Naima Morelli

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Tag "book"

live1
I remember one beautiful evening few years ago in Rome. I was walking with my new friend Francesco, a mime just met at Cinema Trevi. Quite strangely for a mime, he was a chatterbox. I thought that was because he couldn’t talk on stage, so that was his way to vent. Since I just came back from an opening at Gagosian gallery, I was wearing red lipstick, a little back dress and red shoes. Francesco and I keep on whirling in the street paved with cobblestones and he said: “You know what the beauty of life is? That you can live wherever you want. You just have to choose a city, and you can move there anytime.” Then he went on telling me about when he was my age – twenty-one at the time – and he moved to Spain by himself. He was working in a bar near the beach, studying as an actor at the same time. He also told me about that time that he saved a girl abused by a group of guys – an anecdote he clearly unsheathed to impress me. Aside from that, the beautiful thing about Francesco was his constant excitement and exaggerated optimism. He could have been banal and cliché in his representation of happiness, fancying sunsets on the beach and the like, but he was still infusing me merriness and even a little inspiration.

Over the years I kept on asking myself: Is that true? Can you really pick a city you like and decide to move there on the whim?

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routine1
I have always been obsessed with plans for the day and routines. At the same time I know that I can’t stick to a particular routine for more than one month. That’s mainly because I had a double-base this year, Rome and Sorrento, so I need to continuously review my routine plan.
In Rome it’s harder to have a routine, since there are things to do all the time and life is quite hectic and unpredictable.
On the other hand, when I’m in Sorrento, I get back to my antisocial behaviour, and it’s much easier to stick to a routine and be productive. I have been away from Rome for almost a month now, so I had all the time I needed to establish a routine that really works for me and makes me happy. Here how it went so far:

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1

In Melbourne one of the first questions people ask you is “where do you come from?”.
It makes sense in a city where hostels are flooding with drunk people swearing in so many different languages.
There are backpackers coming here with a sheer party mentality, europeans seeking for a well-payed job as waiters and wannabe adventures romantically compelled by soil their hair with red dust, possibly riding through the desert on a rusty jeep (that’s me, and I sadly found out that there is not that much desert in Victoria).

The prosaic reality of Melbourne city clashed so hard with my fantasy – eating Kangaroo on a red rock with aboriginals people – that I decided to keep myself busy with what is supposed to be my main job: contemporary art.
Well, the truth was that I was already in Melbourne to complete the last stages of my reportage about Indonesian contemporary art, so I found myself turning on the recorder and listen to the artist Tintin Wulia.
It was the first interview here in Melbourne and one of the last interviews for my reportage about Indonesia Contemporary Art.
Her work and her experience as an artist epitomized the core of my book: there is no such a thing called Indonesian art, there are some practices born in a geographical segment called Indonesia, and there are some artists born in Indonesia that are making art.
The edges are so sharp just on the map – ideas and aesthetic are much more fluid – yet these borders matter incredibly when comes to bureaucracy, biennales pavilions and personal identity.

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the

Hot white tea and a slice of cake.
Inspired by this Simonedebeauvoirian-Sartrarian-Camussarian extra
romanticized attitude of writing in the cafes instead of quietly staying
home and working hard, my old fellow Lucas and I started hanging out in the
in the cafes on Via Giulia, Rome every so often.

I was reading a couple of books to widen my perspective on Indonesian
Contemporary Art. For an insight into the  East/West dichotomy, the curator of Indonesia’s exhibition at MACRO, Dominique Lora, recommended Flavio Caroli’s “Arte d’Oriente Arte d’Occidente”.

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