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Naima Morelli

Journalist

Naima 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.

Articles

Art and Culture

Interview With Sara Raza – Director of the Tashkent Centre for Contemporary Art

Sara Raza is a litmus test for the spirit of the times in the shape of an art curator. In simple terms, art crowds can count on her direction for the Tashkent Centre for Contemporary Art (CCA) to bring the most pressing issues in contemporary art to the foreground. Indeed, the author of the book Punk Orientalism - and the namesake curatorial studio - has been just appointed as Artistic Director and Chief Curatorial Director of the CCA Tashkent, set to open in September 2025. It’s a strategic move for the Centre, which has aspirations of becoming a global arts and culture hub and is aiming at international artistic and creative exchanges, which include residencies, exhibitions, workshops, and educational programmes, and contributing to Uzbekistan’s cultural ecosystem. Transversal in her curatorial approach, London-born, New-York-based Raza is coming from a mixed Central Asian/Middle Eastern background, but she is also steeped in the heart of the Western art system, in institutions such as the Guggenheim – having taken care of a project called UBS MAP Global Art Initiative, curating the Middle East and North Africa section. Over the years, the curator has worked with artists from Asia, the Caucasus, the Middle East, Europe, and North America, and has curated shows at the Mathaf: Arab Museum of Modern Art in Doha and the Rubin Museum of Art in New York, but it is truly her book, Punk Orientalism: The Art of Rebellion, which brought a fresh approach to the sometimes highly academic field of art criticism. For Raza, artists from the former-Soviet countries and beyond hold a strong punk DIY ethos, by which they counter the Orientalist gaze they have always been subjected to by both the West and Russia. Their art is often a form of bricolage, an unexpected connection of disparate ideas used to create something entirely new. Will she bring this original approach to the direction of the museum, too? TCA spoke with Raza to find out about how she’s planning to foster cultural and educational partnerships and to support local, regional, and international artists while engaging with Uzbekistan’s rich cultural heritage. [caption id="attachment_29451" align="aligncenter" width="2560"] Centre for Contemporary Art Tashkent Artist Residencies; image: Namuna[/caption] TCA: The Centre for Contemporary Art in Tashkent is poised to become a major hub for artistic discourse in Central Asia. As its first Artistic Director and Chief Curator, how do you envision defining the institution’s identity from the ground up? My vision for CCA is less of a ground up approach, but rather one that builds on an historical and visual cultural foundation established in the 20th century that included a robust relationship with artists, intellectuals and others from the Global Majority World [a collective term for people of African, Asian, indigenous, Latin American, or mixed-heritage backgrounds, who constitute approximately 85% of the global population]. This included relationships between Harlem Renaissance figures [The Harlem Renaissance was an African American cultural movement that flourished in the 1920s and had Harlem in New York City as its symbolic...

1 year ago

Cultural Heritage

Simurgh Self-Help: Slavs and Tatars’ New Show Rethinks National Symbolism

“It’s interesting that in Western symbolism you never see a delicate female eagle,” notes Payam, one-half of the artist collective Slavs and Tatars, from his studio in Berlin. “But the central-Asian Simurgh is gender-fluid, metaphysical. It doesn’t belong to this world.” The mythological figure of the Simurgh is the focus of Slavs and Tatars’ latest show at the gallery The Third Line in Dubai called “Simurgh Self-Help”. The show speaks of the importance of reclaiming and reframing cultural memories in a fractured world, and an invitation to think beyond the artificial, top-down confines of nationalism, to find cultural unity. [caption id="attachment_28951" align="aligncenter" width="2560"] Slavs and Tatars Samovar Vacuum-formed plastic, acrylic paint; Image: Courtesy of the artist and The Third Line, Dubai[/caption] The exhibition extends a lineage of conceptual inquiry, drawing upon the mystical bird Simurgh, ever-present in Persian and Central Asia mythologies, as a counterpoint to the ubiquitous, secularized eagle of Western heraldry. A constant companion of Zeus in Greek mythology, the eagle is a recurring symbol in the Western world: “Everywhere you look in the West, you find eagles,” notes Payam. “It’s on the German flag, on American football teams, on the Albanian flag. It’s a tired, secularized symbol, heavy with the weight of imperial history.” In contrast, the Simurgh exists on a different plane, one that rejects hierarchies in favor of collective transformation. [caption id="attachment_28952" align="aligncenter" width="1874"] Slavs and Tatars Samovar Vacuum-formed plastic, acrylic paint; Image: Courtesy of the artist and The Third Line, Dubai[/caption] Today the Simurgh is going through a similar secularization to the Western eagle, with Turkish SIM cards and Azerbaijani soccer teams called Simurgh. "It's easy, in some sense, for as an artist to take something which is very high and important, let's say spiritual or religious, and make it make fun of it, bring it down in a caricatural way,” says Payam. “What's very hard as an artist is to take something which has been debased and make it high again." In the show, we see works that go in either direction, presenting an alternative mythology, one that shows that cultures are fluid and interconnected. “Simurgh Self-Help,” which had previous iterations in Warsaw, Athens, and Baden-Baden, was originally started two years ago as a conceptual echo of Marcel Broodthaers’ Musée d'Art Moderne: Département des Aigles. This was a conceptual museum/artistic project created by the Belgian artist in 1968, full of artworks referenced by Slavs and Tatars in their show. [caption id="attachment_28953" align="aligncenter" width="2500"] Slavs and Tatars, Soft Power_2023, Woolen Yarn; Image: Courtesy of the artist and The Third Line, Dubai[/caption] The Simurgh, Payam explains, traverses territories from Kazakhstan to Ukraine, yet remains absent in Poland. “It’s a question of defining a region not through imposed political structures but through the myths that bubble from the ground up,” remarks Payam. The Simurgh becomes a cipher for alternative cartographies, a challenge to the top-down imposition of nationhood. If the eagle stands for conquest and dominance, the Simurgh stands for the dissolution of categories and unity...

1 year ago

Art and Culture

In Doha, Central Asian Artists Dismantle Orientalism

Completely covered by a huge textile patchwork piece, softly moved by the wind, the façade of the Mathaf Museum in Doha promises visitors something fascinating and alluring. Coming closer, attendees could read a series of statements in various languages on the fabric. The effect of familiarity and estrangement at once was the purpose of Azerbaijani artist Babi Badalov, who realized the piece. By layering phrases in Arabic, Cyrillic, and Latin with calligraffiti and employing disjointed grammar and syntax, the artist meant to visually disrupt “linguistic imperialism” and show how Europe’s modern civilization owes much to Arab civilization. [caption id="attachment_27513" align="aligncenter" width="2560"] The Mathaf Museum in Doha; image: TCA, Naima Morelli[/caption] This specially commissioned work, called Text Still (2024), is nothing but an appetizer for the show Seeing is Believing: The Art and Influence of Gérôme. Organized by the forthcoming Lusail Museum — an institution under development in northern Doha that will house the largest collection of the so-called Orientalist art — the exhibition features loans from institutions such as the Metropolitan Museum of Art in New York and the Islamic Arts Museum in Malaysia. The main part of the show is dedicated to French artist Jean-Léon Gérôme, who lived and worked in the 19th century and was profoundly influential in his depictions of the Middle East, North Africa, and South Asia. His works shaped Western perceptions of these regions during an era when colonialism and “Oriental Studies” were cementing global power dynamics. The show included a historical and biographical exploration of Gérôme’s life, timed to celebrate the 200th anniversary of his birth, as well as a photographic section curated by Giles Hudson dedicated to visions of the Orient from Gérôme’s time to today. But it is in the third section, centered on contemporary art and called “I Swear I saw That”, that Central Asian artist really enter into a close dialogue with Gérôme’s Orientalism, turning it on its head. Sara Raza, curator of this section, takes Badalov’s textile work as a case in point: “Badalov inverts Edward Said’s mission of examining Western perceptions of the Orient, focusing instead on Eastern perceptions of the Occident, and vice versa,” she told The Times of Central Asia. Edward Said’s concept of Orientalism, as detailed in his groundbreaking 1978 work of the same name, is an institutionalized program of Western knowledge, based mostly on projections, mystification, and imagination - and includes works of art as well as the academy - which is directed to justify a supposed Western superiority and imperialism over Eastern populations. “I Swear I Saw That” interrogates Jean-Leon Gerome’s way of seeing, which Sara Raza recognizes as a “fantastical and highly mythologized vision of the East,” and looks at how artists from both the Middle East, the Arab world and Central Asia fought back. A Central Asia and Caucasus expert who works extensively in the Middle East, Raza has examined the process of the exoticization of Eastern populations for a long time. She coined the term “Punk Orientalism,” which also became the...

1 year ago

Art and Culture

UAE Embracing the Silk Road Narrative: Central Asia at Art Abu Dhabi 2024

More than at any other time in recent history, the entire art world is this year tackling geopolitical identity issues. And while we usually delegate Biennales and non-commercial art events to take the pulse of our contemporary reality, this time an art fair took up this task: Art Abu Dhabi. This year the fair was bigger than ever and had a hugely relevant Central Asian and Caucasus section, curated by Elvira Eevr Djaltchinova-Malec, which was aptly called “Drifting identities.” Founder of the Warsaw Institute for Modern and Contemporary Asian Art (WIMCAA) Foundation - based on the spreading of Asian and global art – Djaltchinova-Malec was invited by the fair's artistic director, Dyala Nusseibeh, to curate a section that presented different aspects of the rich cultural tapestry of the region without shying away from the political concerns and instability which often characterize this part of the world. [caption id="attachment_26543" align="aligncenter" width="928"] From left to right, Abdelmonem Alserkal - prominent art patron based in Dubai, founder of the Alserkal Avenue, Alserkal Foundation, Elvira Eevr Djaltchinova-Malec, Almagul Menlibayeva, and Danagul Tolepbay image: Elvira Eevr Djaltchinova-Malec[/caption] Djaltchinova-Malec has been working on this concept of the Silk Road in different shows – namely Silk Road 2.0 - Artists re-loaded conference in Warsaw, Silk Road 2.0 - New Opportunities panel for art for 021 Art fair in Shanghai - adapting it to the changing geopolitical landscape of the region. "Our foundation was established in 2016, and already, eight years ago, we started to explore the topic of the Silk Road,” Djaltchinova-Malec told TCA. “We wanted to understand the desire of China and countries who joined Chinese projects for the New Silk Road, and we invited artists and art professionals from Vietnam, the United Kingdom, Central Asia, Kazakhstan, Germany, Tibet, France, and Ukraine for the foundation’s first conference.” The Belt and Road Initiative, sometimes referred to as the New Silk Road, is a global infrastructure development strategy adopted by the Chinese government in 2013 to invest in more than 150 countries and international organizations. [caption id="attachment_26545" align="aligncenter" width="2560"] Tapestry by Almagul Menlibayeva; image: Elvira Eevr Djaltchinova-Malec[/caption] It’s the first time that the curator is presenting these artistic geographies in the context of the Gulf. On one hand, this is opening up Central Asian narratives to an Arab public that might be curious to learn more about art in this region. On the other hand, it is helping to open markets and create access to a different pool of new collectors. Thanks to an individual outreach which started well before the fair, the experiment proved successful. "Fortunately, many collectors from the Gulf already know artists from Central Asia, as there are a few art galleries in the UAE which represent them, as well as institutions like the Sharjah Foundation,” Djaltchinova-Malec stated. In addition, many collectors and artists from Russia who are knowledgeable about Central Asian narratives and sensitive to colonization issues, are now based in the UAE. “We tried to involve as many collectors from other circles as...

1 year ago

Culture

Asia Now Creating a Market for Central Asian Art in Paris

When we think about spreading knowledge of Central Asian art in Europe, we might think of exhibitions, of festivals, of panels and talks, not necessarily of an art fair. However, in the contemporary art world, it is today the market, more than art critics, which dictates the emergence of certain art scenes as a whole. For the historically underrepresented Central Asian art market, smaller fairs represent today an important alley, more than the big fairs such as Art Basel – which just had its second Paris iteration this October. Smaller “boutique fairs,” as they are called, often present curated programming which allow a wide public – not just collectors and buyers – to enjoy the art as it was an exhibition. A selling one, of course. In Paris, the most relevant fair which has historically presented Central Asian artists to the European public is called Asia Now, and it took place in Paris from October 17 to 20. Entirely dedicated to Asian art, the fair has historically tried to fill the gap for Central Asian art in the European market in the past ten years of its existence. The fair has selected more than 70 leading and emerging contemporary art galleries from all over the world, presenting more than 220 artists coming from 26 territories from all over Asia and its diaspora, stretching from Central Asia to the Asia-Pacific, including West, South, South-East, and East Asia. Their commitment to expanding knowledge of Central Asian art in Europe culminated last year in a show which was indeed focused on Central Asia, and curated by the artist group Slav and Tatars. While seminal Central Asian galleries such as the Aspan Gallery from Almaty and Pygmalion Gallery from Astana didn’t return to Asia Now this year, the fair still presented a number of Central Asian artists and practices, interspersed between the main show, and the booths. Central Asian Artists in the Radicant’s Main Show The main exhibition of Asia Now was curated by Radicants, a collective founded by art critic Nicolas Bourriaud, and it was centered on sacred ceremonies seen as a powerful tool for re-examining societal structures and reconnecting with ancestral roots. Called “Ceremony,” the main show was co-curated by Nicolas Bourriaud and Alexander Burenkov, a curator of Russian origins who has been working for a long time with Central Asian narratives, which are also featured prominently in the show. [caption id="attachment_25510" align="aligncenter" width="2560"] Image: TCA, Naima Morelli[/caption] The idea of ceremony ties to the tenth anniversary of the art fair, but at the same time the curators opted to explore the nuances of ritual as both a "celebration of ancestral wisdom" and a "critical tool for interrogating and redefining established traditions and power dynamics." As Burenkov noted, the decision to use the theme of ceremony emerged after conversations with Asia Now director Alexandra Fain. “The choice fell on ‘ceremony’ in all its variability and polysemy [was used] to explore the non-obvious meanings of ritual through the eyes of contemporary artists...

1 year ago