Naima Morelli

INDONESIA-ART-MUSEUM

There is no doubt that the Indonesian art market is one of the strongest in Southeast Asia. At art fairs all over Asia and Europe, we see an increasing number of big-name artists and collectors hailing from the art capitals of Jakarta, Yogyakarta, and Bandung. Private museums, galleries and studios are cropping up across the vast archipelago.

I have interviewed Indonesian art collectors Andonowati and Wiyu Wahono, as well as Tom Tandio, director of Art Jakarta, to take the pulse of the market for The Observer.

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Back to my favourite tradition: the year in review.

Let’s start by admitting that 2025 has been quite the year.
I might call it the year of travelling and aventure, as I was constantly on the go. But perhaps I also might think of it as the year I felt more at home in the world. It has been truly an amazing sensation to be in Malta, Taipei, Doha, Seoul, Jeddah, or wherever—and feel like I was just a few blocks away from home.

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Installation view of Seeing is Believing The Art and Influence of Gérôme Courtesy of MATHAF Arab Museum of Modern Art and Lusail Museum Doha

Middle East Monitor has published by review of the exhibition Seeing is Believing: The Art and Influence of Gérôme at Mathaf: Arab Museum of Modern Art.

The French artist, who lived and worked in the 1800s, was extremely influential in his depictions of the Middle East, North Africa and South Asia, shaping Western perceptions of these regions during the very century when colonialism and so-called “Oriental Studies” were entrenching global power dynamics.

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We really don’t want to hear yet another mouth uttering the old and weary truism: “In order to know where we are going, we need to know where we come from.”

But can we even look at Massinissa Selmani’s videos, drawings, and photos in his exhibition 1000 VILLAGES—dedicated to the story of his own country Algeria and currently on exhibition at Index Foundation in Stockholm—without having this truism resounding in our ears like blaring evidence? We might as well cover our mouths.

I have spoken with the artist for FLAUNT Magazine.

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My interview with Palestinian artist Mirna Bamieh has been published by Middle East Monitor.

“In the past few months I have been making, just making, making, making those pieces and trying to translate emotions into colours and glazes and firing them and creating this alchemy of understanding around them,” she explained. Her move to Lisbon, added Mirna, is a welcome pause from producing so much work.

However, one conviction resonates very strongly with her; whether in a commercial context like the fair, an experimental gallery like Nika, or an institution like Shanghai: she believes in the meaning of standing up for what’s right. “As a Palestinian, all my life I was told that my voice is not important,” she concluded. “But it is. It is very important. It is very important to speak up.”

Here is the link to the interview

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There’s nothing quite like a biennale to help us take stock of the art world — not just artistic trends, but also the currents of thought flowing through culture at large. And 2024 has given us plenty of international biennales to do just that.

In the West, the Venice Biennale dominates the cultural conversation. But in Asia, two South Korean biennales serve as litmus tests for the state of contemporary Asian art. 

The first takes place in the city of Gwangju and is considered — rather hyperbolically — the Venice Biennale of Asia. The second is the Busan Biennale (originally called the Busan Youth Biennale), which these days is open to both young and not-so-young artists.

I wrote the article for Plural Art Mag

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For the historically underrepresented Central Asian art market, smaller fairs represent today an important alley, more than the big fairs such as Art Basel – which just had its second Paris iteration this October. “Boutique fairs,” as they are called, often present curated programming which allow a wide public – not just collectors and buyers – to enjoy the art as it was an exhibition. A selling one, of course.

In Paris, the most relevant fair which has historically presented Central Asian artists to the European public is called Asia Now, and it took place in Paris from October 17 to 20. Entirely dedicated to Asian art, the fair has historically tried to fill the gap for Central Asian art in the European market in the past ten years of its existence.

I wrote the piece for Times of Central Asia.

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Wael Shawky,

While, as human beings, we are bound to never fully transcend our human-centered perspective, art offers a means to glimpse beyond our own biases and limitations, imagining a world where animals and humans interact on equal terms.

I have written an essay on the presence of animals in art for The Markaz Review.

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Asia Now 2024

We’ve all heard the joke about art lovers who don’t necessarily celebrate Christmas and Easter, but they definitely celebrate Frieze and Art Basel. This ritualistic aspect of the art world hasn’t escaped Asia NOW, whose tenth anniversary show is aptly titled ‘Ceremony’.

Guided by the ethos of positioning itself not just as another art fair, but as a curated platform presenting Asia to a European audience, Asia NOW has chosen the artistic direction of Radicants, the curatorial cooperative founded by Nicolas Bourriaud, for its main exhibition.

I have written about it for The Art Newspaper France.

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Mehdi Qotbi - Overview | So Art Gallery

I spoke with Moroccan artist Mehdi Qotbi who found his passion almost by chance and now, after 50 years, is being celebrated in a major exhibition in Paris at l’Institute du Monde Arabe. The piece has been published by The New Arab.

Here is the link to the interview

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immagine per Friche, Belle de Mai © Caroline Dutrey

This summer I visited for the first time Marseille, to do a little research on the comic book scene there. I have found an incredible lively scene, which provided me with many insights about art, life, and how a community comes together around shared values.

I wrote the piece in Italian for the webmagazine Art a Part of Culture.

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My latest piece about Seoul for an Italian architecture and design magazine I started collaborating with, called IFDM design. The piece is about architecture, heritage, the coolest neighbourhoods and best spaces for art in the Korean capital.

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