Naima Morelli

January, 2013 Monthly archive


In October I went to Sicily for the first time and I didn’t miss the opportunity to visit the stunning Palermo.
I had two wonderful guides to show me around, Maria Rita Mastropaolo, writer for the web magazine Prisky (link), and Ciro Cangialosi, an incredible comic books artist (link).
We visited Palazzo Riso, an ancient building turned into Contemporary Art Museum, which displayed works by the most important contemporary Sicilian artist, like Carla Accardi, Pietro Consagra, Salvo, Antonio Sanfilippo, Emilio Isgro’ and also younger Sicilian artists such as Croce Taravella, Alessandro Bazan and Laboratorio Saccardi.

There was a Boltanski’s exhibition going on that was quite impressive. It was related to memory and in some way to a profound sensation of human tragedy, like most  of his work. The clothes hanging from the wall and surrounded by lights seemed to be presences that were no more into the body, but they were flowing around what was left of the body itself. 

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Hyper-realistic paintings have never been one of my favourite, but actually, when it comes to Indonesian artist Dede Eri Supria, I’m getting more and more interested.
I was searching for information about the New Art Movement for my book on Contemporary Art in Indonesia and I ran into the video above.
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The calm after the storm.
After escaping the Post-it Pandemonium, I moved to Parioli, Rome.
Before that I lived in Piazza Mancini, surrounded by post its that scream to be turned into book chapters all day long, and sometimes even in the night. In my new writing location I finally managed to organize all the information so i could archive the post its. I put a band to each stack divided by subject.
Of course, I’m still writing other post-its but now that the structure is done I’m doing just small bunches of them on few sheets and I’m adding the information time by time.
My book about Contemporary Art in Indonesia is shaping up.

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The italian web magazine Artribune just published the interview I had in Berlin with the collector Erika Hoffmann in her home/museum.

Lucas Leo Catalano took some pictures that give you an idea of how it was there. Amazing, in one word. Supercool.

Here you are the link to the interview

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In the chaos of an art fair is usually quite difficult to find some art work that attracts you straightaway. So was at the Roma Road to Contemporary Art Fair at MACRO Testaccio.
Actually, there was an exception.

Coming from Sorrento, a picturesque town near Naples, I was quite influenced by all the traditions, all the sort of stuff coming from people. The “Popolo”.
I never stop questioning about it. What is the Popolo? Does the Popolo really exist nowadays? What are the features of the Popolo?
From Jorge Amado to Pasolini, I enjoy the subject, that eventually became the topic of my thesis at the Academy of Fine Arts.

There’s one thing that a particularly like about the Popolo. It is how they mix the religion and the sacred with everyday life and how they show it through the objects.
Angelo Formica, the exception in the art fair I was talking about, takes this concept to the extreme with his artworks.

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The italian web magazine Art a Part of Cult(ure) just published the interview I had in Berlin with the curator Katerina Valdivia Bruch. The interview is part of my reportage about Indonesian Contemporary Art.

Here you are the link to the interview

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What’s up with your book?
Well, I just overcome the worst step of them all: ranking all the post-its I’ve made.
In the beginning writing all the information about Indonesian contemporary art on the post it notes sounded good.
I was reading essays, catalogues, articles and stuff about the topic and I would be able to write down the information I’ve just learned and all the references directly on the post its.Then I stuck them on the wall and that was that.
Sweet. And practical too.
After a while it became a mess, sort of yellow geographic map on the white sea of my wall. To find a single information was hell.
Yeah, it was the Post-it Pandemonium.

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I came to know about the young Indonesian artist Oky Rey Montha from his solo show at Primo Marella Gallery in Milan and I’ll end up interviewing him for my book on contemporary art in Indonesia.

He seems to be the kinky and eccentric kink of artist that loves to get lost in his imagination.
With a dark, tim burtonian look and emo hair and makeup he’s directly out from one of his paintings.
His work reminds me of the pop-surrealism trend and is inspired by comics. Asian market sought this kind of paintings; at the same time Oky himself seems not to care too much about the market.
I look at him as a symbol of his generation that isn’t bother anymore with tradition and Wayang Puppets, but it’s more into pop and fantasy realms.
At the same time he knows how to take advantages of the web and he’s launching is own clothes collection called “Piratez” on facebook and on the blogosphere. He’s also an indie musician and loves to make drum performances during the exhibition openings.

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Hot white tea and a slice of cake.
Inspired by this Simonedebeauvoirian-Sartrarian-Camussarian extra
romanticized attitude of writing in the cafes instead of quietly staying
home and working hard, my old fellow Lucas and I started hanging out in the
in the cafes on Via Giulia, Rome every so often.

I was reading a couple of books to widen my perspective on Indonesian
Contemporary Art. For an insight into the  East/West dichotomy, the curator of Indonesia’s exhibition at MACRO, Dominique Lora, recommended Flavio Caroli’s “Arte d’Oriente Arte d’Occidente”.

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Ubud, Bali, Indonesia.
Non fatevi ingannare dalla bellezza del posto; dietro la luce che rende smeraldina l’erba, dietro le ranocchie spiaccicate sull’asfalto da jeep di passaggio e dietro le palme che sbadigliano sornione, c’è ancora tanto da fare, tanto da combattere.
Gede lo sa. Gede è nato qui e sua scelta di vita è stata quella di tornare a vivere ad Ubud, nelle risaie, dopo i suoi studi alla prestigiosa accademia d’arte nella capitale culturale dell’Indonesia, Yogyakarta.
Quello che rende la storia e l’arte di Gede così interessante è che, a differenza di molti artisti balinesi in fuga dell’isola o piegati al commerciale, lui ha deciso di rimanere e di condurre la sua battaglia sociale attraverso dipinti dalla satira feroce e plateali installazioni.
L’appuntamento è alla “Luden House”, un Warung/studio artistico inerpicato in una splendida zona di Ubud piena di ville in costruzione.
Se ancora avevo qualche dubbio su come trovare il posto, una grande scritta immacolata in mezzo alla risaia “NOT FOR SALE”, mi segnala di essere arrivata.
Gede, un ragazzo dal sorriso amichevole, si gode il sole ad uno dei tavoli fatto di copertoni verniciati di bianco – in Europa tale arredamento sarebbe già oggetto di design – mentre bambini allegri disegnano tutto intorno e ragazzine si fanno le foto davanti alla risaia.
Cominciamo a parlare in inglese, poi al momento di mostrarmi i suoi quadri, sceglie l’indonesiano.
Mi mostra questa serie di dipinti dove i protagonisti sono una rana avida, e un doberman.

– Di che si tratta questo lavoro?

Questa qui è una serie di cento quadri, non ancora terminata, concepiti come un fumetto. La storia parla di questa rana, rappresentante un po’ tutti i balinesi, che viene convinta da questo cane a vendere il proprio campo di riso.

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