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.
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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)
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.
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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.
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The art world came to Turkey in September for two high-profile events: Contemporary Istanbul and the 18th Istanbul Biennial. Against a backdrop of political crisis and growing censorship, organisers and artists found creative ways to stay relevant. I wrote the article for Qantara.
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There, Where Wings Grow opens as a multifaceted meditation on the cycles of nature, and particularly on the steppe, explored by several Central Asian artists through ecological, historical, and mythic lenses. What emerges is not a nostalgic portrait of a nomadic past but a layered reflection on resilience and renewal.
At the center of the curatorial vision is Alan Medoev, the archaeologist whose 1960s expeditions uncovered hundreds of sites across the Kazakh steppe. His discoveries challenged Soviet portrayals of the region as an empty expanse and instead presented it as a cradle of memory. The exhibition extends that lineage, tracing how the steppe continues to act as an archive where cultural, personal, and ecological time intersect.
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In regions like Latvia, where audiences aren’t saturated with contemporary art, you don’t need cynicism or irony,” says Payam of artist collective Slavs and Tatars. “That makes it possible to present pieces that are both aesthetically strong and politically charged, and the audience receives them without the defensive distance you might find elsewhere.
I wrote the article for Observer
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Themes of memory, belonging, and identity are recurring motifs in Traboulsi’s work. Born in 1976, a year after the start of Lebanon’s civil war, her family fled the country in 1983 to the safety of Austria, her mother’s home country. But a longing for Lebanon remained.
“When my family left Beirut, we left by ferry. I watched the city slowly disappear, a thin stretch of buildings retreating on the horizon getting farther and farther across the sea.”
That image stayed with her for 13 years, inspiring the title of her photo series, Beirut, Recurring Dream. “Years later, I took that photo. It’s in my book,” she says. “It was exactly how I remembered it.”
I have interviewed the artist for Hadara.
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Private collections and individual visionaries are driving Kazakhstan’s cultural renaissance in the absence of major state investment. I wrote the story for the Observer.
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My latest story for Times of Central Asia, is about the inauguration of the Almaty Museum of Arts, which represents a decisive step in shaping Kazakhstan’s art system.
As the country’s first large-scale contemporary art museum, it houses over 700 works collected across three decades, offering a panoramic view of modern Kazakh art while opening pathways to Central Asian and international dialogues.
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Interior Forniture and Design Magazine has published my latest article (in Italian with an English translation), a guide to my favourite city, Marseille.
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Together, shows staged by the DEO Foundation and Perasma underscore how art can take root in unexpected places, drawing visitors beyond the well-worn circuits of cultural tourism. I wrote the piece for the Observer.
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