Naima Morelli

My interview with Palestinian artist Mirna Bamieh has been published by Middle East Monitor.

“In the past few months I have been making, just making, making, making those pieces and trying to translate emotions into colours and glazes and firing them and creating this alchemy of understanding around them,” she explained. Her move to Lisbon, added Mirna, is a welcome pause from producing so much work.

However, one conviction resonates very strongly with her; whether in a commercial context like the fair, an experimental gallery like Nika, or an institution like Shanghai: she believes in the meaning of standing up for what’s right. “As a Palestinian, all my life I was told that my voice is not important,” she concluded. “But it is. It is very important. It is very important to speak up.”

Here is the link to the interview

Read More

There’s nothing quite like a biennale to help us take stock of the art world — not just artistic trends, but also the currents of thought flowing through culture at large. And 2024 has given us plenty of international biennales to do just that.

In the West, the Venice Biennale dominates the cultural conversation. But in Asia, two South Korean biennales serve as litmus tests for the state of contemporary Asian art. 

The first takes place in the city of Gwangju and is considered — rather hyperbolically — the Venice Biennale of Asia. The second is the Busan Biennale (originally called the Busan Youth Biennale), which these days is open to both young and not-so-young artists.

I wrote the article for Plural Art Mag

Here is the link to the piece

Read More

For the historically underrepresented Central Asian art market, smaller fairs represent today an important alley, more than the big fairs such as Art Basel – which just had its second Paris iteration this October. “Boutique fairs,” as they are called, often present curated programming which allow a wide public – not just collectors and buyers – to enjoy the art as it was an exhibition. A selling one, of course.

In Paris, the most relevant fair which has historically presented Central Asian artists to the European public is called Asia Now, and it took place in Paris from October 17 to 20. Entirely dedicated to Asian art, the fair has historically tried to fill the gap for Central Asian art in the European market in the past ten years of its existence.

I wrote the piece for Times of Central Asia.

Here is the link to the article

Read More
Wael Shawky,

While, as human beings, we are bound to never fully transcend our human-centered perspective, art offers a means to glimpse beyond our own biases and limitations, imagining a world where animals and humans interact on equal terms.

I have written an essay on the presence of animals in art for The Markaz Review.

Here is the link to the article

Read More
Asia Now 2024

We’ve all heard the joke about art lovers who don’t necessarily celebrate Christmas and Easter, but they definitely celebrate Frieze and Art Basel. This ritualistic aspect of the art world hasn’t escaped Asia NOW, whose tenth anniversary show is aptly titled ‘Ceremony’.

Guided by the ethos of positioning itself not just as another art fair, but as a curated platform presenting Asia to a European audience, Asia NOW has chosen the artistic direction of Radicants, the curatorial cooperative founded by Nicolas Bourriaud, for its main exhibition.

I have written about it for The Art Newspaper France.

Here is the link to the article

Read More
Mehdi Qotbi - Overview | So Art Gallery

I spoke with Moroccan artist Mehdi Qotbi who found his passion almost by chance and now, after 50 years, is being celebrated in a major exhibition in Paris at l’Institute du Monde Arabe. The piece has been published by The New Arab.

Here is the link to the interview

Read More
immagine per Friche, Belle de Mai © Caroline Dutrey

This summer I visited for the first time Marseille, to do a little research on the comic book scene there. I have found an incredible lively scene, which provided me with many insights about art, life, and how a community comes together around shared values.

I wrote the piece in Italian for the webmagazine Art a Part of Culture.

Here is the link to the article

Read More

My latest piece about Seoul for an Italian architecture and design magazine I started collaborating with, called IFDM design. The piece is about architecture, heritage, the coolest neighbourhoods and best spaces for art in the Korean capital.

Here is the link to the article

Read More

Reporting from South Korea. My article on the Gwangju Biennale and the Busan Biennale is on Il manifesto, with a little extra: an interview with Nicolas Bourriaud, curator of the Gwangju Biennale.

It has been really cool to report on most of my recent trips to Asia this year for Il Manifesto – It has become a little tradition of sorts: picking up on Saturday the art supplements of the newspaper, get to my “third place” Zazie and read the issue in front of a steamy cappuccino.

Here is the link to the articles (in Italian)

Read More

I have realized an interview with Palestinian artist Dina Mimi for Middle East Monitor. A compelling voice in the contemporary art scene, Dina Mimi’s work incorporates video, sound, performance and text to investigate the physicality of resistance in Palestine.

Here is the link to the interview

Read More

Being a foreigner is more than a state of mind. It is a state of the soul. The foreigner’s journey can be painful or enriching. Often it is both, as illustrated by a number of Arab artists at the 60th International Art Exhibition in Venice, which continues through November 24.

Stranieri Ovunque, or Foreigners Everywhere, the theme of the Biennale chosen by curator Adriano Pedrosa, subverts the linear Western art trajectory by bringing outsider narratives to the forefront. The theme allows for explorations of identity, ethnicity, gender and belonging.

Read More

“Forty-five minutes before the preview opening of the Venice Biennale in April, there was already a long line of sleepy people waiting at the Arsenale. Half were elegantly dressed Arab women.

When Saudi artist Manal AlDowayan showed up a few minutes later with a big red smile, she was greeted by a peal of excited squeals. The line scattered, and the artist was cocooned for a group selfie. “They are Manal’s cousins,” explained an amused man in the line.

Most of these women have never been to the Venice Biennale before. It was AlDowayan’s participation that drew them. This was a chance to root for their heroine while enjoying what in Saudi Arabia has become the chicest of activities: art appreciation.”

My second piece interview with Manal has been published on the Saudi Magazine Hadara.

Here is the link to the interview

Read More