The exhibition at Palestinian Museum “Glimmer of a Grove Beyond” aims to outline the links between landscape representations and historical circumstances, through the medium of political posters.
Such posters came to prominence in Palestine between the mid-1960s and late-1980s as a means of motivating and mobilising political support in the national movement and revolution, and its armed struggle.
Here is the link to the article
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The webmagazine Middle East Monitor has just published my interview with Ethiopian artist Aida Muluneh, an artist whose work I deeply admire.
Born in Ethiopia in 1974, Aïda Muluneh left the country at a young age. Her global upbringing helped her to develop a multiplicity of viewpoints. Inspired by Ethiopia, she transcends it, making her subjects universal metaphors.
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How to talk about spiritual matters in a highly secularised, hyper-pragmatic society? This was the question artists exhibiting in the show “Pneuma: Of Spirituality in Contemporary Age” at the Stamford Art Centre in Singapore grappled with during the 2020 Singapore Art Week.
The webmagazine Qantara has just published my piece on the show.
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I had the privilege to write the curatorial essay for the catalog of Neapolitan artist Sergio Fermariello’s new show “Warriors” opening tomorrow, 7 February, at Richard Koh Fine Art in Singapore. The piece is titled: “Hitting God’s Head with a Hammer Until It Breaks” – a poignant metaphor courtesy of genius Fermariello himself.
As a side note, when I first started working with the art scene in Southeast Asia, back in 2012, I could only hope more and more ties would create between my native Italy and that part of the world.
It has been incredible to see how these exchanges unfolded, and even more beautiful to see Italian artists experiencing the Southeast Asian art world, that has been so open and kind to me.
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The webmagazine Middle East Monitor has just published my interview with Tours-based Algerian artist Massinissa Selmani.
The artist has just wrapped up his latest solo show, “Le calme de l’idée fixe”, at the Centre de Création Contemporaine Olivier Debré in Tours. In the show, visitors can admire different series of drawings, where political and historical innuendos meet an interest in architecture and landscape.
Here is the link to the article
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The Italian magazine Internazionale has translated and published my article on artists reflection on the responsibilities of Italian colonialism in Libya.
I originally wrote the article for Middle East Eye. It features interviews with filmaker and writer Khalifa Abo Khraisse, artist and videomaker Martina Melilli and multimedia artist Leone Contini.
Here is the pdf version of the piece
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One of my favourite traditions for December is to do the year in review. This 2019 I hardly published introspective essays in this space, which is actually good, meaning the work took over.
Now time’s up to stop and share my self-reflections, acknowledge the achievements, learning from the mistakes, and generally look back in gratitude to the people, the places and the experiences. .
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CoBo has just published my interview with Maline Yim, which I realized some time ago during my Cambodia reportage, adding some reflections based on “The Shadow of Change,” her solo exhibition earlier this year at Richard Koh Fine Art in Singapore.
“Yim lives in a house surrounded by a garden, which the artist personally tends to. The flower and plants are protected from the outside by a wall, representing a boundary that likewise allows safety for a life shaped by her gift for art-making. Here, Yim can be the nurturer—of her plants, her family and her art practice. “
Here is the link to the interview
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At the beginning of the year I have realized a reportage on Thai contemporary art. The webmagazine CoBo Social has just published my interview with artist Noraset Vaisayakul.
Here is the link to the interview
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My article on Italian colonialism in Libya has just been published by Middle East Eye. The piece explores how filmmakers and artists are exploring a largely neglected history of Italy’s presence in Libya in the 20th century.
It took me some three months to get all the voices together and get a clear picture of history. Thought I’m taking the art lens, this artist and country and type of research is a bit outside my comfort zone, so I was tempted to stop at what I had a few times.
It took a very determined editor to allow me to go all the way down with it. Like all the difficult things in life, this allowed me to bring my understanding and writing to a new level.
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For my second collaboration with the magazine Qantara I have interviewed Indonesian writer Feby indirani. I loved her book “Not Virgin Mary”, which has been recently translated in Italian by Prof. Antonia Soriente and published by Add Editore. The book provided a light-hearted and almost zen perspective on Islam in Indonesia.
I met Feby in Rome during her European book tour. I have found out she is not only an excellent writer but also a lovely person; we had a wonderful conversation.
Here is the link to the interview
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These days I’m filled with love for the world.
Summer leaves are lighten up by the sun and look like emeralds. They have this love effect. Happy movement and endorphins have this love effect. So has making new friends. Rediscovering the old ones. By whatever means connection with what’s around me happens, that’s where the gold is. Noticing the beauty all around me.
These days, every time I go “off-track”, I “derail”, there is a sentence that pops always in my mind, sorting things out. The words are: “You think you have many different problems, but you only have one: your disconnection for Love (from Life, from God, from Source, from the Nature of Existence, whatever you want to call it.)
This happens to us when we are in pain, of course. But in pain — especially in pain — there is labour of love to do. We are called to action. And when I remember this words, I have a choice. Knowing that pain is inevitable but suffering is optional, I can either stay in the self-made hell, in the suffering — whether psychological or physical — or work towards mending the wounds.
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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
