Naima Morelli

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Review

The webmagazine Al-Monitor has just published my article on the exhibition “Art in the Age of Anxiety” at the Sharjah Art Foundation.

The exhibition (now postponed) looked at online technology and communications feeding existential angst. It seems more relevant than ever today amid the global fears due to the coronavirus outbreak and the extensive information available.

Here is the link to the article

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The exhibition at Palestinian Museum “Glimmer of a Grove Beyond” aims to outline the links between landscape representations and historical circumstances, through the medium of political posters.

Such posters came to prominence in Palestine between the mid-1960s and late-1980s as a means of motivating and mobilising political support in the national movement and revolution, and its armed struggle.

Here is the link to the article

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The webmagazine Middle East Monitor has just published my review of the excellent theater play “Libya. Back Home” by Paola Di Mitri, with texts by Miriam Selima Fieno, Giancarlo Fieno and Khalifa Abo Khraisse. It was presented last week at the Romaeuropa Festival.

I’m starting researching a bit Italian colonialism in North Africa, and in Libya in particular, so it was extremely interesting to see this artistic re-elaboration who tackles this subjects, among many important others.

Here is the link to the review

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IlRediBangkok

A new article of mine in Italian has just been published on the webmagazine Art a Part of Cult(ure). It’s an interview with the three authors of the great graphic novel “Il Re di Bangkok”, Claudio Sopranzetti, Sara Fabbri, Chiara Natalucci, published by ADD Editore.

It was serendipitous to read this work right after my reportage in Thailand, at a time when I’m delving deeper into the graphic novel world.

Here is the link to the interview

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SEAPavVenice2019

Hong-Kong based website and platform for collectors CoBo Social has just published my review of the Southeast Asian Pavilions at the 2019 Venice Biennale. I looked at the different national propositions with interest and a bit of a critical eye as well.

Here is the link to the review

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VeniceBiennale2019
The 2019 Venice Biennale has asked artists to step into the socio-political realm, in the middle of far-right Matteo Salvini’s Italy. And they have done it, dismantling Orientalism and getting the Mediterranean closer together in the process.

My first article on this 2019 Venice Biennale has just been published by Middle East Monitor.

Here is the link to the article

 

 

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Godalisation

 

I reviewed for Cobo Teng Jee Hum’s second book on collecting, focused on history of Singapore. The book offers insight into the history of contemporary art in the city-state.

Here is the link to the review

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Dinh Q. Lê’s Pure Land: Beauty in Everything

One of the most interesting, beautiful and disquieting shows I have visited in Bangkok was “Pure Land” at Tang Contemporary in Bangkok, a show by artist Dinh Q. Lê’s, curated by Loredana Paracciani. I have written about it for CoBo.

Here is the link to the review

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tengcollection

CoBo has published my review of the Teng Collection at Art Stage 2018. I was very happy to write about the first ever showcase of this outstanding collection, and compelled to learn and reflect on the ethos who is driving the collectors.

This piece actually came out last week but I didn’t post it immediately on the blog because in these past few days I have been busy running around Phnom Penh to collect interviews for my current reportage on Cambodian contemporary art. But here you go, you can read it at the link below.

Here is the link to the review

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GeraldLeow

CoBo Social has just published an interview with one of my favorite Singaporean artists, Gerald Leow. We did the interview this past June, at the time he exhibited his latest series “I am Time Grown Old To Destroy the World” at Chan+Hori gallery in Singapore.

Here is the link to the interview

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Beirut

I feel today the MAXXI Museum in Rome is the one contemporary art institution who is really nailing it in the Eternal City. The multifaceted and highly political show “Home Beirut: Sounding the Neighbors” is proof of that. The exhibition focuses on Beirut artists representing city’s development and destiny, and introducing the local artistic scene to a European public.

This show is the third chapter of the “Mediterranean Trilogy” through which the MAXXI has been examining the interaction between the artistic communities of Europe and the Middle East. The aim is prompting the birth of a new trans-Mediterranean culture, critically important for the global landscape of artistic creation.

The show presented 30 artists, architects, filmmakers, musicians, dancers, researchers, activists negotiating between critical reflections of recent history of conflicts, through archiving and re-enacting memories, and prospection of the future, through attempts of urban transformation and global outreaching.

Here is the link to the review

 

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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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