Iola lenzi biography for kids
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iola lenzi
Lenzi, iola. "The Agreeable Eye: Sou'east Asian art's plural take care of on closet, culture accept nation". Execute Curating Exemplar, eds. Janet Marstine bid Oscar Ho, 305-321. Abingdon/New York: Routledge, 2022.
Curating Adroit, eds. Janet Marstine sports ground Oscar Ho Hing Spring , 2022
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Interview with Singapore-based curator Iola Lenzi, specialized in Southeast Asia
Iola Lenzi is a Canadian-born curator, critic and researcher based in Singapore, specialized in Southeast Asian art. She has been curating solo and group exhibitions in both institutions and commercial galleries for many years. Following the exhibition ‘Negotiating Home, History and Nation: Two decades of Contemporary Art in Southeast Asia 1991-2011’ at the Singapore Art Museum in 2011, when I speak to Iola Lenzi she is working on a major upcoming exhibition – ‘Concept Context Contestation, Art and the Collective in Southeast Asia’ – for the Bangkok Art and Culture Centre (BACC) (1) which opened December 2013. Iola Lenzi tells us how she became a curator and the specificities of curating art from Southeast Asia.
A writer and curator of contemporary art from Southeast Asia today, Iola started her professional career dealing in a hands-on manner with early Chinese artefacts. After a degree in law in Canada, she moved to London to follow a post-graduate art history course with Sotheby’s. After two years working at Sotheby’s she worked with French archaeologist Christian Deydier, a specialist of early Chinese works of art. After 10 years in London she built with her future husband th
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Iola Lenzi’s Power, Politics and the Street
In December 2013, visitors to the Bangkok iteration of “Concept Context Contestation: art and the collective in Southeast Asia,” a traveling show curated by Iola Lenzi, took pictures against a hand-painted photo studio backdrop inspired by old Saigon, played ping-pong on a circular table, photocopied pages of politically charged Indonesian comics, and wrote down in a notepad what they would do if the handgun-shaped pink rice crackers piled on the gallery floor were real firearms. Coinciding with sit-ins by an anti-government pressure group on the streets outside, the show felt like living proof of the proposition fleshed out in Lenzi’s new book. The “aesthetics of agency” engendered by such works is, she argues, a coded and often covert response to historical contexts and real-world conditions in illiberal locales: a subtle form of empowerment. As a result, the western modes it is tempting to label them with (social sculpture, relational aesthetics, and so on) are a poor fit. “Art of this book,” Lenzi states near its beginning, “has a disrupting effect, priming independent thinking.”
Over the course of seven illustrated chapters, she authoritatively (if somewhat wordily) positions this hallmark within a wider reconna