Naima Morelli

Archive
Tag "MACRO"

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Let’s say that we don’t know anything about Cameroon.
Even worse, let’s pretend that we heard about this country only by the soccer match channels.
To be short, let’s have the same approach that the average Italian Macro’s visitor probably has.
It’s more question of practicality than of willful ignorance.
An art appreciator coming visiting the contemporary art museum of Rome will go there without a previous research of what Camuroon is, what are the inner dynamics and the main issues of that country. That’s the problem with the global art. No one can know everything about everywhere and often the press releases and the captions near the artworks explains everything but the context in which the artworks are born.
You can argue that this is the art critic’s job. Well, maybe.

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In the chaos of an art fair is usually quite difficult to find some art work that attracts you straightaway. So was at the Roma Road to Contemporary Art Fair at MACRO Testaccio.
Actually, there was an exception.

Coming from Sorrento, a picturesque town near Naples, I was quite influenced by all the traditions, all the sort of stuff coming from people. The “Popolo”.
I never stop questioning about it. What is the Popolo? Does the Popolo really exist nowadays? What are the features of the Popolo?
From Jorge Amado to Pasolini, I enjoy the subject, that eventually became the topic of my thesis at the Academy of Fine Arts.

There’s one thing that a particularly like about the Popolo. It is how they mix the religion and the sacred with everyday life and how they show it through the objects.
Angelo Formica, the exception in the art fair I was talking about, takes this concept to the extreme with his artworks.

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the

Hot white tea and a slice of cake.
Inspired by this Simonedebeauvoirian-Sartrarian-Camussarian extra
romanticized attitude of writing in the cafes instead of quietly staying
home and working hard, my old fellow Lucas and I started hanging out in the
in the cafes on Via Giulia, Rome every so often.

I was reading a couple of books to widen my perspective on Indonesian
Contemporary Art. For an insight into the  East/West dichotomy, the curator of Indonesia’s exhibition at MACRO, Dominique Lora, recommended Flavio Caroli’s “Arte d’Oriente Arte d’Occidente”.

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heridono

Luogo di coordinate 0:0, probabilmente in un fumetto.

Legata ad una sedia, in mano a scagnozzi mettiamo, chessò, russo-mongoli appassionati d’arte, pronti a scazzottarmi, sono costretta a rivelare cos’è, o meglio cosa ho scoperto, di quest’arte contemporanea indonesiana.

“Ma come faccio a dirvelo maledizione santa! L’arte contemporanea non si presta a definizioni, è fluida, non deve essere ingabbiata, non può…”
Smack!
Il primo cazzotto arriva e quasi mi fa saltare i denti.
Riprova.
“Ci sono tanti artisti diversi, ognuno con la sua poetica, la sintesi, la sintesi cari signori, è depauperazione!”
Non capiscono la parola.
Gli sembra troppo scolastica.
Smack!
Te lo chiedo un’ultima volta…
“Con le buone immagino…” rispondo sputando saliva vermiglia
… cosa cercavi in Indonesia?

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“Sic transit Gloria mundi” is what is written in burn marks on the white wall of Macro’s Enel Room.

That’s an epigraph that could sound powerful, but dramatic and resigned as well. It is not simple for an artist to deal with decadence. I mean, working on a concept so wide like “The word is falling apart”. He has to be careful, not to be demagogic or didactic.

He has to distance himself to the common sense, like your typical neighbour’s morning remarks “The word is changing. When I was young everything was totally different. Better than now, for sure. We have no autumn and spring anymore”.

Mircea Cantor luckly, succeed to be ecumenical not being banal.

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mirceacantor2

The American magazine NY Arts published my review of Mircea Cantor exhibition at MACRO, Rome with the title “Mircea Cantor: The World is Changing”

Here you are the link to the review

Here you are the editorial preview on NY Arts Tumbrl

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Mentre voi state seduti davanti ai vostri computer a leggere questa recensione in questa specie di iperuranio che è internet, alla Galleria Monitor due artisti piuttosto diversi tra di loro si incontrano in dei lavori che implicano una riflessione sul concetto di spazio. I loro nomi, Francesco Arena e Nina Beier.
Parafrasando un ridicolo manifesto politico apparso sui muri capitolini: “Nina Beir, chi è costei?”

Insomma, c’eravate o no al MACRO il 12 dicembre, allorquando Nina insieme alla collega Marie Lund, spalleggiate dalla Nomace Foundation, hanno eseguito la performance “The Complete Woks”?
Beh, nemmeno io c’ero, e allora? Si, mi è dispiaciuto, ma possiamo rincuorarci sapendo che la ripeteranno il 23 gennaio e il 6 febbraio.

Casualità ha voluto che la suddetta performance fosse in contemporanea con il vernissage di questa mostra di cui vorreste la recensione, costringendo presumibilmente la povera Nina-scusatemi-un attimo-cari-vado-un-attimo- ad-incipriarmi-il-naso a cambi repentini di abito nei bagni, sgusciamenti fuori dalla finestra, corsa al motorino parcheggiato in Via Reggio Emilia e obbligandola a farsi tutta un’impennata fino a via Sforza Cesarini, insomma, un casino totale.

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