Middle East Eye has just published my gallery piece on a new exhibition which sheds light on coastal landscapes in Palestine, how they’ve changed over time and the narratives that have emerged.
A People by the Sea at the Palestinian Museum in Birzeit, aims to change the standard depictions of Palestine and showcase stories that are often overlooked.
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Podcasts have been my constant companions since their inception, so I was thrilled when artist and journalist. Joana Alarcão interviewed for her “Insight of an Eco Artist” podcast.
In the interview I spoke a ton about researching Southeastasian contemporary art, my writing about art in the MENA region and even a little about my graphic novels, so the interview was divided in two parts.
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“Dinh Q. Lê: Photographing the thread of memory” at the musée du quai Branly – Jacques Chirac in Paris marks the first comprehensive introduction of Lê’s weaving work to a European audience.
The show comprises three different bodies of work from the 1990s to present day. The first section, “Light and Belief”, is focused on Vietnam, with reference to the Vietnam War and the experience of the Vietnamese diaspora. “Splendor and Darkness” looks at the genocide carried out by he Khmer Rouge in Cambodia. Lastly, “Adrift in Darkness” utilises images of migrants to reflect on the tragedies of crossing the Mediterranean by boat.
I down with the artist for CoBo Social, to talk about the themes of his new show and his weaving process.
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Where does a refugee find her homeland? Perhaps in unexpected places; a memory of the country might emerge through the most mundane gestures, or even from a simple interaction with certain objects.
I spoke about this subject with Palestinian dancer Farah Saleh for Middle East Monitor. Farah is preparing a new interactive live performance installation called PAST-inuous for the upcoming Dance International Glasgow.
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For my new piece for Al-Monitor I speak with a comic book artist and a photographer/editor about the queer community in Lebanon – and in Beirut specifically – and how it has changed over time.
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Plural Art Mag has just published my interview with Italian artist Giacomo Zaganelli, who has created a project called Somset Art Centre for the second edition of the Thai Biennale, held in Korat.
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In Southeast Asia, several artists are looking deep into local traditions and narratives, giving the mythical and historical figures obscured by colonialism, patriarchy, and consumerism, their rightful place.
Their works challenge Western-centric and patriarchal narratives, opening up new interpretations for the viewers. Each artist is bringing forth a different yet very relevant narrative.
I wrote about four of my favourite artists from the region working on these themes for CoBo Social, but truly I’m thinking to write an entire book on the subject, or at least curate a show! In the meantime, here is a taste of it.
Can machines create value? And do objects have meaning if there are no humans around to experience them?
These are the questions that Singapore artist Gerald Leow has been grappling with in the past few months. If you’re based in Singapore, you might have seen his latest work while walking by Marina Bay Sands. Called Perpetual Motion, it’s a series of column-like sculptures with reflective surfaces that appear to be in constant dialogue with the skyscrapers on the bay.
I have to say that Gerald is one of my favourite Singaporean artists, and I have been following his work since 2015. Plural Art Mag has just published my article on his new exhibit:
Starting Palestine’s first ever art fair during a global pandemic may seem a daunting proposition, but for Ziad Anani and Yusef Hussein, of the Zawyeh Art Gallery, it was a much needed way to bring Palestinians together in testing times.
I reported and wrote the story for Middle East Eye.
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My latest piece for Middle East Monitor explores the work of Paris-based Gaza-born artist Hani Zurob.
In his latest series, “ZeftTime” the artist uses tar and broken glass to harrowing effect, as a metaphor for a shattered society. The works seems to suggest that amid tragedy there is no time to think and make up a narrative around what is happening; there is only the absolute presence of the emergency.
“This is the law of time,” Zurob points out. “Every passing moment is a new opportunity for a complete change.”
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The question each one of us who loves art, and perhaps works in the art field must ask oneself is: with much uncertainty still looming in the upcoming year, how do artists, curators, art writers, and art appreciators keep themselves in the loop, not only growing their artistic sensitivity, but also becoming a vehicle for change towards a better society?
Global Comment has published my piece where I detail some strategies and a framework to re-articulate our approach to the art world in 2022 with renewed energy.
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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.
Reach out: contact [at] naimamorelli.com
Published! My three-hour-long busking career on Global Comment
“When the day was over, we sat on a bench carved in stone, watching the clouds turn pink and the sea purple. We chatted about everything, from Nietzsche’s Übermensch to that cute waiter trying on me. Being part of Positano’s busking community was paradise, so I figured that in Melbourne it wouldn’t be any different.”
A little story from my personal arsenal, just published by Global Comment. I wish to have the chance to write more stories like this one in the future, alongside the arts writing. It’s really fun!
Here is the link to the piece
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