Naima Morelli

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The question each one of us who loves art, and perhaps works in the art field must ask oneself is: with much uncertainty still looming in the upcoming year, how do artists, curators, art writers, and art appreciators keep themselves in the loop, not only growing their artistic sensitivity, but also becoming a vehicle for change towards a better society?

Global Comment has published my piece where I detail some strategies and a framework to re-articulate our approach to the art world in 2022 with renewed energy.

Here is the link to the piece

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Singapore-based webmagazine Plural has just published my interview with Burmese painter Richie Nath, also known as Richie Htet.

In the colourfully alluring world of the artist presents us with archetypes fit for our times. His acrylics show us powerful women exuding that hard, action-focused yang energy and male characters not afraid of melting into a softer, more compassionate yin expression.  

Here is the link to the interview

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Lebanese artist Etel Adnan in her home and studio, Paris. Photo: Stefan Ruiz

Sometimes you get the chance to delve deeper into the work of great artists only when they pass away and images of their art starts popping up here and there. This was the case for me with the ouvre of Lebanese artist Etel Adnan. I encountered her work upon her passing, and was mesmerized by it.

I quickly learned she had a life like no others, and at this point I couldn’t help myself writing about it. And I did, for Middle East Monitor. It goes without saying, when you write about art which deeply resonates with you, it’s really a blessing. The pen is aligned with the heart.

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Khaled Hourani

The webmagazine Al-Monitor has just published my piece on Palestinian gallery Zawyeh founded in 2013 in Ramallah, which recently relocated to Dubai.

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In the show “I am Libya”, painter Shefa Salem presents outstanding canvases, demonstrating that the public is eager to learn about the ancient history of Libya

What does it mean to be Libyan? How to reconstruct a sense of belonging for the country and its people, starting from the deepest roots of Libyan culture, while preserving diversity?

These are the questions that artist, Shefa Salem, is grappling with for her first solo show I am Libya, which took place a few weeks ago in the Barah Arts and Culture Centre in Benghazi and will travel to Tripoli’s old city at the beginning of December.

I have interviewed the artist for Middle East Monitor.

Here is the link to the interview

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The Singaporean art magazine Plural has just published my latest piece called “Is there a silver lining to the lack of tourism for the Balinese art scene?”

Here I’m interviewing the directors of three different art spaces, Cush Cush Gallery, Kayu, Ketemu and V-Room, to garner their experience with the pandemic shifts in the art scene, and how this is affecting artists and art spaces alike.

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My fifth piece for Middle East Eye is about a Lebanese comic book which tells forgotten stories of country’s feminist struggle. Called ‘Where to, Marie?’, this comic book distils a century of overlooked feminist battles through the stories of five fictional characters. I have interviewed the authors.

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Ad-Diriyah Biennale in Saudi Arabia

Middle East Monitor has just published an opinion piece of mine about a new biennale coming up in Saudi Arabia, the Ad-Diriyah Contemporary Art Biennale. I question the way and modalities Biennales need to exist in this post-pandemic world.

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Palestinian artist Hazem Harb [Hazem Harb]

“Palestinian artist Hazem Harb doesn’t try to define the idea of Palestine in his work. “For me, Palestine just is,” he tells me. “I’m interested in its history and nationalism, but I don’t dwell on them by making straightforward political art. In my work, I’m trying to represent the hidden narratives of Palestine and leave room for individual memories and personal stories to come through.” “

The webmagazine Middle east Monitor has just published my interview with Palestinian artist Hazem Harb.

Here is the link to the interview

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The show Rintagan (Resistance) at Richard Koh Fine Art presents works that don’t come from the mind, but rather from a physical involvement with painting materials. They were first inspired by the virtual realm: “I took pictures from Instagram, and then cropped some details,” explains Haffendi. “So it’s going from the virtual, to the IRL, then – being this an online show – to the virtual again.”

My interview with Malaysian artist Haffendi Anuar has been published on Plural Art Mag.

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A collection can represent many different things; it can be a statement, contribution, research, even a love story. In the case of retired German doctor, Christoph Bendick, who has worked in Phnom Penh for 25 years, it’s the story of an encounter with a country whose painful recent history is interlaced with the resilience and strength of its people.

I have interviewed the collector for the Singapore-based magazine Plural.

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Océane Sailly, Founder and Director of HUNNA / هُنَّ in front of Alia's Zaal painting

Many of us have misconceptions and preconceived ideas about the art scene in the Gulf countries. Hence, when we see the work of a gallery like Hunna/ هُنَّ — founded this year and representing eight women artists from the Gulf — we open our eyes in disbelief.

How can these artists possibly talk about such thorny issues, like questions of power or the female body, and get away with it? We speak about it on Middle East Monitor with the founder of Hunna, gallerist Océane Sailly

Here is the link to the interview

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