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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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.
Read More![Diana Al Hadid [Diego Flores]](https://i0.wp.com/www.middleeastmonitor.com/wp-content/uploads/2022/02/dania.jpg?resize=1199%2C800&quality=85&strip=all&zoom=1&ssl=1)
Musing around the work of an artist who draws her inspiration from multiple, diverse sources is always extremely enjoyable for me – especially if the artist’s references encounter my own, in a high-brow, low-brow dialogue.
In this piece I wrote about the outstanding work of Syrian-American artist Diana Al-Hadid, and read it in the light of both Buddhist philosophy and the Foo Fighters.
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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:
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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Al-Monitor has just published my interview with Libyan photographer and photojournalist Nada Harib. Her work is all about hope in the face of adversity and beauty in the midst of pain.
With her photographs widely exhibited in and outside Libya, from the Institut du Monde Arabe in France to the Tropenmuseum in Amsterdam, Harib’s work tells stories that have been forgotten or repressed during her country’s many turbulent phases.
It’s another step for me and Al-Monitor’s readers to learn more about the culture and humanity of Libya, beyond the news reports.
Here is the link to the interview
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If you have any degree of familiarity with the history of politics and royalty in Burma, you will definitely know June Yadana as the daughter of the princess Ma Lat – the direct descendent of the last King of Burma – who later became the wife of the dictator Ne Win.
What is less known is June’s turbulent life across Europe and Asia, where she traversed the most significant moments at the turn of the twentieth century, always animated by a relentless spirit.
I have written about her for Plural Art Mag.
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Sometimes you get the chance to delve deeper into the work of great artists only when they pass away and images of their art starts popping up here and there. This was the case for me with the ouvre of Lebanese artist Etel Adnan. I encountered her work upon her passing, and was mesmerized by it.
I quickly learned she had a life like no others, and at this point I couldn’t help myself writing about it. And I did, for Middle East Monitor. It goes without saying, when you write about art which deeply resonates with you, it’s really a blessing. The pen is aligned with the heart.
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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
