Naima Morelli

Archive
Interview

My series on the behind-the-scenes of arts writers’ lives for Plural Art Mag continues with a conversation with Kim Tay.

Tay is a long-standing founding member and Gallery Director of The Artling, an online gallery, art consulting firm, and web magazine.

Here is the link to the piece

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We have read over and over again about the routines of our favourite artists, what time they wake up, and how much time they spend thinking about their art compared to creating works. We have seen pictures of hidden corners in their studios and learnt about their favourite brand of oil paints and their go-to factories to realise installations. 

The same goes for curators. We might know the books and theories they reference, and we have become familiar with what drives art collectors. But what is definitely less explored are the joys and sorrows of being an arts writer.

That’s why here at Plural we decided to start a series where we speak with some of the most eloquent arts and culture editors from the region to explore the behind-the-scenes of being a writer.

We kick off the series with Chloe Chu, former Managing Editor at one of the most respected publications in the region and beyond: ArtAsiaPacific (AAP).

Here is the link to the piece

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How a burgeoning Myanmar art scene came to sudden unrest

I wrote once again on the Myanmar art scene for the webmagazine Southeastasia Globe. It’s my first collaboration with them, and it was great to put together a piece which included a number of interviews to artists and other figures in the art world such as Chaw Ei Thein, Louis Ho, Moe Satt, Bart Was Not Here, Nathalie Johnston, Ilaria Benini and Richie Nath.

Most of them had to flee the country, but they were able gave me a picture of the developments of the art scene over the last few years, and how these were abruptly stopped by the recent military coup.

Here is the link to the piece

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Le Monnaye de Paris, ASIA NOW’s location [Naima Morelli]

With its two leading art fairs, Paris + Art Basel and ASIA NOW, as well as exhibitions scattered around the city, Paris Art Week 2022 had an extensive presence of Middle Eastern artists and galleries, and paid strong attention to the current situation in Iran.

I wrote the story for Middle East Monitor.

Here is the link to the article

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It always feels good to be published in Italian, and on paper as well! This is my second time to write about contemporary Southeast Asian art for the Italian newspaper Il Manifesto, and the issue I’m looking at is particularly important to highlight for the international community.

I have started to interview a number of Burmese artists who fled the country since the military coup, which happened on 1 February 2021, and other figures in the Myanmar art scene. Their experience is incredibly valuable, and while I speak with them, I also learn what was becoming of the art scene in Burma, and the incredible culture they hailed from.

This new research will take the shape of different articles on different magazines. The cover of the cultural Saturday pages of Il Manifesto, called “Alias”, was entirely dedicated to Burma, and they featured two pieces of mine.

Here is the link to the article online

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Morocco's Btissam Sadini (L) competes against Serbia's Jovana Prekovic in the women's kumite -61kg elimination round of the karate competition during the Tokyo 2020 Olympic Games at the Nippon Budokan, Tokyo, Japan, Aug. 6, 2021.

In this story for Al-Monitor I spoke with four Moroccan female martial arts athletes about cultural stereotypes and how to inspire and empower future generations of female fighters.

Here is the link to the article

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Women artists are gaining more and more relevance and traction in the contemporary art scene in Oman. Although the history of Omani women in art is fairly recent, their work conveys their singular experience and perspective within a continuously evolving culture.

Their artworks are also truly innovative in terms of the use of new technologies and their aesthetics; they’re aligned with the latest trends in contemporary art, yet steeped in historical research. I wrote the story for Middle East Monitor

Here is the link to the article

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Artist and curator Alia Zaal

Responding to Impressionism, UAE artist Alia Zaal studied the natural landscapes of Vétheuil, Abu Dhabi and Dubai, both in their natural and artificial ecosystems, finding connections between her own UAE landscape and the impressionist one. The artist reimagines familiar scenes of the sea, the desert and the city lit by the sun, the moon and street lights.

I have interviewed Alia Zaal for Middle East Monitor.

Here is the link to the piece

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I’m really happy to share this incredibly interesting interview with curator Patrick Flores, whose curatorial work and research I greatly admire, and never fails to expands my imagination and understanding of the role of contemporary art.

Also, it’s my first collaboration with ArtAsiaPacific. Being one of the most authoritative magazines about contemporary art in Asia, it’s a pleasure and an honour to have contributed with my writing!

Here is the link to the interview

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One of the most recognised contemporary Mongolian artists, Mugi has presented at the Venice Biennale a show titled “A Journey Through Vulnerability” exploring the concept of samsara, compassion, and healing.

I have interviewed the artist at the Mongolian Pavilion in Venice for CoBo Social.

Here is the link to the piece

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Filipino curator Patrick Flores really likes the word “complicated.”

He actually uses it a lot as a verb: “complicating.” I find this lexical choice so compelling that sitting across him at a Formica table in a bare room in Palazzo delle Prigioni, Venice, I can’t help but ask, “You use the word ‘complicating’ a lot. Is it for you a good thing, a bad thing, or a neutral thing? Tell me about it!”

For a little bit of context, we are speaking at the Venice Biennale, during its opening days. Taiwan’s National Pavilion – which is actually not a national pavilion at all, but instead an ‘official collateral show,’ since Taiwan is, of course, not considered a nation – is being presented at the Palazzo delle Prigioni.

I wrote about the Taiwanese Pavilion for Plural Art Mag.

Here is the link to the piece

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Rula Halawani

“I believe in destiny. And indeed the way I began with photography was a complete accident,” says Palestinian artist Rula Halawani: “It was just something that came to me.”

Born in Jerusalem in 1964, Halawani is influencing generations of young artists and photographers, both with her rich oeuvre, exhibited in shows, Biennales, and art fairs around the world, as well as her role as an art teacher and professor at Birzeit University in Palestine. I spoke to her for Al-Monitor.

Here is the link to the interview 

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