Naima Morelli

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Kings-1
The other day, waiting for the tram, I was lazily browsing through a lifestyle magazine. An ad captured my attention. It said: ‘Don’t you deserve a job you love?’ In the corner of the page was the name of the graphic design school that would ostensibly make such a job possible. The tram arrived. ‘We all want a job we love’, I was thinking (seated next to the typical Melburnian drunk vomiting on the floor) but it feels like it’s the first time in history we can actually think of deserving that luxury. It’s no mystery why; in the last decade, the number of people working in the arts (or associated creative professions) has increased at a much higher rate than general employment. A creative and fulfilling job is one of the great aspirations of the post-Baby Boomer generations.

In the healthy Australian economy this desire does not seem so outlandish, unlike in Europe where, in these times of economic crisis, you are lucky to have a job of any kind. In Australia more and more people are actually working, or studying to work, in the arts industry. Just looking at the people in the tram, aside from the amiable drunkard, everyone under the age of thirty seemed to exude some kind of creative attitude. The pink-haired girl in front of me held a folder of drawings. Two hippie friends near the door carried guitar cases. And a guy at the back of the tram seemed to not have paid his travel fare – which in my Italian hometown is a form of art as well, especially if you manage to not get caught.

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Twenty-fourteen has been a year of cementing for me. I recovered for my crazy mindset according to which I should have pick a new country to live in every year. These last twelve months have been much quieter, with small scattered events versus the glaring adventures in Indonesia or Australia of the past few years. But after you do your research, there is also the part where the research comes into being, and that’s what happened in 2014. This year was meant to see the harvest.

I’ve been writing for magazines since 2008, and for English magazines since 2012, but this year I feel I took it to a new level, increasing the number of articles published and types of magazines I’m freelancing for. This year I’ve published twenty-one articles in total, five in Italian and sixteen in English, which is a great achievement for me, considering that I have split my time also with other projects. I’m happy to have started a steady collaboration with Trouble Magazine, who is publishing the English version of all my interviews from my Indonesian and Australian reportages.

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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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TimesofMaltaArtissima

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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My interview with the amazing artist and Cemeti House co-founder Mella Jaarsma has just been published on the Aussie magazine Trouble with the title “Mella Jaarsma: Give me shelter” (a title who clearly echoes the Rolling Stones). This is the second interview from my reportage on contemporary art in Indonesia published on Trouble Magazine!

Here’s the link to the interview

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

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For years I’ve considered myself a massimalist.
I’m Italian, I’m Neapolitan. We are baroque people. We are about adding, getting into the abundance of love, life, colours, art, words, food, everything. We don’t throw away stuff. We are sentimental people and everything has a value to us. An old handkerchief can remind us of a particular day, a necklace of a particular person. Objects for us are about suggestions, evocations.

Also, we don’t throw away stuff because “It can always be useful”. We stuff our shops with exotic objects, our wallets with family photos, the windows of our car with praying cards, our bookshelves with books. We are curious people, we are open to change our mind even in the span of a short conversation – in fact more often than not we are also contradictory in our speaking and thinking. I’m guilty of that myself, never getting straight to the point but continuously overlapping levels and levels of thoughts. A common Neapolitan saying is: “A cap’ è na sfoglia ‘e cipolla”, meaning “The head is as layered as an onion”. We might have an opinion about everything, but deep down we question everything.

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photostory2
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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On Friday I had the honour to be invited by Professor Vito Di Bernardi to a conference on Indonesian art at Università di Roma La Sapienza entitled: “New research on Indonesian traditional and contemporary arts (music, dance, theatre, visual arts): an exchange between Indonesian and Italian perspectives”. It was the second time for me to speak about my research in an institutional setting (the first time was when I introduced the Melbournian art scene at an artists’ talk at Rome’s Art Academy) and I found out I really enjoy speaking!

In my paper entitled: “Indonesian Contemporary Visual Art: Origins and Recent Developments” I gave an overview of how contemporary art has developed in Indonesia, from Raden Saleh to Jompet Kuswidananto. Moving from painting in the colonial times I explored the role of art during the independence struggle (how could I have not shown the beautiful paintings of S. Sudjojono, Hendra Gunawan and Affandi?) I then focused on art under the Suharto regime and pointed out the importance of art movements like Gerakan Seni Rupa Baru and PIPA. I described the flourishing of independent art spaces at the beginning of the Reformasi period and evaluated the influence of the market on young artists.

The other speakers at the conference (here’s the complete program) looked at different aspects of the arts in Indonesia. While Prof. Vito di Bernardi analyzed the Javanese and Balinese theater of the twentieth century, Prof. Widyo Harsanto Prayanto explored the concept of Ethnophotography in West Timor. On the other hand, Davide Grosso, Lorenzo Chiarofonte and  Ilaria Meloni concentrated on different aspects of music and traditions in Indonesia. I have found particularly interesting Prof. Francesca Gallo’s paper, who delved into the concept of Orientalism in Italian Contemporary Art. Through the work of artists like Matteo Basilè and Luigi Ontani, she showed how the concept of exoticism has to be reconsidered in the postmodern era.

I’ve to say that the audience was just amazing, being composed by people whose interest in Indonesian art was not merely academic. Aside from the professors from the Indonesian Institute of the Arts of Yogyakarta, there were many young people who had traveled to Indonesia many times, researching different cultural aspect and mingling with the local community. It was great to get to know them and exchange contacts and information! Below some images from my presentation and the conference:

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A quick update! On the 21st I will partecipate to a conference at Sapienza Università di Roma called: “New research on Indonesian traditional and contemporary arts (music, dance, theatre, visual arts): an exchange between Indonesian and Italian perspectives”. I will give an overview of the origins and developments of Indonesian contemporary visual art.
The conference will be in two different dates, the 20th e 21st of November at the Museo Nazionale d’Arte Orientale ‘Giuseppe Tucci’ and at the Facoltà di Lettere di Sapienza Università di Roma and has been organized by the Sapienza and the Isi – Institut Seni Indonesia di Yogyakarta. At the end of the conference there will be also a concert by “Gamelan Gong Wisnu Wara” at the Indonesian Embassy at the Holy See.

My talk will be on Friday 21 novembre 2014, 1pm – sala Odeion – edificio di Lettere piazzale Aldo Moro 5, Roma, see you there!

Here’s the complete program

Here’s the link on the Sapienza website

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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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photostory
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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heri1
The one thing I have in common with Hans-Ulrich Obrist is that we have both interviewed Indonesian artist Heri Dono. Well, that interview (mine, not Hans’!) has just been published on Trouble Magazine with the title “Heri Dono: Making Fun of The King, The Gods and The People”. The interview, accompanied with my pics from Heri’s studio, is part of my reportage about contemporary art in Indonesia that… guess what? Is going to have the shape of a book pretty soon!

Here’s the link to the interview

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

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