Naima Morelli

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WiseWoman

A great gift of being an arts writer is that I get the chance to reflect at the learning and teaching from the books I read and the concepts I grapple with in my everyday life, and I can look at how artists articulate interpret them.

I am a big fan of the work of Dr. Clarissa Pinkola Estes, who in her new tome dedicated to the wise woman archetype titled: The Dangerous Old Woman, she tells how senior daring women – considered dangerous for centuries – manifest themselves as creative souls and artists. We have had many examples of their artistic power in the West; from Georgia O’Keeffe to Louise Bourgeois, these artists are today points of reference for the younger generation. But what about the East?

In my new piece for CoBo I presented five amazing women artists hailing from Asia, who connect us with universal wisdom and who were able to reach a unique power of expression.

Here is the link to the piece

 

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HouHanru

The webmagazine/collector’s platform CoBo has just published my interview with Hou Hanru, curator and artistic director of the contemporary art museum of Rome MAXXI. In the interview I have found Hanru not only to be a great inquirer of our times through art, but also a person of deep intelligence and kindness. All of that clearly transpires from the shows at the MAXXI, which is the channel for Rome to take part in the international dialogue for contemporary art.

Here is the link to the interview

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VandyRattana

More from my latest research/reportage on Cambodian contemporary art! In the second installment of the CoBo’s series on Cambodian photographers, I talk with celebrated artist Vandy Rattana, who gives out a critical viewpoint on the art scene in the country.

Here is the link to the interview

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Umi

The webmagazine and collector’s platform CoBo has just published my interview with artist Umibaizurah Mahir Ismail, who is known to pushing the boundaries of ceramic work in Malaysia.

Here is the link to the interview

 

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krisna
When all your favourite things come together, you can’t help writing about them. In the case of this interview with the great video art and new media pioneer Krisna Murti, which has been just published by CoBo, these things are contemporary art, Indonesia and martial arts.

Here is the link to the interview

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taipeibiennal
The 2016 Taipei Biennal is the most important contemporary art event in Taiwan, and this year it has been curated by French curator Corinne Diserens. In this interview for Cobo we tackle many topics, including the role of the museum and a subject that I’m currently researching on right now: bureaucracy.

Here is the link to the piece

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gamelan2

What the National Gallery of Victoria is trying to do with the Melbourne Now exhibition is to define the identity of Melbourne through its cultural practices, with a special focus on contemporary art.
I’m in Italy now, ironically writing my book about emerging artists in Melbourne, so I couldn’t visit the exhibition. Luckily my Australian friends and the artists that I have interviewed always keep me updated.
Some time ago I got a mail from artist Danius Kesminas, who told me about his new project with Slave Pianos for Melbourne Now, called Gamelan sisters (Sedulur gamelan). I posted some images, which gives you the feeling of this evocative machinery. On Slave Pianos’ website I find more information about it:

“Sedulur Gamelan (Gamelan Sisters) consists of two interlocking wooden structures that reconfigure elements of traditional Javanese architecture through the De Stijl philosophical principles of neoplasticism to create an abstraction of an 18th century double grand piano.

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cover

My interview with artist Bindi Cole is the cover story of the Australian magazine Trouble.
The interview is part of my research about contemporary art in Melbourne.

You can read the magazine online at this link

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04

My understanding of Melbourne so far it that everything is about the lanes. The graffiti, the social life, the art exhibitions.
A week ago I was searching for this Trink Tank gallery and, guess what, I ended up in a blind alley. In a blind lane to be precise.

I asked a bunch of people in front of a bar if they know where this Trink Tank gallery was.
A guy with a chef hat smirked:”You just passed it. It’s there!” and he  guided me without fail to a shrine in the wall.
Inside the small shrine, like a Neapolitan Madonna, there was Marc Standing’s artwork “The Duchess Of Avon”.
I read the press release that you could take off from a stack of papers. Apparently the shape of the statuette was from a 1970s Avon perfume bottle, which ironically contained Sweet Honesty perfume: “Her tribal painted face is a stark contrast to her Eurocentric bridal ensemble. Coloured thread emanates from her bouquet, enfolding her in an almost suffocating embrace. However, her stoic stance is one of pride and reverence.'” stated the press release.

“So… that’s it!”
“Yeeee!” said proudly the guy “This is the gallery!”

Australia. You can have huge streets, kilometers of nothing just outside the city, the broadest spaces ever and at the same time, in a shady lane in Melbourne, the Trink Tank gallery, probably the one of the world’s smallest gallery.

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Apparently there’s nothing new with it.
Apparently it’s something going on since 2003 or something.
Apparently it’s just me, a country-mouse from Italy not informed about the new trends.
All right, I get that, but still it’s difficult to me to be impassible whit this bunch of people stirring awkwardly on the crowded sidewalk for no reason.
If I were back in my Campania countryside, I would mistake the whole thing for a collective exorcism. But of course, the square in front of Flinder Street Station has very little in common with the Campania countryside.

So, these people are dancing with no music but with a lot of concentration in their absurd outfits.
With a more accurate observation I notice that they all wear headphones, so what is happening is that everyone is dancing with their own playlist.
The obvious consequence is that everyone is doing his own moves charmly out of sync.

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bigbamboo1

Within few months I’ve appreciated two artworks that look similar but that are very different in the concept.
The first one is at MACRO Testaccio, Rome, Italy and it’s called Big Bambù, by the American artists Mike e Doug Starn.
The second is site-specific installation covering the pavillion of ART/JOG12, Yogyakarta, Indonesia and it’s by the Indonesian artist Joko Dwi Avianto.

Enjoy the photogallery:

bigbamboo

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limoni

I always sought a day-routine, the only way to get things done, like my graphics novel and, currently, my book about Contemporary Art in Indonesia.
I was very much inspired by this articles on the amazing Brain Pickings website and, of course, I didn’t miss the opportunity of breaking the routine that I made for myself to read it and share, and write this post… Whatever!
I always was the kind of girl making daily schedule to force me doing my work during the day. It started when I was in the High School because I didn’t have a lot of time to draw, between school and homework.
I drew and thinking and building the stories during school time and I realized it after homework.

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