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.
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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.
I have written a city guide of Oslo for the magazine IFDM: from the traditional houses of Grünerløkka to avant-garde architecture and contemporary design, here’s my 24-hour itinerary to uncover the many faces of a constantly evolving capital.
Here’s the link to the article (in Italian)
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The 2026 edition of the 1-54 Contemporary African Art Fair Marrakech is smaller than in previous years. The number of galleries has been reduced, the fair occupies a tighter footprint and the broader media conversation has largely shifted further east.
The city itself, however, tells a different story. This year, the boutique fair operated in dialogue with exhibitions spread across the city, keeping visitors constantly engaged—if not by the energy of Marrakech itself, then by a program that extends far beyond the walls of La Mamounia, the state-of-the-art hotel where the fair takes place.
I reported from the fair for Observer.
My piece about the Singapore art week was published by Observer. The consolidation highlights the tension between scale and specificity of the fairs Art SG and SEA Focus, prompting questions about how regional narratives can retain clarity and resonance in an increasingly globalized marketplace.
Here is the link to the article
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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.
Here is the link to the article
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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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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.
Here is the link to the interview
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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.
Here is the link to the article
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Below the extended version of my latest article which appeared on Le Quotidien de L’Art.
Il y a encore quelques années, la proposition culturelle dans la seconde ville de France en matière d’arts plastiques était extrêmement limitée : quelques lieux informels, des programmations éparses, un public principalement local et un marché de l’art quasi-absent.
Mais, depuis Manifesta en 2020 et grâce au travail acharné d’espaces créatifs comme la Friche Belle de Mai, et des muséums tel quel le MUCEM, le [mac] et le Frac, les propositions se sont faites de plus en plus audacieuses, attirant un public à la fois national et international. Les galeries indépendantes, plus d’une vingtaine aujourd’hui, quadrillent le centre-ville dont celles d’artistes qui ont ouvert leurs ateliers ici à Marseille, après la pandémie.
La vivacité grandissante de cette scène n’a pas échappée à l’entrepreneur culturelle Becca Hoffman de l’association 74Arts, qui organise des foires itinérantes, de Aspen à Singapour. L’Edition marseillaise de 74Arts s’appelle « La Mer, » et a l’ambition de relier directement les studios d’artistes marseillais aux grandes galeries françaises ainsi qu’aux collectionneurs internationaux. « On pense que Marseille a beaucoup changée au cours des dernières années » note Becca Hoffman, qui vit entre New York et Antibes. « Après le Covid, on a vu beaucoup de nouvelles fondations et des collectionneurs qui ont déménagés ici. Marseille, c’est l’avenir. Il y a une énergie créative qui est ouverte à tout le monde, mais surtout au Méditerranéen. »
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The 2025 Helsinki Biennial delivers in the sense that it unfolds in the moment and strives for harmony, but do we really want art to affect us so imperceptibly that it’s ultimately like nothing ever happened?
I wrote my review of the Biennial for the Observer.
Here is the link to the article
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