Naima Morelli

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Do you remember MSN? That fairly basic chat you used to spend hours on, chatting with your faraway summer friends during winter? Ten years ago MSN was one the first ways to keep all your “contacts” together.
Back then, my friend Enrico was very big on “contacts”. He was – and still is – a very friendly person who is comfortable with pretty much everyone. When he was thirteen the idea of having all his friends in one single place was to him the most exciting thing ever – right after Harry Potter I suppose. As for me, I used to considered other people being an annoyance most of the times – fictional people like Harry Potter included – so the fact that he was bragging about the number of his MSN’s contacts sounded funny to me. Fast forward to the Facebook era, my friend’s account is bursting at the seams, and so he periodically purges it – only to repent short time after and re-add his unfriended ones.

Today as a grown up girl I finally understand the importance of other people. I gave up my antisocial punk attitude and I started to appreciate talking and exchanging ideas with people big time. If I have to spot a precise time I decided cut on my misanthropy, I would say when I first encountered the Roman art world. At nineteen I was going to plenty of vernissages, often with my two best mates – “compagni d’arte” – and we were wondering about why all those caryatids, err, older people, didn’t want to talk with us. If you are not familiar with art openings in Italy, you should know that you seldom see younger people there. This was far from bothering me. I figured I just had to be more stylish, so I started wearing a little black dress, red lipstick and the right amount of boldness.

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My interview with Melbourne-based Kiwi painter Jake Walker has just been published on Trouble Magazine. The interview is part of my reportage about artists in Melbourne.

Here the link to the interview

Here the link to the online version of the magazine

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I remember one beautiful evening few years ago in Rome. I was walking with my new friend Francesco, a mime just met at Cinema Trevi. Quite strangely for a mime, he was a chatterbox. I thought that was because he couldn’t talk on stage, so that was his way to vent. Since I just came back from an opening at Gagosian gallery, I was wearing red lipstick, a little back dress and red shoes. Francesco and I keep on whirling in the street paved with cobblestones and he said: “You know what the beauty of life is? That you can live wherever you want. You just have to choose a city, and you can move there anytime.” Then he went on telling me about when he was my age – twenty-one at the time – and he moved to Spain by himself. He was working in a bar near the beach, studying as an actor at the same time. He also told me about that time that he saved a girl abused by a group of guys – an anecdote he clearly unsheathed to impress me. Aside from that, the beautiful thing about Francesco was his constant excitement and exaggerated optimism. He could have been banal and cliché in his representation of happiness, fancying sunsets on the beach and the like, but he was still infusing me merriness and even a little inspiration.

Over the years I kept on asking myself: Is that true? Can you really pick a city you like and decide to move there on the whim?

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There is a mesmerizing Patti Smith’s song I used to listen to when I was in my teens. It’s called “Land” and tells – in a very surreal way – the story of this guy called Johnny. Since the chord progression wasn’t too complicatedly, I quickly learned to play it on the guitar. There was a particular line that made me pretty excited when I sang it. It was “I hold the key to the sea of possibilities”.

When I was seventeen I had a number of small abilities, but very little how-to knowledge.
My guitar practice alone branched off into my folk Neapolitan repertoire, my intimate Carla Bruni-like songs and my love for punk rock. These three aesthetics were not conflicting to me. That was confirmed by reading on a magazine that Norah Jones also had a punk band. I thought, if she does it, why I shouldn’t? (Well, if you have ever heard me singing and playing, the answer is pretty straightforward).

Way before I would learn the position for a E chord, I was making been comic books. Since I was born, I have never stopped drawing and creating stories. As often happens, I started making comic books since I was in high school and my school mates were my first readers. Never in my life I considered to stop that. Then of course, there was the writing. I was that annoying kid asked by the teacher to stand up and read her essay out loud. I didn’t really like to do that, mostly because my pulp Tarantino-confronts-Romero-on-the-theme-of-abortion like essays were meant to be read with a little verve. Which I completely lacked of . Anyways, at eighteen I started writing for an art magazine and a number of rock and general publications. Around the same time, I started covering every blank spot I could find in the city with graffiti. Man, that was real fun!

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When it comes to creative jobs in general – and jobs in contemporary art in particular – the word “work” often assumes nuanced meanings.
After all work is not supposed to be fun. It has to be a daily ordeal, something that drains off your love for life, fades the colours around you and makes food tasteless.
Well, I think that today, more than ever, that is simply not true.
If you are into Brain Pickings, TED Talks, School of Life & similaria just like I am – and you probably are since you stumbled on this blog – you listen to people spurring you to make a business out of your passion every day. Nothing seems to be impossible in the era of internet. The sheer fact of owning a computer opens up a myriad of resources and possibilities.

Yet once again I hear people in contemporary art industry saying “Obviously with this project we are not interested in making any profit. We are doing that for the glory.” What followed is usually a resigned nodding: “That’s the way it is.”
The glory? What the hell, I thought, we are talking of contemporary art! If you are in for the glory, you better choose something a little more mainstream. Contemporary art gave fame and glory to very few people. The majority of these people are just a handful of artists, the rest are Hans Ulrich Obrist and Achille Bonito Oliva. Full stop. You may worship Palma Bucarelli (the late charming director of Rome’s National Gallery from 1942 al 1975) just like I do. But you also have to acknowledge that she’s pretty niche. Niche to the point she doesn’t even have a Wikipedia page in English. The best part is that I don’t think she would care about having a Wikipedia page either. She was not in for the glory; working in a museum was her job and it was a real respectable job, the kind that pays the bills – and in her case all those glamorous dresses as well.

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donatoaustralia

Kenny Pittock and Georgina Lee’s double-solo exhibition “Nothing’s happened since Yesterday” at Galleria 291est, Rome, curated by me, has closed a few weeks ago. Here’s a selection from the press coverage of the event:

– An interesting and funny interview with Georgina Lee and Kenny Pittock by Donato Di Pelino on Art a Part of Cult(ure) – Italian

– Face Magazine listed “Nothing’s happened since Yesterday” as a “not to be missed” exhibition alongside Warhol and Frida Kahlo – Italian

– Exhibition preview on Art a Part of Culture – Italian

– The event on Artribune – Italian/English

– The event on Undo.net- Italian

– The event on Exibart – Italian

And the best is yet to come…  I can’t wait to see to video of the artists at work by Mauro Piccini from Hour Interview!

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The Australian art magazine Trouble has  just published the interview I had in Melbourne with painter Emily Ferretti. The interview is part of my reportage about emerging artists in Melbourne.

Here the link to the interview

Here the link to the online version of the magazine

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Si è da poco conclusa la mostra con mia curatela “Nothing’s happened since Yesterday – Due artisti da Melbourne” di Georgina Lee e Kenny Pittock alla Galleria 291est, Roma. Se non avete avuto modo di visitarla ma siete curiosi di sapere di che si trattava, ecco il mio testo critico a corredo della mostra, più una galleria di immagini:

“Paesi geograficamente lontani da noi come l’Australia suscitano suggestioni diverse che dicono molto non tanto del paese stesso, quanto della persona interpellata.
Per alcuni all’Australia si associa all’esodo in corso della gioventù italiana in cerca di prospettive lavorative. Sono infatti sempre di più coloro disposti ad affrontare più di 24 ore di volo e un cambio radicale per sistemarsi in quella che è vista come la nuova America. Per loro l’Australia sarebbe tutta percentuali di disoccupazione bassissime, clima amichevole e qualità della vita alta; almeno secondo le statistiche. Per altri invece Australia vuol dire esclusivamente spiagge sconfinate popolate da biondi surfisti abbronzati. Altri non penseranno altro che ai coccodrilli e ai cappelli di pelle a falda larga con i dentini di alligatore (ne ho uno e sono indecisa se indossarlo all’opening di questa mostra o meno, giusto per il gusto di farmi accoltellare dai due artisti indignati per lo stereotipo). 

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benjamin
The Italian web magazine Art a Part of Cult(ure) has  just published the interview I had in Rome with artist Benjamin Skepper with the title “Benjamin Skepper, l’olandese tra Australia, Tokio, Russia, resto del mondo e bellezza. L’intervista”. The interview is part of my reportage about artists in Melbourne.

Here the link to the interview

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For the “Nothing happened since yesterday – Due Artisti da Melbourne” exhibition, I organized a talk at Accademia di Belle Arti Roma – aka Rome’s Art Academy – with the two exhibiting artists.
The talk was hosted by Prof. Isabella Tirelli and was meant to fuel a discussion with the students about the path of artists after art school. I thought that the experience of Kenny Pittock and Georgina Lee could have been interesting for the students. To start as emerging artist in Melbourne is certainly easier in Rome, thanks also to a very tight community and the presence of artist-run space. I hoped that by comparing the Australian art system to the Italian one, the students could have been inspired and come with new ideas for their own art environment.
I started the talk by introducing the Australian context and my research on the Melbourne art scene. Then Kenny and Georgina went on talking about their own work.
I’m happy about the outcome of the talk. Some students asked about the conceptual process of making work, some others inquired about how an Italian artist could start exhibiting in Australia. Georgina replied very clearly to all the questions and Kenny made even the more impassible students laugh. A student called Francesco even made a drawing of Georgina and Kenny and gave to them as a gift!

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The Australian art magazine Trouble has  just published the interview I had in Perth with photographer Graham Miller. The interview is part of my reportage about artists in Perth.

Here the link to the interview

Here the link to the online version of the magazine

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I feel like the curator’s job is a little like Charles Xavier’s at times. After all both the curator and Prof. Xavier go around the world gathering mutants with superpowers – or artists in my case. My team for the “Nothing’s has happened since Yesterday” exhibition is sure smaller than a Marvel one but by no means less powerful.
One day, surfing on the internet, I stumbled upon a blog which reviewed exhibitions in Australia. It was when I was researching about the art scene in Melbourne, so I send a mail to the website asking for an interview with one of the two authors. At table of a cafe, waiting to be interviewed, sat a petite girl with resolute manners, nervous nostrils and round glasses. She was called Georgina Lee and chatting with her I found out that she was not only an arts writer, but also an artist.
Few weeks later I visited the TCB art space with a friend, and we were greeted by a gallery sitter with curly dusty hair and a worn out jumper. “I’ll give you guys a tour”, he mumbled and he started to list the names of the artists exhibiting, gesticulating with the hands in his jumper’s front pocket. One sculpture hanged on the wall looked like something that I had seen in exhibition at the Perth Centre for Contemporary Art a short time before. “Oh… that’s my work”, he said quickly and shyly. That’s how I met Kenny Pittock.

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