Narrativising Citation: Saltwater Sensibilities 

Léuli Eshrāghi (Seumanutafa + Tautua Sāmoan, Persian, Cantonese) intervenes in display territories to prioritise global Indigenous and Asian diasporic visuality, sensual and spoken languages and ceremonial-political practices.

As an artist, Eshrāghi premiered new work in 2023, commissioned by Aupuni Space (Honolulu), the Museum of Contemporary Art (Tallawoladah), Plimsoll Gallery, University of Tasmania (nipaluna), and Staatliche Kunsthalle Baden-Baden. In 2022, Eshrāghi presented new work at Tate Modern (London), the Queensland Art Gallery | Gallery of Modern Art (Brisbane) and the Centre d’exposition de l’Université de Montréal. Recent residencies include TRADES A.i.R./Aupuni Space (Honolulu), Institut français/Cité internationale des arts (Paris), and the University of Tasmania (nipaluna). Their work is held in the Royal Bank of Canada (Warrang/Tsi Tkaró:nto) and Fonds régional d’art contemporain (Carquefou/Nantes) collections, and in private collections in Australia, Canada and Norfolk Island.

As a curator, Eshrāghi has realised exhibitions at the University of Queensland Art Museum, MacKenzie Art Gallery, A Space Gallery, University of New South Wales Galleries, Vancouver Art Gallery, Artspace Aotearoa, Institute of Modern Art and Gertrude Contemporary. Eshrāghi holds a postdoctoral fellowship from Concordia University, a PhD in Curatorial Practice from Monash University and a Graduate Certificate in Indigenous Arts Management from the University of Melbourne. They are Curator of Indigenous Arts at the Musée des beaux-arts de Montréal, Curatorial Researcher in Residence at the University of Queensland Art Museum, and Curator of the TarraWarra Biennial 2023, ua usiusi faʻavaʻasavili at TarraWarra Museum of Art.

Marie-Louise Richards is an architect, lecturer and researcher at the Royal Institute of Art in Stockholm. Her work explores invisibility as embodiment, critical strategy and spatial category through methods of architectural and artistic practice, curatorial practice and writing. Current work seeks to imagine the discipline, practice and history of architecture “otherwise”, through citational practices, queer, Black feminist and decolonial methodologies, theories and approaches. Recent work includes “Pedagogies of Power” (September 2022) and “Rest in Public as Resistance” (July–August 2022), in the Architectural Review; Banana-Split a (Black) Power Walk, short film, Mossutställningar/Public Art Agency Sweden (2020); “Out of Line: Erasure and Vulnerability as Sites of Subversion”, in Archifutures: “Agency”, Vol. 6 (2020); “Hyper-visible Invisibility: Tracing the Politics, Poetics and Affects of the Unseen”, Field Journal: Becoming a Feminist Architect, Vol. 7 (2017).