Naima Morelli

Archive
Singapore

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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eddysusanto

Lately I haven’t written a whole lot of art critique in the real sense of the word, dedicating myself more to articles or interviews. Every so often though, I encounter artworks that I just can’t shut up about. This is the case with the latest pieces of Indonesian artist Eddy Susanto, who is one of my favorite contemporary artists ever; so I wrote this piece for CoBo, reading through the cross-references inside “Transhumanism Paradox (Dante’s Divine Comedy)” and “PANJI: The Linguistic Culture of Southeast Asia”, which will be realized for the upcoming Singapore Biennial. The first work was particularly interesting to explore as an Italian researching Indonesian art; it was the perspective of an Indonesian artist on what is a staple of Italian literature.

Here is the link to the piece

 

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SgArtistsNature

Hong-Kong based magazine Cobo has just published my new article on the way Singaporean artists work with the topic of nature. This is an ideal second episode of a series on artists and nature which started with this piece on Indonesian artists and nature. In the book I’m currently working on, focused on Singaporean contemporary art, I have an entire chapter out of four dedicated to the dichotomy nature/urban through the eyes of artists, and the specific form it takes in the Lion City.

Here is the link to the article

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indomemory

The webmagazine/platform Cobo has just published my piece entitled “Three Indonesian Artists Between National History and Personal Memories”, featuring work by FX Harsono, Jompet Kuswidananto and Boedi Widjaja, plus a mention to an iconic piece by Dita Gambiro and Rifqi Sukma. As always, I have decided to mix artists that are staples of Indonesian contemporary art (such as Harsono and Jompet) with others that might not be household names yet!

For the rest, I’m in a blessed phase of working (almost) uninterruptedly on the third draft of my book on contemporary art in Singapore. When you concentrate on one single thing, ideas are connecting and synapses are snapping like never before! Writing this book is a great learning process for me and gives me the chance to expand on ideas I explored in my book on Indonesian art, seeing how these have evolved over time, with my experiences and chats with artists. But I’m digressing; below the link to the article on Indonesian artists and memory!

Here is the link to the piece

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Immagini 031
“Actually, this is a really good idea”, said my dentist throwing his blood-drenched gloves in the bin. He had just pulled out my wisdom tooth, making me more sore and more wise – pain is supposed to be the highway to wisdom after all, isn’t it? The dentist wholeheartedly approved of my habitual taking July and August away from my Rome life. That time wouldn’t be exactly “off”. I would in fact catch up on project that need breadth and space, dedicate to articles that I never have time to pitch, books that I never have the peace of mind to sit and read. Most importantly, I’d refine what I have learned in the previous months.

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