Léuli Eshrāghi

tala faʻasolopito | critique et poésie

tala faʻasolopito | critique et poésie | poetry and criticism

 

BOOKS | LIVRES

Indigenous Aesthetics and Knowledges for Great Ocean Renaissances, Common Room Editions, Melbourne, May 2023

EDITED COLLECTIONS | COLLECTIONS DIRIGÉES

The Clam’s Kiss | Sogi a le faisua, Dr. Léuli Eshrāghi and Peta Rake (eds.), University of Queensland Art Museum: Brisbane, May-December 2022

D’horizons et d’estuaires: entre mémoires et créations autochtones, Camille Larivée et Léuli Eshrāghi (réd.), Indigenous Curatorial Collective / Collectif des commissaires autochtones et Somme toute: Montréal, Décembre 2020

Artlink INDIGENOUS 40.2, Kin Constellations: Languages Waters Futures, Dr. Léuli Eshrāghi and Kimberley Moulton (guest eds.), Artlink: Adelaide, June 2020

Transits & Returns, Tarah Hogue, Sarah Biscarra Dilley, Freja Carmichael, Dr. Léuli Eshrāghi, Lana Lopesi (eds.), Vancouver Art Gallery: Vancouver, Institute of Modern Art: Brisbane, September 2019

POETRY AND PROSE | POÉSIE ET RÉCIT

Fetū glisten in the night sky, Gropius Bau Journal, July 2023

Mon pays n’existe pas / Je me souviens / Mo ʻoe i le fale mataʻaga a māfaufauga papālagi / Tracer gang gang gang / Tanem toktok ia/Traduction/Fa‘aliliuga, Anne-Marie Trépanier et Laure Bourgault (co-direction | co-editors), Revue Cigale | Cigale Journal, numéro 3: Souverainetés | Issue 3: Sovereignties, janvier | January 2022, pp. 94-123

I changed my name to honour my Samoan ancestors, Straight Up Islander series, edited by Winnie Dunn, SBS Voices and Sweatshop Movement Inc, 11 October 2021

tagatavāsā, in cmagazine 136: Site/ation, Tania Willard and Peter Morin (guest eds.), C Visual Arts Foundation: Toronto, January 2018 pp. 59-60 

Singing across Te Tai o Rehua: a response, in ST PAUL St Gallery - 2015 Curatorial Symposium Papers, Te Wānanga Aronui o Tāmaki Makaurau AUT University: Auckland, March 2016, pp. 58-59

ESSAYS | ESSAIS

Une sculpture en néons de Joi T. Arcand met en lumière la pluralité linguistique, co-écrit avec Iris Amizlev, Webzine M, Musée des beaux-arts de Montréal: Montréal, décembre 2023

Tuna drip feeds criticality to ʻIna-moe-Aitu, who we all are today, in Marinade: Aotearoa Journal of Moana Art 02: International, Marinade: Auckland, April 2023

Situating Great Ocean Art in Canadian Museums (republished), Sāmoan Art Museum-Performance (republished), in Powerhouse-galang 01, Powerhouse Museum: Sydney, April 2022

Excerpts in Whitechapel Documents in Contemporary Art: Oceans, MIT Press, Cambridge + London, May 2023

Rimming Islands: Faʻafafine-Faʻatane Pleasure and Decoloniality, in Sex Ecologies, Stephanie Hessler (ed.), MIT Press: Cambridge, November 2021

Situating Great Ocean Art in Canadian Museums, in Momus, 29 October 2021

Privilégier le plaisir autochtone / Priority to Indigenous pleasures (revised), in Quand la nature ressent / Sensing Nature: MOMENTA Biennale de l’image, Stefanie Hessler, Himali Singh Soin, Camille Georgeson-Usher, Maude Johnson (eds.), Kerber and MOMENTA: Berlin and Montréal, September 2021

Calling war(m)wards, Value For Money, GUTS Dance: Alice Springs, July 2021

Brook Garru Andrew: Paradise 2 (Orange) 2011, in Queer Readings of the Collection, Monash University Museum of Art: Melbourne, June 2021

Tanem toktok ia | Traduction | Faʻaliliuga, in what about support and what about struggle, Corina Oprea + Jennifer Hayashida (eds.), L’Internationale Online: Gothenburg, May 2021

Making worlds by verse and touch, in 2020 Global Asia/Pacific Art Exchange Aotearoa: Ngā Tai o te Ao: the global tides, Alexandra Chang, Charlotte Huddleston and Janine Randerson (eds.), ST PAUL St Publishing, AUT University and Asian/Pacific/American Institute, New York University: Auckland and New York, March 2021, pp. 119-123

Indigenous artist-curator relationships in the militourist present, in Versopolis Review, Nataša Petrešin Bachelez (ed.), Versopolis Review/Beletrina: Ljubljana, December 2020

Charting Our Futures: Interview with Josh Tengan, Kimberley Moulton, Ioana Gordon Smith, in Becoming Our Future: Global Indigenous Curatorial Practice, Dr. Julie Nagam, Carly Lane, Megan Tamati-Quennell (eds.), ARP Books: Winnipeg, June 2020

Indigenous artist-curator relationships in the militourist present, in 4A Papers: Wansolwara, Susan Acret (ed.), 4A Centre for Contemporary Asian Art: Sydney, May 2020

Privilégier le plaisir autochtone / Priority to Indigenous pleasures, in NIRIN NGAAY, Jessyca Hutchens, Brook Andrew, Stuart Geddes + Trent Walter (eds.), Biennale of Sydney, March 2020, pp. U1-10

MĀTAU ʻO TAUTUANAGA O FAʻĀLIGA ATA MO O TĀTOU LUMANAʻI Considering the Service of Displays for our Futures, in Sovereign Words: Indigenous Art, Curation and Criticism, Katya García-Antón (ed.), Valiz and Office of Contemporary Art Norway: Amsterdam and Oslo, December 2018, pp. 239-258

Curating under pressure in settler colonies, in Discipline: Issue No. 4.5, TarraWarra Biennial 2016: Endless Circulation, Helen Hughes (ed.), Discipline: Melbourne, October 2017, pp. 70-90

On First Nations agency in our European-based cultural institutions, in Artlink Big Ideas: 36.1, Eve Sullivan (ed.), Artlink: Adelaide, March 2016

Moananui Curatorial Resurgence, in ST PAUL St Gallery - 2015 Curatorial Symposium Papers, Te Wānanga Aronui o Tāmaki Makaurau AUT University: Auckland, March 2016, pp. 31-40

Who are we beyond imperfect, imposed 'Asia'?, in Peril Magazine: Edition 21 - Marginasia, Peril: Melbourne, September 2015

On forgetting Aboriginal art, in Overland Journal, Overland: Melbourne, July 2015

We are born of the fanua: Moananui arts practice in Australia, in Artlink INDIGENOUS 35.2, Global, Daniel Browning (guest ed.), Artlink: Adelaide, June 2015, pp. 60-65 

Socially engaged art practice in Oceania with Torika Bolatagici, in Open Engagement, Open Engagement: New York, March 2015

Arriving in ANZ, in #500words - on arts and culture, March 2015

Trueno tropical / Faititili a motu / Tropical thunder with Lucreccia Quintanilla, in Writing From Below Journal, Vol. 1, No. 2, La Trobe University: Melbourne, December 2013, pp. 91-100

REVIEWS | COMPTES RENDUS

Léuli Eshrāghi, Sarah Biscarra Dilley, Tarah Hogue, Lana Lopesi & Freja Carmichael (2023) Review, Australian and New Zealand Journal of Art, Volume 23, Issue 2: Te Ko Te Moananui-a-Kiwa te wahi whakarahi, The Pacific Ocean Joins Us All, edited by Ngarino Ellis and Heather Igloliorte, 166-173, DOI: 10.1080/14434318.2023.2288018

Léuli Eshrāghi (2023). Hawaiʻi Triennial 2022: Pacific Century—E Hoʻomau no Moananuiākea. Curated by Michelle Chiu, Miwako Tezuka, and Drew Kahuʻāina Broderick, Asian Diasporic Visual Cultures and the Americas, 7(3), 343-348. https://doi.org/10.1163/23523085-20221282

Paradise Lost: Thomas Griffiths Wainewright / Herself, Memo Review, Melbourne, October 2021

Crafting Aotearoa: A Cultural History of Making in New Zealand and the Wider Moana Oceania, The Journal of Modern Craft, 14:2, 203-206, DOI:10.1080/17496772.2021.1961371, 23 September 2021

Bien après ou la suite des colonies, in Couleurs primaires, Initiative Couleurs primaires: Victoria, juin 2019

Faʻamālamalama mo tātou uma: 9th Asia Pacific Triennial of Contemporary Art (2018), in un Magazine, un Projects: Melbourne, December 2018

Witnessing: Review of Where We Stand (2018) and Kanohi ki te kanohi (2017), in un Magazine, un Projects: Melbourne, June 2018

‘o ogānu‘u tupu: sovereign territories, in 4A Papers, Pedro de Almeida (ed.), 4A Centre for Contemporary Asian Art: Sydney, May 2017

He mau mana‘o no ko Honolulu Hō‘ike‘ike Hana No‘eau o nā Lua Makahiki: Thoughts on the Honolulu Biennial, in The Pantograph Punch, Pantograph: Auckland, May 2017

Welina mai ke aupuni o Hawai‘i: Greetings from the Hawaiian Kingdom, in Art Monthly Australasia: 298, ANU: Canberra, May 2017, pp. 20-23

All our relations - Art from Moananui a Kiwa at the NGV, in Art Monthly Australasia: 292, ANU: Canberra, September 2016, pp. 49-51

Remembering the Future: Who are we really serving? with Bridget Reweti, in Canadian Art - Collaboration, Summer 2016 Issue, June-September 2016, pp. 108-112