This summer I went island-hopping in Greece, and come out with the eyes full of sea and art, and a few reflections I wrote about for a few different magazines. This is what I wrote for Le Quotidien de l’Art (in French).
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From St. Moritz to Gstaad, from Capri to the Berkshires, from Punta del Este to Joshua Tree, smaller, boutique fairs are setting up shop where collectors already are.
I wrote about the so called “Destination Art Fairs” for Observer.
“There is a Kazakh proverb that says: a foolish person arrives with noise, sweeping everything away in their path, while a wise person arrives quietly, carefully observing the world around them.”
Syrlybek Bekbota, the curator of the Kazakhstan Pavilion at the 61st Venice Biennale – the most important art event in the world – offers me this thought at the dawn of the exhibition’s opening, and it feels like both a manifesto and an omen.
I wrote the piece for Times of Central Asia.
Here is the link to the article
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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.
Here is the link to the article
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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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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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Morocco’s art scene is diverse and growing, spanning independent spaces, commercial galleries and international fairs. While Marrakech positions itself as a global hub, Casablanca’s scene is closely tied to its history and political reality.
My report from Marrakech and Casa has just been published by the German magazine Qantara.
Here is the link to the article
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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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In the work of the young Egyptian artist Mariem Abutaleb , the Arabic language and alphabet become a symphony of signs that attempts to remove barriers. “When writing transcends readability, it’s meant to be felt,” says the artist. Her work is a visual demonstration of this idea.
From afar, her work looks as familiar as calligraphy, it’s only by coming close that one realizes she’s not referencing a specific language. And it’s precisely in this fluid approach that her artistic practice lies.
I have interviewed the artist for The Markaz Review.
Here is the link to the interview
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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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Born in Casablanca in 1969, Ymane Fakhir is a Franco-Moroccan artist based in Marseille. Trained at the Casablanca School of Fine Arts, the Aix-en-Provence School of Art and the Arles National School of Photography, she combines photography, video and installation to explore memory, rituals and intangible heritage.
I have interviewed the artist for the Hebdo du Quotidien de l’Art.
Here is the link to the interview (in French)
