Naima Morelli

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artshub9

Australian/Uk webmagazine ArtsHub has published my piece “Four ways arts workers can win in the new economy”. I have been interested in the sharing economy and the opportunities it provides to artists and art workers from a long time. By researching and writing this piece I got excited about the future – we tend to perceive our time as less revolutionary compared to the past decades, but actually there is so much going on, thanks to new technologies and the internet. In the piece I talk about three platforms that are contributing to reinventing the economy.

Here’s the link to the article

Here’s a pdf version of the piece

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memonadiakaabilinke

“I never decide in advance why I want to talk about a subject; it just arises from the context. The wall in particular is a symbol that speaks to me strongly,” says Tunisian-Russian artist Nadia Kaabi-Linke, to explain her new work at Dallas Contemporary gallery. “For me, walls mean separation. But walls are also skins that say something about a city and the people who live there in hidden ways,” she observes. “I have always been interested in revealing the invisible.”

Nadia Kaabi-Linke was born in Tunis in 1978 to a Russian mother and Tunisian father, she studied at the University of Fine Arts in Tunis before receiving a PhD from La Sorbonne in Paris. Her installations, objects and pictorial works are embedded in urban contexts, intertwined with memory and geographically and politically constructed identities. She currently has a solo show, called “Walk the Line”, at Dallas Contemporary in Texas, USA, from September 20 until December 21. I have interviewed Nadia for Middle East Monitor , asking her about her personal path through art, the Tunisian contemporary art scene and the theme of migration in her work.

Here’s the link to the piece

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TimesofMaltaCoppelia

At the beginning of August I was invited to Tuscany for Teatro Nel Bicchiere – a three days festival matching theater and wine tasting in the small town renown for his Morellino di Scansano. While I had to pass on the wine tasting – I notoriously don’t drink – the theater part was very engaging.

Among the experimental shows, what struck me the most was Coppelia Theater, a mesmerizing marionette company. When I came to know the story of Coppelia, the gal behind the company, I had no doubts – I had to interview her for Times of Malta’s new Sunday magazine, Escape. So here’s Coppelia’s tale, involving Siberian cybernetics engineer, Mexican painters and Tuscany of course!

Here’s the link to the interview

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ornella
I was invited to write a short curatorial text on the work of the Palermitan photographer Ornella Mazzola for the exhibition “PALERMO DENTRO ” held at Palm Beach Hotel, Cinisi, Sicily. Ornella is a talented friend and colleague and I highly recommend to check out her website – or even better visit the exhibition, if you happen to spend these last warm weeks in Sicily. The show will be open to the public from the 19th of September to the 24th of October. Below my text in English and Italian.

ORNELLA MAZZOLA
“Palermo Dentro”

Are the people making the places, ore the places making the people? In the series Palermo Inside by Ornella Mazzola, we go back to the chicken and egg paradox. There is no right of way, because people and places become inextricably linked. For the inhabitants of the most working class neighbourhoods in the city’s historic center – Kalsa, Albergheria, Borgo vecchio, Vucciria, Ballarò and La Marina – boldness fights with resignation. The People is actually made up of a myriad of stories that intersect, while maintaining their singularity. You see that in a gesture of woman, maybe aggressive, perhaps reluctant. In solitary play of children in silent spaces. In the foosball on a sultry summer afternoon. Ornella is able to crystallize a series of habits that constitute the soul of the city as much as their own buildings. Here human beings shows themselves in their theatricality. The city is a stage from which mysterious figures emerge, like a premonition. In the end, what everything comes down to is that you can take the people out of Palermo, but you can’t take Palermo out of the people.  

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artshub8
UK/Australian webmagazine ArtsHub has just published my new piece: “The slow truth behind overnight success”. For artists, the fairy tale of a big break is usually only half the story. Years of preparation is often behind an ‘overnight success’.

Here’s the link to the piece

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gckoushna

I’m back at my desk (figuratively) after a few days hiatus. I didn’t go far really. I’m spending summer in my hometown Sorrento and I have been exploring the beautiful surroundings – Positano, Amalfi, Capri, Ieranto and so on – with my partner in crime, curator Roberto D’Onorio. (Here and here our visual diary where we shamelessly glamourize ourselves.)

Back to my beloved work, it was great to see that Global Comment published my interview with Iranian/American/London-based artist Koushna Navabi. I visited her studio one year ago, and I was fascinated by the delicate dark beauty of her art. Koushna left Iran at sixteen and flew to America. In her teen years, she discovered art, and felt in love with Europe. She therefore moved to London to attend the Goldsmith college, in the beginning of the Young British Artists movement.

Today Koushna is a successful artist living in London. Her work addresses the relationship between West and Middle East, Iranian identity and women issues. It is based both on memories and personal experience, but also discusses past and present politics of her native country. She considers art therapeutic for both the artist and the viewer. In this interview we talk taxidermy, orientalism in art, Koushna’s artistic process, her struggles to accept her Iranian identity and her final decision to embrace it.

Here’s the link to the interview

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TimesofMaltaNitsch

Here is my take on Hermann Nitsch’s highly controversial exhibition “Das Orgien Mysterien Theater” at the Cantieri culturali alla Zisa, Palermo, Sicily. A petition by animal rights activists tried to boycott the show by the Wiener Aktionismus and Body Art pioneer. I look into the reasons behind the petition, and question the idea of sanitized art and censorship. The piece has been published on the Sunday edition of The Times of Malta with the title “On disturbing the comfortable”.

Here’s the link to the article

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sintattica

The Italian magazine Art a Part of Cult(ure) has just published my review of the exhibition “Sintattica”, featuring artists Luigi Battisti, claudioadami e Pasquale Polidori. The show was curated by Francesca Gallo at Museo Hendrik Christian Andersen.

Here is the link to the review

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TimesMaltaGoliaGago
I generally don’t like snarky – you’d rather build something than destroy something, right? At the same time, when I’m in the snarky mood, I go full on. And of course, when that happen, I really enjoy the bravado. Otherwise how would I earn the title of contemporary art super-villain? Like in this piece for the Sunday Times of Malta, for which I love to put a desecrator of contemporary art attitude. You might say, making fun of contemporary art is way too easy, but I can’t help it; sometimes you just walk in an exhibition and you start rubbing your hands!

Here’s the link to the review

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crack1
A few weeks ago one of the coolest festivals in Rome took place at Forte Prenestino, an ex-jail turned occupied centro sociale. CRACK Fumetti Dirompenti is devoted to independent publications, comics, street art, zines, graphic work, art and books. This has been by far the more fun report for TeenPress; I have found so many friends joining the festival, each one looking for something different and getting a variety of inputs from the event. The theme this year was “The Capital”, alluding to the recent Italian scandal of Roma Capitale, but also to the relationship of artists with economic powers and dynamics. Enjoy the video (plus a couple of pictures below).

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memotakoua

My interview with Tunisian-born, Italy-based graphic journalist Takoua Ben Mohamed has just been published on Middle East Monitor with the title “Drawing her own story from Douz to Rome”.

“‘I don’t actually read that many comic books,’ laughs Takoua Ben Mohamed. ‘And I have never set foot in a comic book fair.’ Don’t mistake what she says for a snooty, ‘I don’t read comic books, I only make them.’ Make what you’d like to see in the world, they say. More broadly, make something that embodies what you want to see in the world, whatever the medium you choose. It just so happens that the world of speech bubbles and comic strips is Takoua’s cup of tea.”

Here’s the link to the article

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artshub7

The reason why I enjoy writing for the Australian/British magazine ArtsHub so much , is because it gives me the possibility to delve deeper into the media industries I’m working into. So here’s my piece number eight for this great webmagazine. Here I explore how online sharing has created new rules of exchange for artists who must find ways of converting followers who like their work into paying customers.

Here’s the link to the article

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