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
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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
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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.
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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.
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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
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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)
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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.”
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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.
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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