Naima Morelli

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Tag "curator"

VuthLyno

The developments for visual art in Cambodia are not well-known yet. At CoBo social a group of writers and I are trying to fill some gaps with articles and interviews to the protagonists of the scene.

Vuth Lyno is certainly one of the most prominent figure in the art system of the Kingdom. The director, curator, artist and art activist is a pivotal figure in the still small but growing Cambodian contemporary art scene – I have huge respect for him and was a real honour to speak with him during my trip in Phnom Penh.

Here is the link to the interview

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gcfondazioneprada

Last month I visited the art space Fondazione Prada in Milan with my curator friend Roberto D’Onorio. It was an interesting experience, both for the exhibition itself, by Goshka Macuga, and for the heavily regulated art space.

In this piece for Global Comment Roberto, Alexis de Tocqueville and Miuccia Prada herself all helped me think what Fondazione Prada stands for in the contemporary art landscape – and it is not what it looks like.

Here is the link to the piece

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interviewdeianira
Arts writer and curator Deianira Tolema – the gal behind Zero Hype Mag – has interviewed me for Art a Part of Cult(ure). She is the best interviewer I could hope for, a talented, committed writer and a kindred spirit in the journey in the contemporary art world – she goes west whereas I go east. In the piece (in Italian) called “Indonesian interferences with a Singaporean aftertaste. Interview to Naima Morelli”,  we talk about my start as a writer, my research in Indonesia, Australia and Singapore, and about my book Arte Contemporanea in Indonesia, un’introduzione

Here’s the link to the interview 

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4
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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lorcan1
“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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plant2

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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a1
The new exhibition season in Rome is kicking off with a promising show entitled SHOUT! which will be held in MACRO from September – November 2014 in conjunction with the film festival Asiatica Film Mediale.
The show is curated by Singapore-based curator Santy Saptari and Bryan Collie, director of Melbourne’s MiFA Gallery and features artists Aditya Novali, Andita Purnama, Angki Purbandono Bestrizal Besta, Erika Ernawan, Gatot Pujiarto, Maria Indra Sari, Sigit Santoso, I Gusti Ngrurah Udiatara, Tantin, Yudi Sulisto and Gusmen Heriadi.
Yesterday I sneaked inside the MACRO to take some pictures of the artists setting up the show and have a chat with them. Here’s a preview of what you will see from the 26th of September:

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red2

When people ask me about my routine, what I can say is that it is constantly changing. After an intense July, I’m finally back in uneventful Sorrento, Italy, and I couldn’t be happier about it. In sultry Rome I was super-busy setting up the screening of Indonesian video art, so I wasn’t really able to keep a routine, which was good. In fact, my modus operandi entails intense and exciting weeks, followed by weeks of just concentrating getting the “offstage” work done. Which means a solid 8 hours a day. Then I grow restless and I leave for the next adventure. I also like the idea that thanks to the internet you can work remotely to your next mission. There is something inherently powerful in working from a remote costal town in Italy, contacting artists and magazines from all over the world. So that’s how an ideal July-August workday looks like for me (if I manage to retain myself from playing guitar all day)

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glory1

When it comes to creative jobs in general – and jobs in contemporary art in particular – the word “work” often assumes nuanced meanings.
After all work is not supposed to be fun. It has to be a daily ordeal, something that drains off your love for life, fades the colours around you and makes food tasteless.
Well, I think that today, more than ever, that is simply not true.
If you are into Brain Pickings, TED Talks, School of Life & similaria just like I am – and you probably are since you stumbled on this blog – you listen to people spurring you to make a business out of your passion every day. Nothing seems to be impossible in the era of internet. The sheer fact of owning a computer opens up a myriad of resources and possibilities.

Yet once again I hear people in contemporary art industry saying “Obviously with this project we are not interested in making any profit. We are doing that for the glory.” What followed is usually a resigned nodding: “That’s the way it is.”
The glory? What the hell, I thought, we are talking of contemporary art! If you are in for the glory, you better choose something a little more mainstream. Contemporary art gave fame and glory to very few people. The majority of these people are just a handful of artists, the rest are Hans Ulrich Obrist and Achille Bonito Oliva. Full stop. You may worship Palma Bucarelli (the late charming director of Rome’s National Gallery from 1942 al 1975) just like I do. But you also have to acknowledge that she’s pretty niche. Niche to the point she doesn’t even have a Wikipedia page in English. The best part is that I don’t think she would care about having a Wikipedia page either. She was not in for the glory; working in a museum was her job and it was a real respectable job, the kind that pays the bills – and in her case all those glamorous dresses as well.

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blog1

The other day I was reading this interesting interview on Design Sponge to business owner Jess Lively. Jess pointed out that there are four questions everyone should ask themselves before starting a business, or while running it. These question have subconsciously run into my mind all the time, but now I really wanted to put them “on paper”. The answer we give to these questions is ultimately what makes you keep going through a bad day and what can probably stop you making things half heartedly. It is a powerful reminder to do what you can with what you have and not be scared to figure things out along the way. Here my answers; I’m sure many arts writers and curators can relate to.

1. Why are you starting this business?

Because I love writing and connecting with people. What motivates me is a huge curiosity about the world and the human beings inhabiting it. I enjoy hearing people’s stories and retell them through my own writing. I’m usually enriched and energized by a good conversation, and at times also moved.  As a journalist and interviewer I always bear in mind the motto: “La vita è l’arte dell’incontro” (Life is the art of the encounter).

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artreportage

I just come back from Perth, Western Australia. I was there for a reportage about the local contemporary art scene.
Before leaving I wrote this list to clarify my own ideas and to see what I learnt from my mistakes.
Maybe someone else could find it useful too.

“To be an art reporter is fun, but if you don’t plan everything in the details it can be very stressing.
If you are lucky someone, maybe the magazine you collaborate with, has sent you in foreign city or country to do an amazing five pages reportage about the local art scene. If you are extra lucky maybe your magazine would be also open to pay you for that.
But you know, even Oriana Fallaci and Martha Gellhorn would have an hard time to find good assignment nowadays.
Times are tougher and tougher, especially in the field of contemporary art.
If you’re an enterprising free lance journalist or art critic you can probably decide to make a project of your own and try to sell it later to magazines and newspaper. Maybe you can even make a book out of it.
Anyways remember to plan every step in advance.
1. Focus your research

The first thing you have to do is to focus your research. Maybe you are interested just in the painting scene of that city, or just in the hipster scene, or the influence of craft on contemporary art.
Or maybe you want to have a general picture, not very specific but quite thorough.
This second kind of macro reportage is the one I personally like the most. However my tips are valid also if you are conducting a more specific research.

2. Make a previous research on the city

Have a quick look of what other people already wrote about the art scene. Don’t exaggerate, it’s better to not build preconceptions based on what other people thinks. The best thing to do is read a novel or two set in the city you are going to visit. Have a look at a very general travel guide that gives you neutral information, like Lonely Planet or something like it.
If you find some catalogues of exhibition about artists from the city that you are going to visit, try to have a look at it.
If you know someone in your own city that has a link with the place you are going to visit, talk with them, either informally or with an interview.
If these people have a link to the art world is better, but don’t undervalue the impressions of friends or acquaintances disconnected from the scene.

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