Naima Morelli

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 interview with Ethiopian artist Aida Muluneh, an artist whose work I deeply admire.

Born in Ethiopia in 1974, Aïda Muluneh left the country at a young age. Her global upbringing helped her to develop a multiplicity of viewpoints. Inspired by Ethiopia, she transcends it, making her subjects universal metaphors.

Here is the link to the piece

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The Australian webmagazine Artshub has just published my new piece titled “Why Singapore is the new gateway for the Southeast Asian art scene”

I had a steady collaboration with this amazing platform in the past, which started when I was actually living in Melbourne and carried on throughout the different changes of base.

It was interesting to connect my three years of research on the Singapore contemporary art scene with what I could appreciate last month during the Singapore Art Week.

Of course, my piece is very positive because it’s no mystery that I love Singapore and I have a lot of faith in the way things are developing there.

Here is the link to the article

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How to talk about spiritual matters in a highly secularised, hyper-pragmatic society? This was the question artists exhibiting in the show “Pneuma: Of Spirituality in Contemporary Age” at the Stamford Art Centre in Singapore grappled with during the 2020 Singapore Art Week.

The webmagazine Qantara has just published my piece on the show.

Here is the link to the piece

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I had the privilege to write the curatorial essay for the catalog of Neapolitan artist Sergio Fermariello’s new show “Warriors” opening tomorrow, 7 February, at Richard Koh Fine Art in Singapore. The piece is titled: “Hitting God’s Head with a Hammer Until It Breaks” – a poignant metaphor courtesy of genius Fermariello himself.

As a side note, when I first started working with the art scene in Southeast Asia, back in 2012, I could only hope more and more ties would create between my native Italy and that part of the world.

It has been incredible to see how these exchanges unfolded, and even more beautiful to see Italian artists experiencing the Southeast Asian art world, that has been so open and kind to me.

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The webmagazine Middle East Monitor has just published my interview with Tours-based Algerian artist Massinissa Selmani.

The artist has just wrapped up his latest solo show, “Le calme de l’idée fixe”, at the Centre de Création Contemporaine Olivier Debré in Tours. In the show, visitors can admire different series of drawings, where political and historical innuendos meet an interest in architecture and landscape.

Here is the link to the article

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The Italian magazine Internazionale has translated and published my article on artists reflection on the responsibilities of Italian colonialism in Libya.

I originally wrote the article for Middle East Eye. It features interviews with filmaker and writer Khalifa Abo Khraisse, artist and videomaker Martina Melilli and multimedia artist Leone Contini.

Here is the pdf version of the piece

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At the beginning of 2019 I realized one of my yearly reportages on contemporary art in Thailand. Among the most interesting artists I have interviewed is Tawatchai Puntusawasdi; our conversation has just been published on CoBo.

Here is the link to the interview

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One of my favourite traditions for December is to do the year in review. This 2019 I hardly published introspective essays in this space, which is actually good, meaning the work took over.

Now time’s up to stop and share my self-reflections, acknowledge the achievements, learning from the mistakes, and generally look back in gratitude to the people, the places and the experiences. .

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CoBo has just published my interview with Maline Yim, which I realized some time ago during my Cambodia reportage, adding some reflections based on “The Shadow of Change,” her solo exhibition earlier this year at Richard Koh Fine Art in Singapore.

“Yim lives in a house surrounded by a garden, which the artist personally tends to. The flower and plants are protected from the outside by a wall, representing a boundary that likewise allows safety for a life shaped by her gift for art-making. Here, Yim can be the nurturer—of her plants, her family and her art practice. “

Here is the link to the interview

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One of the most relevant Malaysian artists of her generation, Yogyakarta-based Nadiah Bamadhaj uses sculpture, drawing, collage and video to challenge the restrictive societal norms in Southeast Asian countries and explore body politics.

I have interviewed her for the webmagazine Qantara

Here is the link to the interview

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At the beginning of the year I have realized a reportage on Thai contemporary art. The webmagazine CoBo Social has just published my interview with artist Noraset Vaisayakul.

Here is the link to the interview

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