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Joella Qingyi Kiu
 
WHY, HELLO THERE!

I'm an art historian, researcher, and independent curator.

PORTFOLIO
 
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My research and practice is driven by the symbiotic relationship between art history and contemporary art practices.

I am the Founder and Creative Director of Object Lessons Space, an online art historical platform that documents conversations with artists, curators and writers. 

I’m currently based in Singapore, and am open to collaborating on curatorial and creative projects.

I work with the National University of Singapore's Department of Architecture on a research project titled Imperialism and Indigenous Identity: Colonial Narrative of Town Planning and Architectural Design of Southeast and East Asia Between 1800-1960.

The project will culminate in an academic conference, exhibition and publication (forthcoming in 2019).

I have done extensive academic research on Central and East Asian art history material culture. Other interests include environmentalism, feminism, literature, diversity and representation in the arts, house plants, and astrology.

 
 
I've most recently co-curated an exhibition titled The Deepest Blue (2018). The Deepest Blue was the winning proposal for the D/SINI Breaking Waves Showcase. Previously, I worked with the Calouste Gulbenkian Museum on two temporary exhibitions: Eid al-Fitr: Breaking the Fast (2017) and Noruz: Feasting In Spring (2017) exhibitions.
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I hold an MA in History of Art from the Courtauld Institute of Art (Persian Painting and Transcultural Visibility, 2017), and a BA in History of Art from the University of York (2015).

My academic research concerns the material and visual cultures of Central and East Asia, with a particular emphasis on how transcultural interactions along trade routes of exchange shaped the metropolis and contributed to notions of self fashioning. Previous research projects I have worked on include exploring tents as portable cities in the display of power for early Timurid rulers, and the creation of synaesthetic experiences through the insertion of musical elements into Safavid manuscript painting.