MLitt Curatorial Practice School of Fine Art
Zini Jennie Li
Zini Li, English name Jennie. was born in Xuzhou City, Jiangsu Province, China. She received her Bachelor of Fine Arts degree from the Nanjing University of the Arts in 2019 and majored in Arts Management during her undergraduate studies. She has interned in several art organisations and participated in the exhibition, symposium and promotion of the John Moore Painting Prize 10th Anniversary Special Exhibition in the Art Museum of Nanjing University of the Arts. Her exposure to Korean pop culture from a young age and her understanding of the portrayal of East Asian women in artwork has shaped her research interests and led her to dig into East Asian feminist development and feminist curatorial narratives.
From Female Revenge to Feminist Narrative
This article is working on refining a research direction in feminism and gender equality. Around the expression of female revenge in contemporary art, I can’t stop thinking about such questions as what are the similarities and differences in the expression of female and male revenge stories, how female revenge works existing in art history can be deconstructed through the method of re-reading women’s art history, and what kind of extended-expression of feminism female vengeance has been carried out in contemporary art. Currently, I am working on a methodological overview of how to curate works, art historical theories and artistic creations on the theme of feminism and female revenge, and trying to find the hidden narrative logic in one slice. Based on the content of female vengeance as artistic expression, the research explores how it inspires contemporary art expression and its methodological migration in curatorial practice, taking into account the social atmosphere of the East Asian cultural circle, the dilemmas faced by women in social life, and the two sides of feminism. At the same time, I am also exploring how to help feminism speak out more organically in the curatorial narrative through curatorial language, optimise the narrative approach of the exhibition, maximise the female empowerment effect brought by women’s art and their works, and achieve a certain degree of anti-male gaze breakthrough.
