Naima Morelli

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I have just came back from two weeks in Paris. It has been an incredible time. I was there for the Art Paris Art Fair and the exhibition Secret Archipelago at the Palais De Tokyo – yet again on a reporting mission for Art a Part of Cult(ure), the Italian magazine I write for. My boss at Art a Part is the M to my Bond, the Charlie to my Angels, the Xavier to my X-Men, well, you get my drift! In Paris I’ve met with a number of interesting people and had chats with artists I wanted to talk to from a long time, including Eddie Hara and Richard Streitmatter-Tran.

The first week has been a whirlwind of interviews. I already knew what it means to do three interviews in a day – I did it before, and it was crazy! But five interviews in a day? That’s don’t-try-this-at-home insane! Luckily enough, I generally feel energized by working under pressure. Plus, all the artists and gallerists I talked with have been super nice. I can’t wait to share their interviews with you! In this situation it also helped to have the most amazing sidekick a journalist can ever had, a gorgeous Sorrentinian gal called Marta, who also hosted me in Paris. We jumped from metro to metro chatting endlessly about everything from Catilina (ancient republican Rome anyone?) to haircuts, all that while chewing a pan au chocolat (aux amandes, aux pistaches…) and rushing to the next interview.

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The Australian webmagazine RAVEN has just published my guide to the art galleries in Rome – I wish I has something like this when I first came to the Eternal city! But I’ve to say, it has been an amazing quest to discover all the galleries little by little – my constant practice as a vernissage gal has finally paid off! For this guide I’ve planned an itinerary which includes meals and gelato breaks. If you are in really a good mood you might get to visit all the galleries enlisted in one go!

Here’s the link to the guide

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Here I am with my inevitable red hat, in the third video realized by the news agency TeenPress. In a previous post I already mentioned my participation to this project by the association Arciragazzi Roma, targeted to young adults. Questionable logo, but heaps of passion. For this report I interview the people behind the publishing house Biancoenero. In Italy they have been the first to create children books marked by what they call “high readability”. That means books easily readable by kids affected by dyslexia, cognitive problems or simply “reluctant readers”. It’s always such fun realizing these reports and it gives us also a chance to sneak into amazing Roman buildings. And now for the video (in Italian)

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The thing I love about Australians is inventiveness. Down Under there are so many unusual spaces that have been reconverted into galleries, and they are in the most unexpected places. I talk about them in my new article for the Australian webmagazine ArtsHub called “Unconventional spaces democratising art”:

Here’s the link to the article

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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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Some time ago a friend of mine – Bietolone we will call him – told me that he was waiting at the clinic of venereal diseases in London (a banal candida, he quickly added). In the waiting room a tall slim bombshell from Russia struck up a conversation. She said she was sick of London and she wanted to move elsewhere. Like, in that very moment. She explained she was a sculptor, and England was no place to live for an artist anymore. When he heard that Bietolone gulped. He notoriously had a soft spot for artists. He would have already asked her out if only they wouldn’t have met at the clinic of venereal diseases.

She proclaimed that the future for the arts was in Asia, and she had already picked a city to live: Singapore. She threw her blonde hair behind her shoulders and asked Bietolone in a heavily accented English: “Do you want to come with me?”
“Let me think about it” he replied seriously.
She scribbled her number on a piece of paper, gave it to him and disappeared in the stairwell before even getting her diagnosis.

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“Lorcan O’ Neill is a very open minded gallerist and he welcomes people with initiative. If you want I can give you his contacts and you guys can propose a project to him.”
It was my friend Rbb to speak. Stout, tanned, nervous, short hair and a striped shit – pretty much a young Picasso – he was now working at Lorcan O’ Neill, one of the most prestigious galleries in Rome. He was a good artist and a generous person. He talked really fast, with a cadence making his words sound like there were trundling down a long staircase. Maybe if he would have born in another century, land in a different art scene, he wouldn’t just have helped set up Giorgio Griffa’s show at Lorcan – he would have actually had his own art exhibition there.

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The Times of Malta has  just published my article on Shaun Gladwell’s performance featuring BMX champion Matti Hemmings at Artissima Art Fair in Turin.
“It was actually quite enjoyable to see Shaun Gladwell’s high-brow/low-brow performance. I liked this idea that art is made to be used and experienced. I started imagining Shaun sitting in a pub with Hemmings, bouncing off ideas before a beer. ‘Man, let’s climb the Mont Blanc, let’s spend the whole winter in Brazil, let’s make a performance with you riding Duchamp’s Bicycle Wheel. And let’s make that pretentious crowd at Artissima watch it!’ ”

Here’s the link to the online version of the magazine

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Here’s the second part of my photostory from the research for my book about contemporary art in Indonesia. If you miss the first part you can find it here

Rome, Berlin, Sorrento, Melbourne, Naples, Venice. Since I came back from Indonesia I tried to look for Indonesian art, artists and exhibitions wherever I went – and I met wonderful people in the process. At the same time I faced the challenge to organize all the material from my research and integrate it with new information. For months the arts pages of the Jakarta Post, the Jakarta Globe and Asia Art Pacific became my morning reading. I didn’t know much about how to write a research-based book when I started and I learned so much in the process – in the photo above you can see me experimenting with post-its.
In a few weeks the book will finally be published (want to be updated? Drop a mail to contact[at]naimamorelli.com with the subject line Indonesia Book and I’ll keep you posted). In the meantime here are some pictures from the European and Australian part of my research:

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Here are some of my highlights from the Artissima art fair in Turin which I attended last week with my colleague Roberto D’Onorio (here’s his take)!
My article focuses on Artissima’s Per4m section and  has just been published on the Australian and UK version of the web-magazine ArtsHub with the title: “Art Fair gives space to the anti-market”.

Here’s the link to the article on ArtsHub website

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The summer of 2012 is not a long time ago , but from my perspective and for all I have experienced in this two years it feels like decades ago. Back then I just graduated from the Art Academy with a thesis on the “Popolo” in the arts and, at the beginning of the year I started to became intrigued by Indonesian art thanks to the exhibition “Beyond the Est” at MACRO, curated by Dominique Lora. I began researching about contemporary art in Indonesia and in a few weeks I was a regular visitor of the Castro Pretorio library in Rome. I would go there every week sourcing and memorizing everything I could find related to art in Indonesia and South East Asia. I would fill notebooks on notebooks and start planning to go to Indonesia. At that time my partner in crime Lucas Catalano was eager to go back to Bali to work on a photoessay and he offered me his help with the project.
I mailed Barbara from Art a Part of Cult(ure), the magazine I was writing for from three years, asking if she would be interested in a reportage of the art scene in Indonesia. She said yes, of course! I started sending emails around to the artists and fix interviews. Once in Indonesia, everyone was super nice, open and welcoming. Every interview gave me not only fundamental insights into the art practice of the artist and his context, but it was also really good fun! Here some pictures that give you some glimpses of the field-research that I did for my upcoming book “Arte Contemporanea in Indonesia”. There are no captions; let the images do the talk! Then of course, if you are already accustomed to the arts in Indonesia you will certainly recognize all the faces. (And of course, don’t miss the updates for the release “Arte Contemporanea in Indonesia”)

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I don’t now if your grandmother ever had a garden, and in that garden she used to keep palms, bamboos and other tropical plants. Imagine yourself sitting in a corner of the porch after a good grandma-style lunch. The November sun behind the vegetation transforms the leaves into mysterious green neon lights and makes the bark of threes shine like silver. You may call it a Sunday afternoon enchantment, you may call it Refulgenzia. In that moment you can even expect a tiger jumping out from behind a terracotta pot – which of course, now looks like a column from some Bengalese temple. It’s the exact same feeling that Paolo Conte – the Italian musician – so well depicted in his song Azzurro: “Cerco un pò d’Africa in giardino, tra l’oleandro e il baobab” (“I’m looking for a bit of Africa in my garden, between the oleander and the baobab”). It’s about looking for the exotic in the familiar and the familiar in the exotic. In contemporary art not many artists are able to convey that. Oreste Zevola does it.

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