I have toured for Observer the private collections in Athens and their island outposts, which are reshaping where, and how, contemporary art gets shown in Greece.
Here is the link to the article
Read MoreResearch
My latest piece for Artsy took a lit of gallavanting. But if you are a journalist, you gotta wear out those soles!
From Marseille, France, to the Greek islands, some of the most compelling shows of the year are taking place in Mediterranean destinations. Taken together, this group of shows suggests that art, like most things along the Med, is something to be experienced with your senses and can fit seamlessly into a perfect day.
Here’s the link to the article
Read More
“There is a Kazakh proverb that says: a foolish person arrives with noise, sweeping everything away in their path, while a wise person arrives quietly, carefully observing the world around them.”
Syrlybek Bekbota, the curator of the Kazakhstan Pavilion at the 61st Venice Biennale – the most important art event in the world – offers me this thought at the dawn of the exhibition’s opening, and it feels like both a manifesto and an omen.
I wrote the piece for Times of Central Asia.
Here is the link to the article
Read More
Central Asia is increasingly visible on the contemporary art map, and few events carry more symbolic weight than the Venice Biennale, often described as the Olympics of the art world.
In recent years, Kazakhstan’s privately funded art scene and Uzbekistan’s state-backed art scene have often led the region’s international push. This year, Kyrgyzstan is is determined not to lag behind.
The country’s pavilion at the 61st Venice Biennale marks its second dedicated national participation. Kyrgyzstan first appeared in this format in 2022 with Gates of Turan, a state-commissioned installation by Firouz FarmanFarmaian on the Venetian island of Giudecca that drew on nomadic heritage and local craft traditions.
At the center of the 2026 pavilion is Alexey Morosov, a Bishkek-born artist who has lived and worked in Italy for years. He chose the former church of Santa Caterina at Convitto Foscarini, in Venice’s Cannaregio district, as the setting for BELEK, the Kyrgyz word for “gift.”
Curated by art historian Geraldine Leardi, the exhibition reflects on water and Kyrgyzstan’s tradition of generosity. The works are in close dialogue with the space that hosts them.
I wrote the article for Times of Central Asia.
Read More
There is an organic quality to the art scene in Tunis, where art grows out of the bustling, lively, chaotic energy that agitates the city’s streets and animates individuals trying to channel it into an art system.
That’s not an easy feat for a scene that can’t rely on any kind of government master plan, but solely on a handful of people who have set out on a mission to build something durable.
Here is the link to the article
Read More
L’hebdo du Quotidien de l’Art has just published my article on Burmese artists exiled in France. After the coup d’état in Myanmar, most of the Burmese art scene relocated and reformed elsewhere, with some artists moving to France.
Between Marseille and Paris, these trajectories do not form a homogeneous network, but rather a constellation of practices and narratives, linked by the experience of exile.
Here is the link to the piece online
Read More
In Sweden, the country’s artists, dealers, collectors and institutions have built a functioning ecosystem that has, by most measures, avoided the worst of the recent market turbulence.
I have written about it for Observer, reviewing Stockholm’s Market Art Fair, and exploring the Stockholm Art Week for Observer.
This year, Asia at the Venice Biennale explores themes ranging from postcolonialism to contemporary spirituality, thanks to artists from countries where the art scene is now well-established—such as China and Indonesia—as well as from emerging regions that are giving rise to new narratives.
I wrote the piece for Il manifesto.
Here the link to the article (in Italian)
Read More
Morocco’s art scene is diverse and growing, spanning independent spaces, commercial galleries and international fairs. While Marrakech positions itself as a global hub, Casablanca’s scene is closely tied to its history and political reality.
My report from Marrakech and Casa has just been published by the German magazine Qantara.
Here is the link to the article
Read More
Latest article (in French) for Le Quotidien de l’Art about independent spaces in Rome. Sometimes I got to write about my turf as well! online and in the paper edition.
“Lorsqu’on évoque l’art contemporain en Italie, Milan et Turin s’imposent comme des évidences. Rome, elle, est souvent reléguée au second plan et perçue comme périphérique. Pourtant, loin des projecteurs institutionnels et de la hype, la capitale italienne cultive une vitalité singulière, une énergie nourrie par des liens humains forts, des solidarités de terrain et un rapport avec le territoire.”
Here is the link to the article
Read More
Loft Gallery director has spent nearly two decades building one of the country’s most important contemporary art spaces, while quietly assembling a collection guided entirely by instinct and love.
I have interviewed her for Observer.
Read More
421 contradicts several preconceived ideas the West might hold about the UAE art scene, often associated with large institutions projecting national ambition outward, from the Louvre Abu Dhabi and the forthcoming Guggenheim to the Sharjah Biennial. Taking another approach, 421 operates on a smaller scale, with slower timing and direct relationships with artists.
I visited 421 Art Campus and reported for ArtAsiaPacific.
