I have interviewed independent researcher, curator and artist Adam HajYahia for Al-Monitor.
Adam’s exploration of structural and hierarchical violence and its intersections with capitalist, colonial, sexual and social dynamics took material shape recently in an exhibition called “Carnal Politics: Sex, Desire and Anti-Colonial Deviance in Mandate Palestine.”
Here is the link to the article
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My latest piece about Nabil Anani’s new show, currently at Zawyeh Gallery, just came out for The New Arab.
Nabil is one of the founders of the contemporary Palestinian art movement. His works highlight Palestine’s folkloric culture and seek to foster national pride beyond Israel’s 75-year occupation.
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I’m writing about Libyan contemporary art once again, this time for The New Arab, a magazine I regularly read, and I’m happy to start collaborating with.
The piece is based on an interview with Libyan curator Wareda Elmehdawi, who seeks to shed light on the richness of Libyan art history through her family’s work with the historical Tripoli Art House.
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From spiritual heights to the depths of the flesh, Malaysian artist Yeoh Choo Kuan has filtered the broad spectrum of human emotions and tension through the medium of abstract painting.
I have always felt a special kinship with the artwork of artist Yeoh Choo Kuan. A few years ago I wrote the texts for his monograph published by Richard Koh Fine Art, and a couple of months ago I have interviewed him for ArtAsiaPacific about his recent Singapore show.
Here is the link to the article
Read More![A new show in Tripoli looks at 70 years of Libya’s consumer culture. [Photo By Najlaa Elageli]](https://i0.wp.com/www.middleeastmonitor.com/wp-content/uploads/2023/03/A-new-show-in-Tripoli-looks-at-70-years-of-Libyas-consumer-culture.jpg?resize=1200%2C800&quality=85&strip=all&zoom=1&ssl=1)
Since I started writing about Libya in 2021, I grew more and more interested in the history of the country and how artists and people in the cultural field are retelling the Libyan story.
So clearly I was so excited to learn from curator Najlaa Elageli about this show she put up in Tripoli’s old medina with artists Hadia Gana and Alla Budabbus, called “The Libyan Pantry Project.” I had to write about it!
By the way, this is my 50th piece for Middle East Monitor. What an honour collaborating with them for such a long time!
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I have written a new article on Ming Wong’s project Wayang Spaceship at the Singapore Art Museum for the Singapore Art week Plural Art Magazine.
The work blends traditional performances and science fiction, associating found photographs of Wayang actors from Singapore and Malaysia from the 1950s-70s to illustrations of Soviet space exploration and science fiction from the same period. Wong also added layers of Chinese brush paintings and dichroic film that change colour at different angles.
My interview with Vietnamese artist Trần Trọng Vũ has just been published on ArtAsiaPacific’s website.
I met the artist for his big show at A2Z gallery in Paris last October, and we did the interview half in French, half in English! Phew! It was fun, and the artist was extremely generous and kind – his work, ça va sans dire, is incredible!
Some of you know that my next cohesive research will be in Vietnam. I will spend one month there, most likely next year, so this interview adds a big piece to my understanding of art coming from the country!
Here is the link to the interview
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“My works stem from personal experiences so naturally whatever’s around me would seep into my works,” says leading Thai artist Pinaree Sanpitak, who I have recently interviewed for Culture360.
With a deep knowledge of materials, as well as a strong conceptual vision, her artworks address motherhood, womanhood, and a deep investigation of the self – often with references to her native Thai culture.
Here is the link to the interview
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We have read over and over again about the routines of our favourite artists, what time they wake up, and how much time they spend thinking about their art compared to creating works. We have seen pictures of hidden corners in their studios and learnt about their favourite brand of oil paints and their go-to factories to realise installations.
The same goes for curators. We might know the books and theories they reference, and we have become familiar with what drives art collectors. But what is definitely less explored are the joys and sorrows of being an arts writer.
That’s why here at Plural we decided to start a series where we speak with some of the most eloquent arts and culture editors from the region to explore the behind-the-scenes of being a writer.
We kick off the series with Chloe Chu, former Managing Editor at one of the most respected publications in the region and beyond: ArtAsiaPacific (AAP).
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I have written about Indonesian emerging artist Victoria Kosasie – whose work I discovered thanks to the Bandung Contemporary Art Awards – for the November/December issue of ArtAsiaPacific.
Undoubtedly one of the most important magazines about contemporary art in Asia, writing for ArtAsiaPacific has always been a goal of mine since starting researching Southeast Asia more than 10 years ago. This is my second piece for them.
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Responding to Impressionism, UAE artist Alia Zaal studied the natural landscapes of Vétheuil, Abu Dhabi and Dubai, both in their natural and artificial ecosystems, finding connections between her own UAE landscape and the impressionist one. The artist reimagines familiar scenes of the sea, the desert and the city lit by the sun, the moon and street lights.
I have interviewed Alia Zaal for Middle East Monitor.
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There is but one truth spoken in many different languages. This belief lies at the core of Indonesian artist Eddy Susanto’s practice. With his artworks that examine the cultures of Europe and Java, he signals to us that while the forms, protagonists and settings of each culture’s mythologies differ, they ultimately convey similar fundamental truths about humanity.
Over the years, Eddy Susanto has reframed how the East and West meet. The Jakarta-born, Yogyakarta-based artist is on a mission to uncover the culture and seminal texts which are the patrimony of the Javanese. However, some of these have been forgotten over time, due to reasons such as the limits of oral transmission, the impact of colonialism and, later on, mass culture.
I have written about Eddy Susanto’s show I have curated in Venice for Plural Art Mag.
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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
