One of the most recognised contemporary Mongolian artists, Mugi has presented at the Venice Biennale a show titled “A Journey Through Vulnerability” exploring the concept of samsara, compassion, and healing.
I have interviewed the artist at the Mongolian Pavilion in Venice for CoBo Social.
Filipino curator Patrick Flores really likes the word “complicated.”
He actually uses it a lot as a verb: “complicating.” I find this lexical choice so compelling that sitting across him at a Formica table in a bare room in Palazzo delle Prigioni, Venice, I can’t help but ask, “You use the word ‘complicating’ a lot. Is it for you a good thing, a bad thing, or a neutral thing? Tell me about it!”
For a little bit of context, we are speaking at the Venice Biennale, during its opening days. Taiwan’s National Pavilion – which is actually not a national pavilion at all, but instead an ‘official collateral show,’ since Taiwan is, of course, not considered a nation – is being presented at the Palazzo delle Prigioni.
I wrote about the Taiwanese Pavilion for Plural Art Mag.
“I believe in destiny. And indeed the way I began with photography was a complete accident,” says Palestinian artist Rula Halawani: “It was just something that came to me.”
Born in Jerusalem in 1964, Halawani is influencing generations of young artists and photographers, both with her rich oeuvre, exhibited in shows, Biennales, and art fairs around the world, as well as her role as an art teacher and professor at Birzeit University in Palestine. I spoke to her for Al-Monitor.
Naima Morelli is an arts writer and journalist specialized in contemporary art from Asia-Pacific and the MENA region.
She has written for the Financial Times, Al-Jazeera, The Art Newspaper, ArtAsiaPacific, Internazionale and Il Manifesto, among others, and she is a regular contributor to Plural Art Mag, Middle East Monitor and Middle East Eye as well as writing curatorial texts for galleries.
She is the author of three books on Southeast Asian contemporary art.