Naima Morelli

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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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The Gulf’s Anti-Institution: 421 Arts Campus

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.

Here is the link to the piece

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Ymane Fakhir : « Mon travail commence là où la parole est trop dure »

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)

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A conical sculpture made of interwoven golden-brown sticks stands on a clear acrylic base in a minimalist gallery, with another artwork hanging on the wall behind it.

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.

Here is the link to the piece

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Zwei Personen stehen in einem Korridor, mit dem Rücken zueinander, und betrachten Gemälde, die an den Wänden hängen.

The art world came to Turkey in September for two high-profile events: Contemporary Istanbul and the 18th Istanbul Biennial. Against a backdrop of political crisis and growing censorship, organisers and artists found creative ways to stay relevant. I wrote the article for Qantara.

Here is the link to the piece

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An installation in a raw concrete industrial space displays several large video screens showing people lying in bed, arranged down a long, dimly lit corridor.

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

Here is the link to the piece

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Themes of memory, belonging, and identity are recurring motifs in Traboulsi’s work. Born in 1976, a year after the start of Lebanon’s civil war, her family fled the country in 1983 to the safety of Austria, her mother’s home country. But a longing for Lebanon remained.

“When my family left Beirut, we left by ferry. I watched the city slowly disappear, a thin stretch of buildings retreating on the horizon getting farther and farther across the sea.”

That image stayed with her for 13 years, inspiring the title of her photo series, Beirut, Recurring Dream. “Years later, I took that photo. It’s in my book,” she says. “It was exactly how I remembered it.”

I have interviewed the artist for Hadara.

Here is the link to the interview

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An exterior view of the Almaty Museum of Arts shows its angular limestone facade with rust-colored accents against a blue sky.

Private collections and individual visionaries are driving Kazakhstan’s cultural renaissance in the absence of major state investment. I wrote the story for the Observer.

Here is the link to the article

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My latest story for Times of Central Asia, is about the inauguration of the Almaty Museum of Arts, which represents a decisive step in shaping Kazakhstan’s art system.

As the country’s first large-scale contemporary art museum, it houses over 700 works collected across three decades, offering a panoramic view of modern Kazakh art while opening pathways to Central Asian and international dialogues.

Here is the link to the article

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Centro storico, porto di Marsiglia e Basilica di Notre-Dame de la Garde - Photo © Iurii Dzivinskyi

Interior Forniture and Design Magazine has published my latest article (in Italian with an English translation), a guide to my favourite city, Marseille.

Here is the link to the piece

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My review of the show “The Utopia of Rules”, which I saw at the Singapore Art Week at the beginning of the year, has been published in the latest issue of Mekong Review.

Here is the link to the article

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Cleopatra_Paris

There are historical characters that are no longer themselves. They become archetypes and symbols for us to project upon. Cleopatra is one such character.

The Mystery of Cleopatra, a newly opened exhibition at the Institut du Monde Arabe in Paris, investigates this very aspect of the Egyptian queen.

Drawing on historical sources that retrace who Cleopatra was, the exhibition examines what she has been made to represent — and how her story might now be told differently.

I interviewed the exhibition’s curator for The New Arab.

Here is the link to the article

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