe Foundation.

Here is the link to the piece

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 Writing history


When we were studying history in school as kids, we perceived it to be a fixed, unchangeable entity. “Only history will tell”, is still a common saying, which identifies history as the ultimate judge, operating with the fairest of methods. We see that mentality in art history as well. Van Gogh is your typical case in point of the neglected artist in his lifetime who History then recognised as one of the major artists of the 20th century. At the Accademia di Belle Arti in Rome my professors used to see art history as a force opposed to the art market. Market success was described to us students as kind of a cheat. Conversely, history couldn’t care less about money and other such vileness. Apparently what history remembers are the true masterpieces of real artists, not certainly what’s up on the stock market. Good art is what will stand the test of time.
While I subscribe this view, I’m also aware that along the winds shaping the rocks of history, market forces are in the picture as well. Today more than ever. History is a re-reading of the past according to what the present values important and useful. The retelling of every story necessarily implies highlighting some elements and hiding others. It does that in a functional way. In this sense, we can consider the old saying, “History is written by the winners” has been true until the ‘80s came along and postmodernism challenged this notion.

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