Naima Morelli

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A visitor wearing a headscarf stands in a gallery space with bright blue walls, looking at two large abstract paintings framed in light wood, one composed of organic pastel shapes and the other of interlocking geometric forms.

The 2026 edition of the 1-54 Contemporary African Art Fair Marrakech is smaller than in previous years. The number of galleries has been reduced, the fair occupies a tighter footprint and the broader media conversation has largely shifted further east.

The city itself, however, tells a different story. This year, the boutique fair operated in dialogue with exhibitions spread across the city, keeping visitors constantly engaged—if not by the energy of Marrakech itself, then by a program that extends far beyond the walls of La Mamounia, the state-of-the-art hotel where the fair takes place.

I reported from the fair for Observer.

Here is the link to the piece

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A selection of paintings on temporary walls in an art fair in a warehouse like space

My piece about the Singapore art week was published by Observer. The consolidation highlights the tension between scale and specificity of the fairs Art SG and SEA Focus, prompting questions about how regional narratives can retain clarity and resonance in an increasingly globalized marketplace.

Here is the link to the article

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Survival_Kit

First, you smell it. Then you see it. The encounter with Afghan artist Malina Suliman’s work at Riga’s annual contemporary art exhibition, Survival Kit 16, is first and foremost olfactory — therefore primal. It enters the body before it enters the intellect.

Malina, who began her practice with street murals and clandestine painting, now constructs environments that behave like living organisms: smelling, staining, ageing, and transforming.

I have interview the artist for The New Arab

Here is the link to the interview

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The relationship between Korea and the Gulf countries is longer and more complex than it may seem. These ties have shifted from oil and construction to culture, and the exhibition “Proximities” at Sema, the contemporary art museum of Seoul testifies that.

I saw the exhibition and reviewed it (in Italian) for il Manifesto.

Here is the link to the article

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Recipes for Broken Hearts: The Bukhara Biennale as Heritage Spectacle and  Critical Absence - ARTMargins Online

In recent years, a new generation of Uzbek artists has begun to reshape how culture, history, and identity are visually narrated.

Among them is Oyjon Khayrullaeva, whose practice moves fluidly between photography, digital collage, and large-scale public installations.

I have interviewed the artist for Times of Central Asia.

Here is the link to the interview

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I have written the curatorial text for the exhibition, Hidden in the Jungle, from 6 January to 6 February 2026, by artist Inessa Kalabekova at Fullerton Hotel.

I had the pleasure of following the evolution of Kalabekova’s work for many years now, visiting her studio in Singapore and contributing curatorial texts to her shows

Below is my curatorial text called “Restoring the Ancestral

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I’m starting to type this review at Café Metcha in Seoul, and I’m finishing it at Bar Veneruso in Sorrento. In other words, I’m starting it in a place where I’m very far from my former self, spearheaded into future me, and I’m finishing by penning it down in my hometown. It feels like reconnecting the two halves.

As every year, I choose a double theme for 2025, namely two words that work in tandem, as two synergistic aspects I wanted to embody throughout the year. It was supposed to be Sturdy/Shameless, but it ended up becoming more Nomadism/Community.

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A richly patterned textile-style image shows a winged mythical creature with a horse’s body and a human female head, adorned with elaborate jewelry and a headdress, set against a densely decorated floral background framed by ornate borders.

Like institutions globally, Norway’s biggest art museums are trying to adapt, sometimes haltingly, to a society whose values are shifting in real time. I travelled to Oslo to report for the Observer.

Here is the link to the article

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Ymane Fakhir : « Mon travail commence là où la parole est trop dure »

Born in Casablanca in 1969, Ymane Fakhir is a Franco-Moroccan artist based in Marseille. Trained at the Casablanca School of Fine Arts, the Aix-en-Provence School of Art and the Arles National School of Photography, she combines photography, video and installation to explore memory, rituals and intangible heritage.

I have interviewed the artist for the Hebdo du Quotidien de l’Art.

Here is the link to the interview (in French)

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Black and white photo of three buildings, two are very damaged and one on the right has been restored.

I have written a piece on architecture in Benghazi for the German webmagazine Qantara. As Benghazi’s Italian-era architecture disappears, an exhibition brings together architects and artists rethinking the city’s history — reassessing the colonial past without celebrating it.

Here is the link to the article

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A conical sculpture made of interwoven golden-brown sticks stands on a clear acrylic base in a minimalist gallery, with another artwork hanging on the wall behind it.

For art lovers, there is only one way to do it all during the ever-growing list of art weeks: cloning. However, since we are not there yet, the only option seems to be a strict selection of shows to attend among the plethora of exhibitions.

In Paris last month, amid the swirl of new voices, major retrospectives and multiple art fairs across arrondissements, I chose one that allowed me to decelerate and truly see: “UMBRA,” Nika Neelova’s solo exhibition, on view through December 19 at NIKA Project Space in Komunuma.

I wrote the article for the Observer.

Here is the link to the piece

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“The Edge is Fertile”: Asia NOW Rethinks Asia’s Borders

I wrote a piece for ArtAsiaPacific on the Parisian art fair AsiaNow. What clearly emerges from the fair, is how the economic dynamism of the Middle East is fostering new connections between the Gulf and other thriving art scenes, from Korea to Southeast Asia.

Here is the link to the piece

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