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.
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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.
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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.
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To take a snapshot of the magmatic undercurrent in Istanbul’s art scene, I examined the city’s subterranean energies through a gallery show, an art fair, and a museum retrospective. The story is for The Markaz Review.
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Beyond its commercial ambitions, the inaugural edition of VIMA art fair carved out space to consider Cyprus’ complex geopolitical position. I wrote a report on the fair for the Observer.
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I wrote for Middle East Monitor an article about “Beyrouth Ya Beyrouth”, a comic book collection in the form of a newspaper created last year by the comic book festival “Rencontres du 9e Art, Festival BD d’Aix” at Aix-en-Provence in the South of France.
The collection sees a group of Lebanese artists sharing different sides of Beirut that are less known to the media. Rather than focusing on the crises and turmoil, they aim to capture the city’s everyday life, emotions and experiences through the medium of comics.
Here is the link to the article
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As I walked to the museum in the southern French city, some graffiti on a restaurant shutter caught my eye: “If a place attracts you, it’s because there is something waiting for you, and your story there has already been written.”
These words stuck with me as I turned the corner and the incredible MUCEM building stood before me, epic in shape and location, silhouetted against the cloudy sky, seemingly suspended on the sea.
“Revenir” focuses on the idea of home, travel and returning. This is not only the scope of the show, but the wider project of the museum, which is dedicated to Mediterranean cultures, especially to that very specific blend for which this city port is renowned.
Running until 16 March at the Museum of European and Mediterranean Civilisations (MUCEM) in Marseille, the exhibition “Revenir” (“Return”) invites visitors to explore the experiences of returning to one’s homeland.
I wrote about the show for Middle East Monitor.
Here is the link to the review
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Naima Morelli is an arts writer and journalist specialized in contemporary art from Asia-Pacific and the MENA region.
She has written for the Financial Times, Al-Jazeera, The Art Newspaper, ArtAsiaPacific, Internazionale and Il Manifesto, among others, and she is a regular contributor to Plural Art Mag, Middle East Monitor and Middle East Eye as well as writing curatorial texts for galleries.
She is the author of three books on Southeast Asian contemporary art.
Reach out: contact [at] naimamorelli.com
