Naima Morelli

March, 2013 Monthly archive

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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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:


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Dysfunctional Camouflage right lo res

I was ready to go to the beach, but then I came to know about this “South Yarra Opening Day” from the mother of my boyfriend, who invited me to the event on Facebook.
Actually the mother of my boyfriend, at sixty seems to have a life much more cool than me, in my twenties. So, if my boyfriend’s mother suggested me to go to the South Yarra Opening Day, I should go.
I unpacked my beach stuff and I made up my mind for an afternoon of contemporary art.

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The Italian web magazine Art a Part of Cult(ure) just published my interview to the Indonesian artist Aditya Chandra H.  The interview is part of my reportage about Indonesian Contemporary Art.

Here you are the link to the interview

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Let’s say that we don’t know anything about Cameroon.
Even worse, let’s pretend that we heard about this country only by the soccer match channels.
To be short, let’s have the same approach that the average Italian Macro’s visitor probably has.
It’s more question of practicality than of willful ignorance.
An art appreciator coming visiting the contemporary art museum of Rome will go there without a previous research of what Camuroon is, what are the inner dynamics and the main issues of that country. That’s the problem with the global art. No one can know everything about everywhere and often the press releases and the captions near the artworks explains everything but the context in which the artworks are born.
You can argue that this is the art critic’s job. Well, maybe.

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