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Laura Leuzzi

@82lale

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Art Historian & Curator. Chancellor's Fellow at Gray's School of Art, RGU. Video art, new media, feminism, activism. Opinions are my own.

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I love working with @82lale Laura Leuzzi 🥰

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Ci siamo. A conclusione della mostra "Chiara Passa. The Abstract Films: Sculpting Narratives in Space", vi aspettiamo al @mattatoio giovedì 24 settembre alle 19:30 per la presentazione del catalogo edito da @delucaeditori . L'incontro rientra negli eventi del @romaeuropa

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In a world where your worth is measured in centimeters and flesh, art becomes the ultimate weapon. For anyone who grew up being told their body was 'too much' or 'not enough’, this one is for you.

Growing up in Italy - where they ask for full-length photos and mugshots on your CV, where they address you by your first name and not your title or job qualification if you’re a woman, where bullying is spawned first by parents and then passed down to their kids - this bollocks of feeling inappropriate, awkward and out of place ruins your life.

Fatty, lardarse, big-arse: epithets echoing in the ears of every slightly overweight girl with bodies we’d nowadays call non-conforming.

And the battle rages on, under the clinical gaze of blokes deciding which model is going to represent the fashionably acceptable level of skinny in any given year.

The case of Laura Leuzzi, instantly triggered a profound artistic-human glitch in me as I watched and listened to her performance My Body is My Piano 🎹.

She admits us into her personal world as a youth and later as a woman appraised in centimetres and flesh, the body weaponised, objectified and reduced to a standard by which the very validity of existence is judged.

And mind you, we’re talking about art as a proper weapon against the glossy, luscious, morbid and unrealistic images rammed down our throats.

📝 Read the full article on substack (link in bio) and watch the performance for the full experience.

#FeministArt #BodyPositivity #PerformanceArt #WomensVoices #ArtAndActivism

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Hvala svima koji su nam se pridružili i sudjelovali na prvom u seriji istraživačkih susreta "Točke susreta: arhiv u nastajanju", a posebno @82lale Lauri Leuzzi na spremnosti na improvizaciju i izvrsnom čitanju arhivskog dokumenta - pisma Billa Viola-e Sanji Iveković iz 1975. - kojega je ovom prilikom prvi put i vidjela! Događanje se odvilo u sklopu Laurinog jednotjednog istraživačkog posjeta Institutu Sanja Iveković, te u suradnji s projektom REWIND Yugoslavia (@rewindartistsvideo). Zahvaljujemo i Gradskom uredu za kulturu i civilno društvo Grada Zagreba, i Zakladi Kultura Nova na potpori.
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Thank you to everyone who joined us and participated in the first of the "Meeting Points: Archive in Becoming" research encounters, and a special thank you to Laura Leuzzi (@82lale) for her readiness to improvise and for her excellent reading of the archival documenti focus —a 1975 letter from Bill Viola to Sanja Iveković—which she also saw for the very first time on this occasion! The event took place as part of Laura’s one-week research visit to the Sanja Iveković Institute and in collaboration with the REWIND Yugoslavia research project (@rewindartistsvideo). We also extend our thanks to the City of Zagreb’s City Office for Culture and Civil Society and the Kultura Nova Foundation for their support.

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More of the artists and works to be featured at Bunker Down! Each artist involved gets their own poster! Sharing these all across two posts as we have over 30 artists involved. This is a labor of love. Been working for months now we a group of amazing folks to put together what will be an amazing gathering media and performing artists for Bunker Down! It was chatting my group of fellow organizers that we first strategized last year about bringing artists together to make something positive and edgy come to fruition. Weary of all the closings of institutions, publications disappearing, and a general lack of showing opportunities for media based practices in Scotland. So why not ask artists to join us, no budget, no bullshit, just space and the time to highlight your work? Not one of the artists said no. We’ve been thrilled, humbled and so very amazed at the response of these artists willing to get involved and dedicate their time and energy to make this happen. Please come and help us make this event a success! Scan the code it will take you to Eventbrite for tickets. #bunkerdown #berviebrowresearchstation #artinoddplaces #artinsc

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Each artist involved gets their own poster! Sharing these all across several posts as we have over 30 artists involved. This is a labor of love. Been working for months now we a group of amazing folks to put together what will be an amazing gathering media and performing artists for Bunker Down! It was chatting my group of fellow organizers that we first strategized last year about bringing artists together to make something positive and edgy come to fruition. Weary of all the closings of institutions, publications disappearing, and a general lack of showing opportunities for media based practices in Scotland. So why not ask artists to join us, no budget, no bullshit, just space and the time to highlight your work? Not one of the artists said no. We’ve been thrilled, humbled and so very amazed at the response of these artists willing to get involved and dedicate their time and energy to make this happen. Please come and help us make this event a success! Scan the code it will take you to Eventbrite for tickets. #bunkerdown #berviebrowresearchstation #artinoddplaces #artinscotland #contemparyart #experimentalart #performanceart #soundart #mediaart #digitalart

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✏️ On the reverse of one of her earliest photographs, dated from 1900–05, the anthropologist Mary Edith Durham (b. 1863, d. 1944) writes a list of Italian and Austro-Hungarian place names: “Ragusa, Trieste, Cattaro, Zara, Curzola, Salona, Pola, Sebeniko/Sebenico, AGRAM.” Her first journey to the Balkans—a holiday, prescribed by her doctor to recuperate from her care responsibilities at home—was the unknown beginning of a lifelong relationship with the region. Departing from London in August 1900, she arrived by cruise to Dalmatia.

On her return, Durham immersed herself in the study of Balkan languages and histories. Through successive travels in lands we now call Croatia, Montenegro, North Macedonia, Kosovo, and Albania, she collected textiles, published books and articles for anthropological journals, and championed political causes. For these, she was—and remains—best known. In Albania, Durham is an icon, the Kraljica e Malesorëvet (Queen of the Highland Peoples), her image present in exhibitions, television shows, and on postage stamps, the first woman to be depicted on the stamp of the independent republic of Kosovo. In England, her place of birth, she has faded into posthumous obscurity—in part, due to the uncertain location of her collections in British museums, something which is both a part of and conditions the lack of contemporary engagement with the histories and lived realities in this region.

Of the aforementioned destinations of Durham’s first journey, only Trieste, an area once divided between Italy and Yugoslavia, is commonly known by the same name today. Her early relation to the remaining towns and cities—which we presently refer to as Dubrovnik, Kotor, Zadar, Korčula, Solin, Pula, Šibenik, and Zagreb, respectively—risks overlooking by the gaze of the contemporary archivist, cataloger, or viewer.

Extract from Object Collections: Encounters with Ethnographic Photography in Britain and the Balkans, an essay commissioned by @svamfaphotovideo for @brooklynrail ✏️ brooklynrail.org/2026/07/special-report/object-collections-contemporary-encounters-with-ethnographic-photography-in-britain-and-the-balkans/

📷 @royalanthropologicalinstitute

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What happens when creative practice shapes how questions are asked, ideas are tested and knowledge is shared?

SPARK*, led by Co Directors Josie Steed and Maria Sanchez, brought researchers and PhD students from across RGU together at Aberdeen Art Gallery for its first Summer School.

The two days explored practice based and practice led research, including practice as method, writing alongside making, research portfolios, publishing, peer review and the different ways research can be communicated clearly.

Participant feedback returned to the value of meeting others working through similar questions. People appreciated learning from researchers at different stages, unpacking complex ideas together and having time to reflect on their own practice.

Thank you to Grant Davidson, Dan Holbrow, Laura Leuzzi, Peter Chalmers, Lyndsey Gilmour and Jen Clarke for contributing, to everyone who brought their questions and experiences, and to Aberdeen Art Gallery for hosting.

SPARK (Studio for Practice and Research in Knowledge)*

#SPARKRGU #PracticeBasedResearch #CreativeResearch #RGUResearch

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Call For Papers REWIND Yugoslavia 1969-91: International Conference on Video Art

V&A Dundee, Scotland
25th February 2027 - 26th February 2027

More information can be found at rewind.ac.uk

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As part of REWIND Yugoslavia we are looking for contributions for our anthology publication of research into Yugoslav video art which will be published by John Libbey.

We are interested in topics such as: national and local histories of video art, video art aesthetics, cross-Yugoslav infrastructures and networks including video art colonies and festivals, video art and television, video art and gender/ sexuality, video art and music, artist’s perspectives, curatorial perspectives, video art and technology.

The deadline for abstracts: 11th September 2026

More information at www.rewind.ac.uk

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07900825677 on WhatsApp to book

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Venerdì 7 agosto 2026, alle ore 18.30, il Sound Studies Forum presenta l’ultimo appuntamento della Listening Room con “My Body is My Piano” di Laura Leuzzi.

My Body is My Piano (2026) è una breve performative lecture in cui la curatrice e storica dell’arte femminista Laura Leuzzi esplora concetti di rappresentazione, corpo e identità attraverso vocalizzazioni, linguaggio poetico e analisi visiva. Tramite la respirazione, una serie di vocalizzi e un pezzo del Metodo pratico di canto (1832) di Nicola Vaccai, Leuzzi risveglia la sua voce e intesse il racconto della sua esperienza personale, caratterizzata dalla costante tensione con un corpo che non si conforma ai canoni standardizzati di bellezza promossi dalla società (con particolare riferimento al suo contesto d’origine italiano e mediterraneo).

Laura Leuzzi [ @82lale ] è storica dell’arte contemporanea e curatrice. Attualmente è Chancellor’s Fellow presso la Gray’s School of Art (Robert Gordon University, Aberdeen, UK). È autrice di articoli e saggi pubblicati in libri e cataloghi di mostre e ha curato mostre, rassegne e performance in Italia, Svizzera e UK; la sua ricerca si concentra sui nuovi media, performance, e femminismi. È inoltre co-curatrice di diverse pubblicazioni, tra cui REWINDItalia. Early Video Art in Italy (2015) e EWVA European Women’s Video Art in the 70s and 80s (2019), e Incite. Digital Art and Activism (2023).

La Listening Room è uno spazio espositivo digitale curato da SSF, concepito come luogo di ascolto, incontro e confronto critico attorno alle culture del suono. Il primo ciclo di piece sonore, intitolato Le nuove pratiche performative in relazione alla voce, si svolgerà dal 12 febbraio al 7 settembre 2026.

My Body Is My Piano sarà ascoltabile nella Listening Room dal 7 agosto fino al 7 settembre 2026.

🔗 Ascolta su: https://soundstudiesforum.org/current-exhibition/

Photo Courtesy: Joseph DeLappe, Gair Dunlop, e Antonio Aiello.

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