Naima Morelli

Archive
Singapore

HoTzuNyen

Singaporean artist Ho Tzu Nyen has a new show at the Berlin gallery Michael Janssen, called No Man II. In this interview for CoBo, I spoke with him about his process, his conception of his characters as empty shells, and his love for books. Ho Tzu Nyen’s work and ideas are endlessly fascinating for me.

Here is the link to the interview

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Bureaucracy

CoBo has just published my new piece titled “5  Singaporean artists working with the theme of Bureaucracy”. Researching the Singaporean art system and the artists’ practice, I noticed the emergence of this set of preoccupations with organisation, repetition, boredom, archiving, censorship, procedures, rules – which definitely dismantles the romantic idea of the artist as we conceived it. Bureaucracy is so pervasive in society such as the Singaporean one, that becomes not only a conditio sine qua non for art to be happening, but also a subject in itself to reflect on.  This article features artists Jack Tan, Terry Wee, Zihan Loo, Lim Tzay-Chuen and Lai Yu Tong.

Here is the link to the piece

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audrey_yeo

CoBo has just published my interview with gallerist Audrey Yeo, director of Yeo Workshop in Singapore. I realized the interview a few months ago and it was greatly inspiring to talk with such an important igniter of the Singaporean art scene.

Here is the link to the interview

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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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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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EmiEu

For the next installment of the series “Heroines Behind Galleries”, CoBo has just published my interview with Singapore Tyler Print Institute’s (STPI) director Emi Eu. It was fun to write a profile, capturing the impression of the woman behind the institution. The interview is also part of my reportage on Singapore contemporary art, soon to become a book!

Here is the link to the piece

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Fyerool

My interview with Singaporean artist Fyerool Darma has just been published on CoBo Social. Fyerool works with the forgotten histories of Singapore, drawing from its Malay past. We have recently seen his work at Art Stage Singapore, at the art center Objectifs and in the Singapore Biennale.

Here’s the link to the article

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Jimbo

CoBo Social has published my interview with Indonesian artist and member of MES56 Jim Allen Abel, also known as Jimbo. I interviewed him in Singapore during Art Stage 2017 and he shared about his background and art practice.

Here’s the link to the piece

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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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JeremySharma

Cobo has just published my interview with Singaporean artist Jeremy Sharma, titled: “Artists As The Arbiter of Knowledge in The Information Era”.

We did the interview in Rome, in a cafè near Via di Ripetta, after a bit of walking around that side of the Eternal City, and talked about his residency at the Stelva Foundation, in Desenzano del Garda, and his art practice in general.

Here is the link to the interview

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2
“Scholastic years” are perhaps more meaningful for many in framing seasons of life than actual “calendar years”. Summer is the great divider, and for me September has often corresponded in looking for a new house and resuming old and new plans. And yet, the end of the year is a great opportunity to stop and look back at the recent past, review one’s own narrative, look at mind-shifts, shift of priorities, meditate on lesson, remember the great moments and trying to get to know oneself better (hopefully).

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