Naima Morelli

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For the historically underrepresented Central Asian art market, smaller fairs represent today an important alley, more than the big fairs such as Art Basel – which just had its second Paris iteration this October. “Boutique fairs,” as they are called, often present curated programming which allow a wide public – not just collectors and buyers – to enjoy the art as it was an exhibition. A selling one, of course.

In Paris, the most relevant fair which has historically presented Central Asian artists to the European public is called Asia Now, and it took place in Paris from October 17 to 20. Entirely dedicated to Asian art, the fair has historically tried to fill the gap for Central Asian art in the European market in the past ten years of its existence.

I wrote the piece for Times of Central Asia.

Here is the link to the article

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Asia Now 2024

We’ve all heard the joke about art lovers who don’t necessarily celebrate Christmas and Easter, but they definitely celebrate Frieze and Art Basel. This ritualistic aspect of the art world hasn’t escaped Asia NOW, whose tenth anniversary show is aptly titled ‘Ceremony’.

Guided by the ethos of positioning itself not just as another art fair, but as a curated platform presenting Asia to a European audience, Asia NOW has chosen the artistic direction of Radicants, the curatorial cooperative founded by Nicolas Bourriaud, for its main exhibition.

I have written about it for The Art Newspaper France.

Here is the link to the article

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My latest piece about Seoul for an Italian architecture and design magazine I started collaborating with, called IFDM design. The piece is about architecture, heritage, the coolest neighbourhoods and best spaces for art in the Korean capital.

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The Kazakh pavilion “Jerūiyq: Journey Beyond the Horizon” at the 60th International Art Exhibition of the Venice Biennale, from April 20 to November 24, represents a major milestone in changing perceptions of Kazakh art.

Staged in the Naval Historical Museum, the exhibition reinterprets the ancient legend of Jerūiyq, drawing inspiration from Kazakh myths and the visionary journey of the 15th-century philosopher Asan Kaigy.

I have interviewed the Pavillion’s curator Anvar Musrepov for The Times of Central Asia.

Here is the link to the interview

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Una visitatrice di Art Basel Hong Kong

The Italian newspaper Il manifesto has just published two pieces of mine. One is an article reflecting back on the art week and the art marketin Hong Kong, the second is an interview with artist Kingsley Ng who did a commission for the façade of the Peninsula Hotel in Hong Kong.

Here is the link to the article

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The "South West Bank" show at Palazzo Mora [Naima Morelli]

My first report from Venice. Besides the controversy around the closed Israeli Pavilion, in this article for Middle East Monitor I look at three shows representing different facets of Palestine at the 2024 Venice Biennale

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Art installation at the Desert X AlUla 2024 exhibition in Saudi Arabia

Over the past three years, there has been a shift in perception around the Saudi Arabian art scene, and at this year’s Desert X AlUla, artists benefitted from freer expression.

I have review the art festival for the German webmagazine Qantara.

Here is the link to the article

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Rashed AlShashai, Brand 16, December 2023.

My piece on the light art festival Noor Riyadh has just been published on Al-Monitor.

“Standing in the middle of the King Abdullah Financial District (KAFD) in Riyadh, a swarm of drones creates delicate constellations on the horizon. A virtuoso is playing the piano on a stage, complementing the 3,000-drone performance conceived by Studio Drift — an artist duo formed by Dutch artists Lonneke Gordijn and Ralph Nauta — called ‘Desert Swarm’.”

Here is the link to the article

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What is the role of art in times of conflict? I wrote a piece about it for Middle East Monitor, centered on the art light festival, Manar Abu Dhabi, curated by Reem Fadda and Alia Zaal Lootah from 15 November 2023. The festival runs to 30 January 2024.

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Starting this year, Abu Dhabi is building a contemporary art scene tending to the local community, positioning itself as the main taste-maker in the discourse on the Global South in the Middle East.

I wrote a piece based on my latest trip to Abu Dhabi last month for Middle East Monitor.

Here is the link to the article

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From spiritual heights to the depths of the flesh, Malaysian artist Yeoh Choo Kuan has filtered the broad spectrum of human emotions and tension through the medium of abstract painting.

I have always felt a special kinship with the artwork of artist Yeoh Choo Kuan. A few years ago I wrote the texts for his monograph published by Richard Koh Fine Art, and a couple of months ago I have interviewed him for ArtAsiaPacific about his recent Singapore show.

Here is the link to the article

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I have written the curatorial text for Kazakhstan-born, Singaporean artist Inessa Kalabekova, who has an upcoming show at the East Garden Gallery, of the Fullerton Hotel in Singapore, from March 1 to March 30, 2023.

I have visited the artist’s studio during my last trip to Singapore, and learned about her art practice that fuses collage and painting. Her new show is called “The Nature of Art”, and here the artist looks at nature through the eyes of mythology and poetry.

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