Naima Morelli

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Nameer Qassim, “Enough”, 2020, Acrylic on canvas, 100x100 cm [Courtesy of The Palestinian Museum US]

Curated by Nancy Nesvet, head curator at the Palestine Museum in the US, the exhibition “From Palestine With Art” features 19 Palestinian artists from Palestine and across the diaspora.

“This is the strongest Palestinian presentation ever,” said Faisal Saleh, director of the Palestine Museum US. “In terms of the size, and the boldness of its pieces, it is a very significant, strong presentation. I think this is going to have a very big impact and get the Palestinian name out in a big way.”

I have reviewed the show for Middle East Monitor.

Here is the link to the piece

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Joseph Kai

For my new piece for Al-Monitor I speak with a comic book artist and a photographer/editor about the queer community in Lebanon – and in Beirut specifically – and how it has changed over time.

Here is the link to the piece

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In Southeast Asia, several artists are looking deep into local traditions and narratives, giving the mythical and historical figures obscured by colonialism, patriarchy, and consumerism, their rightful place.

Their works challenge Western-centric and patriarchal narratives, opening up new interpretations for the viewers. Each artist is bringing forth a different yet very relevant narrative.

I wrote about four of my favourite artists from the region working on these themes for CoBo Social, but truly I’m thinking to write an entire book on the subject, or at least curate a show! In the meantime, here is a taste of it.

Here is the link to the piece

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Al-Monitor has just published my interview with Libyan photographer and photojournalist Nada Harib. Her work is all about hope in the face of adversity and beauty in the midst of pain.

With her photographs widely exhibited in and outside Libya, from the Institut du Monde Arabe in France to the Tropenmuseum in Amsterdam, Harib’s work tells stories that have been forgotten or repressed during her country’s many turbulent phases. 

It’s another step for me and Al-Monitor’s readers to learn more about the culture and humanity of Libya, beyond the news reports.

Here is the link to the interview

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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.

Here is the link to the piece

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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.

Here is the link to the article

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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.

Here is the link to the piece

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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.

Here is the link to the article

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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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Despite a lack of cultural spaces, as well as ongoing political and economic instability, Libyan artists are determined to nurture their diverse arts scene.

I have spoken to a few of these important figures, working from Tripoli, Benghazi or from abroad, for Middle East Eye.

Here is the link to the piece

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It has been a few months now that I have been working on two articles about Libyan contemporary art for the webmagazine Middle East Eye.

The first one of the two just came out. Here we look at the younger talents in the country and in the diaspora, Shefa Salem, Tewa Barnosa, Mohamed Abumeis, Malak El Ghuel and Faiza Ramadan, with the observation from gallerist and expert Najlaa Elageli from Noon Arts.

Here is the link to the piece

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