Naima Morelli

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Australiana

D_Railed magazine has just published my new article called  “A New Book On Australian Contemporary Art Foregrounds Questions About Diversity” – the article is based on the polemics about the lack of diversity in the image of Australian art, ensued after the publication of a new book entitled Australiana to Zeitgeist: An A-Z of Australian Contemporary Art (2017). But is Australian contemporary art as white as it seems? And how is it perceived abroad? I address these question in the piece talking with artist Tony Albert, curator Natalie King and Sophia Cai, and of course Melissa Loughnan, the author of the book.

Speaking of books – this is my latest article submitted for July, as I’m devoting August to finish my own book on Singapore Contemporary Art. Since the first of August I have been diving deep into it, getting into a hyper-focused state whether I’m travelling on noisy Neapolitan trains, sitting in quiet Sorrentinian cafès in the garden, in waiting rooms, libraries or at my kitchen table at home. This is an important lesson I have learned from my friend Giovanna – you don’t need to wait the perfect conditions to do the work – just get concentrated, wherever you are. Soon I’ll probably write a post about my new mind state and routine, but for now…

Here is the link to the D_Railed article

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supernatural2

For the Hong Kong webmagazine and collectors’ platform CoBo I usually write about Indonesian and Singaporean artists, and the dynamics of their art systems. It goes without saying that the two art environments are highly connected. Sometimes an event or a show happens which remixes the way the two art systems interact, and that’s precisely what happened with the Super/Natural show in Yogyakarta, by Gajah Gallery.

In this piece I look at this pioneering operation, talking with the gallerist Jasdeep Sandhu and the two curators, trying to ponder what this show meant, and if it can have a legacy for the evolution of both the Singaporean and the Indonesian art systems.

Here’s the link to the piece

 

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cambodiaspaces
In freelance writing there is a time to sow and a time to harvest. In the past couple of months I have written a few articles that have been published all in these last few days. It always a joy to see my words in print, so if you are around Singapore grab a copy of this month’s Art Republik.

You will find a piece on two very interesting art spaces in Phnom Penh, with my interviews to the fantastic Meta Moeng and Erin Gleeson, who are both greatly contributing in animating the local art scene.

Here’s the link to the pdf version of the piece

 

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pich

Cambodian artist Sopheap Pich is part of the show “Viva Arte Viva” by Christine Macel at the Venice Biennale. In this piece for CoBo – part of my report on this year’s Venice Biennale retrace the artistic vision of Pich to better understand how to look at his work in this international avenue.

Here’s the link to the piece

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LaniMaestro

Even though I have been quite critical of this Venice Biennale as a whole, I still love many of the artists who have exhibited both in the show and in the national pavilions. Lani Maestro, representing Philippines together with Manuel Ocampo, is definitely a favourite. I have been mesmerized by her capacity to unleash the evocative power of language through her neon installations. Cobo has published my interview with her, with the title: “Language Subverting Violence: Lani Maestro at Venice Biennale 2017″.

Here’s the link to the interview

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seavenicebiennale2017

Here is my piece for CoBo on the Southeast Asian Pavilions at the Venice Biennale. This piece wasn’t easy to write and I have been quite critical – something I don’t usually like to be. But this Biennale really called for criticism, the way I see it.

Here’s the link to the piece

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SintaTantra

CoBo has just published my interview with British/Indonesian artist Sinta Tantra, who I visited at her studio at the British School in Rome, where she is doing a residency. As always, every interview is a chance to learn something and often times the words of artists resonate powerfully with my own life.

Here is the link to the interview

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artstage2017
D_Railed Magazine has just published my review of Art Stage Singapore 2017. In this piece I engage in a different set of reflection compared to the ones I explored in my previous article for CoBo, where I specifically looked at the decreased participation of foreign galleries to the fair this year. The final observation is the same though: Art Stage, just like many other art fairs all over the world, is becoming more and more region-based.

Here’s the link to the article

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ArtStage2017

Asian webmagazine and collectors’ platform CoBo has just published my report from Art Stage Singapore 2017 titled “Why Having Less International Galleries at Art Stage Singapore 2017 was Actually a Good Thing”.

As the title suggests, I see the tendency to develop a “glocality” in the art market as generally positive – giving character to art fairs which would otherwise be all lookalikes. The regional features of Art Stage 2017 are far from being a directed by the organizer of Art Stage; it all depended from a series of circumstances that modified the Asian art ecosystem.

I spoke with the present and absent galleries to explain what happened.

Here’s the link to the article

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enecaa2

My essay on the work of Uzbek artist Alexander Barkovsky has just been published by ENECAA, an online platform for researching, collecting and advising about Central Asian art.

I feel the work of Alexandr Barkovskiy is a great visual paradigm for whoever seeks to understand the contemporary cultural scene in Uzbekistan and Central Asia at large. Having recently exhibited at the Moscow Biennale of Contemporary Art and Gallery Andakulovoy in Dubai, this 37-year-old artist encapsulates the key cultural transformations Uzbekistan has been undergoing in recent years.

Here is the link to the article

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enecaa1

Learning about new artists, new countries, different ways of seeing the world and conceiving life is the reason why being an arts writer is such an amazing job. With ENECAA, an online platform for researching, collecting and advising about Central Asian art, I had the chance to explore a bit Uzbekistan through the work of one of its most appreciated artist, Timur Akhmedov.

Here is the link to the article

 

 

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murni

I have just started a new series for the webmagazine CoBo about Indonesian contemporary painters. The first installment is Murni, recently celebrated in the show Merayakan Murni at Ketemu Project Space and Sudakara Art Space in Bali.

Here is the link to the article

 

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