Naima Morelli

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November, 2024 Monthly archive

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

Here is the link to the piece

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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.

Here is the link to the article

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