Naima Morelli

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Plural Art Mag has just published my interview with Italian artist Giacomo Zaganelli, who has created a project called Somset Art Centre for the second edition of the Thai Biennale, held in Korat.

Here is the link to the piece

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Diana Al Hadid [Diego Flores]

Musing around the work of an artist who draws her inspiration from multiple, diverse sources is always extremely enjoyable for me – especially if the artist’s references encounter my own, in a high-brow, low-brow dialogue.

In this piece I wrote about the outstanding work of Syrian-American artist Diana Al-Hadid, and read it in the light of both Buddhist philosophy and the Foo Fighters.

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In Southeast Asia, several artists are looking deep into local traditions and narratives, giving the mythical and historical figures obscured by colonialism, patriarchy, and consumerism, their rightful place.

Their works challenge Western-centric and patriarchal narratives, opening up new interpretations for the viewers. Each artist is bringing forth a different yet very relevant narrative.

I wrote about four of my favourite artists from the region working on these themes for CoBo Social, but truly I’m thinking to write an entire book on the subject, or at least curate a show! In the meantime, here is a taste of it.

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Can machines create value? And do objects have meaning if there are no humans around to experience them?

These are the questions that Singapore artist Gerald Leow has been grappling with in the past few months. If you’re based in Singapore, you might have seen his latest work while walking by Marina Bay Sands. Called Perpetual Motion, it’s a series of column-like sculptures with reflective surfaces that appear to be in constant dialogue with the skyscrapers on the bay.

I have to say that Gerald is one of my favourite Singaporean artists, and I have been following his work since 2015. Plural Art Mag has just published my article on his new exhibit:

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Hani Zurob

My latest piece for Middle East Monitor explores the work of Paris-based Gaza-born artist Hani Zurob.

In his latest series, “ZeftTime” the artist uses tar and broken glass to harrowing effect, as a metaphor for a shattered society. The works seems to suggest that amid tragedy there is no time to think and make up a narrative around what is happening; there is only the absolute presence of the emergency.

“This is the law of time,” Zurob points out. “Every passing moment is a new opportunity for a complete change.”

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Al-Monitor has just published my interview with Libyan photographer and photojournalist Nada Harib. Her work is all about hope in the face of adversity and beauty in the midst of pain.

With her photographs widely exhibited in and outside Libya, from the Institut du Monde Arabe in France to the Tropenmuseum in Amsterdam, Harib’s work tells stories that have been forgotten or repressed during her country’s many turbulent phases. 

It’s another step for me and Al-Monitor’s readers to learn more about the culture and humanity of Libya, beyond the news reports.

Here is the link to the interview

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If you have any degree of familiarity with the history of politics and royalty in Burma, you will definitely know June Yadana as the daughter of the princess Ma Lat – the direct descendent of the last King of Burma – who later became the wife of the dictator Ne Win.

What is less known is June’s turbulent life across Europe and Asia, where she traversed the most significant moments at the turn of the twentieth century, always animated by a relentless spirit.

I have written about her for Plural Art Mag.

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Lebanese artist Etel Adnan in her home and studio, Paris. Photo: Stefan Ruiz

Sometimes you get the chance to delve deeper into the work of great artists only when they pass away and images of their art starts popping up here and there. This was the case for me with the ouvre of Lebanese artist Etel Adnan. I encountered her work upon her passing, and was mesmerized by it.

I quickly learned she had a life like no others, and at this point I couldn’t help myself writing about it. And I did, for Middle East Monitor. It goes without saying, when you write about art which deeply resonates with you, it’s really a blessing. The pen is aligned with the heart.

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In the show “I am Libya”, painter Shefa Salem presents outstanding canvases, demonstrating that the public is eager to learn about the ancient history of Libya

What does it mean to be Libyan? How to reconstruct a sense of belonging for the country and its people, starting from the deepest roots of Libyan culture, while preserving diversity?

These are the questions that artist, Shefa Salem, is grappling with for her first solo show I am Libya, which took place a few weeks ago in the Barah Arts and Culture Centre in Benghazi and will travel to Tripoli’s old city at the beginning of December.

I have interviewed the artist for Middle East Monitor.

Here is the link to the interview

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The Singaporean art magazine Plural has just published my latest piece called “Is there a silver lining to the lack of tourism for the Balinese art scene?”

Here I’m interviewing the directors of three different art spaces, Cush Cush Gallery, Kayu, Ketemu and V-Room, to garner their experience with the pandemic shifts in the art scene, and how this is affecting artists and art spaces alike.

Here is the link to the article

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My fifth piece for Middle East Eye is about a Lebanese comic book which tells forgotten stories of country’s feminist struggle. Called ‘Where to, Marie?’, this comic book distils a century of overlooked feminist battles through the stories of five fictional characters. I have interviewed the authors.

Here is the link to the piece

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The show Rintagan (Resistance) at Richard Koh Fine Art presents works that don’t come from the mind, but rather from a physical involvement with painting materials. They were first inspired by the virtual realm: “I took pictures from Instagram, and then cropped some details,” explains Haffendi. “So it’s going from the virtual, to the IRL, then – being this an online show – to the virtual again.”

My interview with Malaysian artist Haffendi Anuar has been published on Plural Art Mag.

Here is the link to the interview

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