Naima Morelli



The webmagazine/collector’s platform CoBo has just published my interview with Hou Hanru, curator and artistic director of the contemporary art museum of Rome MAXXI. In the interview I have found Hanru not only to be a great inquirer of our times through art, but also a person of deep intelligence and kindness. All of that clearly transpires from the shows at the MAXXI, which is the channel for Rome to take part in the international dialogue for contemporary art.

Here is the link to the interview

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I have just been back from Japan a couple of days ago,  and it has been great to find my essay on the state of contemporary art museums in Rome published on Culture360, the webmagazine of the Asia-Europe foundation.

The piece stems from my conversations with Hou Hanru and Giorgio de Finis, and takes into consideration the example of the ex-GNAM, La Galleria Nazionale directed by Cristiana Collu. While in the piece I take a bit of a critical tone, I hope that you can read through the lines my positive feeling for a scene in transformation.

Here is the link to the piece

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I feel today the MAXXI Museum in Rome is the one contemporary art institution who is really nailing it in the Eternal City. The multifaceted and highly political show “Home Beirut: Sounding the Neighbors” is proof of that. The exhibition focuses on Beirut artists representing city’s development and destiny, and introducing the local artistic scene to a European public.

This show is the third chapter of the “Mediterranean Trilogy” through which the MAXXI has been examining the interaction between the artistic communities of Europe and the Middle East. The aim is prompting the birth of a new trans-Mediterranean culture, critically important for the global landscape of artistic creation.

The show presented 30 artists, architects, filmmakers, musicians, dancers, researchers, activists negotiating between critical reflections of recent history of conflicts, through archiving and re-enacting memories, and prospection of the future, through attempts of urban transformation and global outreaching.

Here is the link to the review


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Sooo… updates from my life! In the middle of my usual freelance hustling and my book launch, I have also took a new collaboration on. I’m talking about my debut as video journalist for a news agency run by a cultural association in Rome, an experience which I find both exciting and challenging. The whole team is great; they are genuine, interesting and friendly people. Then of course, talking and doing interviews in front of a camera is a relatively new experience for me. Prior to that, I’ve only took part in a series of video interviews in artists’ studios, but here I’m basically presenting the whole thing. The guys have been merciful and my first report has been about an event at MAXXI, the contemporary art museum of Rome – so at least I was playing in my home court.

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This year I will be busy finalizing my Indonesian book project and organizing the material from the Melbourne reportage.
In the meantime I can’t help reading  articles about contemporary art in countries that I would like to visit.
That’s why I decided to start this column on my blog, gathering links and images for hypotetical art reportages in the future. You never know!

I want to start with Azerbaijan. Its pavillion already catch my attention during the last Venice Biennale. If you’re interesting in knowing more about contemporary art in this country, here a digest of links:

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Il guardiano dell’Uccelliera di Villa Borghese rivolge la stessa domanda a tutti i visitatori che gli sfilano davanti verso l’uscita, sia a quelli che davanti al Ratto di Proserpina dentro l’adiacente Galleria Borghese hanno detto: “Certo stò… Bernini, sta scritto Bernini, non leggo bene… sapeva scolpire abbastanza bene veh?” “Si si… ma Caravaggio è il migliore comunque qua dentro!”, sia ai turisti che non hanno voglia di perdersi in lunghe spiegazioni madrelingua, sia ai colti amanti dell’arte venuti appositamente per visionare il lavoro di Hans Op De Beeck.
Trattasi della terza edizione di Committenze Contemporanee, progetto che vede in sinergia la Galleria Borghese, il MAXXI e l’Unicredit Group, al fine di promuovere l’arte contemporanea e spingerla a creare opere nuove e originali.

La domanda del custode dell’Uccelliera invece, lui che ha accettato questo lavoro aspettandosi per la verità di aver a che fare con variopinti pennuti, è chiara: “Cosa diamine c’entra Hans Op de Beeck con il Correggio?”
Essì che bisogna farsela questa domanda, dal momento che il titolo della mostra è proprio “Hans Op de Beeck – In silenziosa conversazione con Correggio”

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