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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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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For art lovers, there is only one way to do it all during the ever-growing list of art weeks: cloning. However, since we are not there yet, the only option seems to be a strict selection of shows to attend among the plethora of exhibitions.
In Paris last month, amid the swirl of new voices, major retrospectives and multiple art fairs across arrondissements, I chose one that allowed me to decelerate and truly see: “UMBRA,” Nika Neelova’s solo exhibition, on view through December 19 at NIKA Project Space in Komunuma.
I wrote the article for the Observer.
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I wrote a piece for ArtAsiaPacific on the Parisian art fair AsiaNow. What clearly emerges from the fair, is how the economic dynamism of the Middle East is fostering new connections between the Gulf and other thriving art scenes, from Korea to Southeast Asia.
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In regions like Latvia, where audiences aren’t saturated with contemporary art, you don’t need cynicism or irony,” says Payam of artist collective Slavs and Tatars. “That makes it possible to present pieces that are both aesthetically strong and politically charged, and the audience receives them without the defensive distance you might find elsewhere.
I wrote the article for Observer
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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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New article (originally in Italian, but you also have an English version) about a city which I recently visited, Helsinki. Here is my very personal guide for IFDM.
Here is the link to the article
Another review of the Helsinki Biennial (in Italian with a English translation) for IFDM, sharing some more thoughts and analysis to share on a very interesting art event.
Here is the link to the article
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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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Culture360 – the webmagazine of the Asia-Europe Foundation – has just published my piece on independent curators bridging Asia and Europe (and also other parts of the world) through contemporary art.
I have met these three incredible women in several occasions; they are doing a very important and necessary work, filling gaps in understanding across cultures. Their practice and professional rigour inspires me greatly.
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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
