Curatorship & Museum: Turning a Silent Book into Global Narrative

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With extensive curatorial experience and a profound collection of Miao embroidery, Zeng Li has curated exhibitions that go beyond showcasing technique—they propose a new curatorial language. Miao embroidery becomes an entry point to a nonverbal knowledge system, building visual narratives through symbols, rhythm, and spatial logic.

When she founded the Miao’s Tales Museum, she deliberately avoided turning it into a craft display. Instead, she began with the idea of a "book without words," treating Miao embroidery as visual philosophy. The museum is not about preserving the past—it’s a living platform for new ways of seeing, for curatorial innovation, and for global cultural dialogue.

Collaboration Invitation: Zeng Li welcomes partnerships with curators, cultural researchers, museums, universities, and visionary brands—to co-create new exhibition formats, activate embroidery collections through contemporary expression, and initiate a new chapter of global curatorial discourse.

Curatorship & Museum: From Fieldwork to Exhibition Language

Zeng Li doesn't place embroidery into exhibitions—she turns embroidery into an exhibition language. Her curatorial approach replaces text with imagery and arranges space through rhythm, allowing Miao embroidery to speak as the subject, not the object.

She founded the world’s first Miao embroidery museum—the Miao’s Tales Ethnic Costume Museum—where over a thousand rare pieces collected by two generations are now publicly shared.

This museum is not just a place of preservation, but a living space for curation, research, and public engagement.