• The Commute Team

    Some of 'The Commute' team including l-r; Sarah Biscarra Dilley, artist Chantal Fraser, Freja Carmichael, Lana Lopesi and Léuli Māzyār Lunaʻi Eshrāghi. Not pictured, Tarah Hogue.

The Commute: First Nations sovereignties and dialogues across the Great Ocean

22 September–22 December 2018

Curated by Sarah Biscarra Dilley, Freja Carmichael, Léuli Eshraghi, Tarah Hogue & Lana Lopesi

The Commute is a collaborative project led by Indigenous curators Sarah Biscarra Dilley (yak tityu tityu yak tiłhini Northern Chumash, Chicana), Freja Carmichael (Quandamooka), Léuli Eshraghi (Sāmoa), Tarah Hogue (Métis, Dutch Canadian) and Lana Lopesi (Samoa), invited as Visiting Curators during 2018 at the Institute of Modern Art (IMA) in Mianjin Brisbane.

The Visiting Curators are working closely with nine Indigenous artists, Chantal Fraser (Samoa), Carol McGregor (Wadawurrung, Scottish), Lisa Hilli (Gunantuna), Hannah Brontë (Yaegl), Cease Wyss (Skwxwu7mesh, Stó:lō, Irish, Métis, Hawai‘i, Swiss), Allan Haeweng (Drehu), Bracken Hanuse Corlett (Wuikinuxv, Klahoose), Natalie M Ball (Modoc, Klamath), and Ahilapalapa Rands (Kanaka Maoli, iTaukei Viti, Pākehā) to develop projects asserting complex, expansive contemporary Indigenous experiences including deep ancestral knowledges and global connections.

The Commute is supported by the Australia Council for the Arts and Arts Queensland.


Sarah Biscarra Dilley is a multidisciplinary artist and scholar currently residing in the unceded homeland of the Chochenyo Ohlone people. She is a member of the yak tityu tityu yak tiłhini Northern Chumash tribe. Her academic and visual work has been exhibited nationally and internationally at Yerba Buena Center for the Arts, California Historical Society, University of California at Santa Barbara, SOMArts Cultural Center, First Peoples House at University of Victoria, California Consortium for Urban Indian Health, Toronto Free Gallery, Open Engagement, and Native American and Indigenous Studies Association.

Freja Carmichael is a Ngugi woman belonging to the Quandamooka People of Moreton Bay. She is an Independent curator working broadly across Aboriginal and Torres Strait Islander visual arts sector and has strong interest in traditional fibre practices and collaborative curatorial approaches. She has completed curatorial work with Redland Art Gallery, kuril dhagun at State Library of Queensland and is a member of Brisbane based Indigenous curatorial trio, Blaklash Collective. In 2014, she received an Australia Council for the Arts emerging curatorial fellowship and was awarded the 2016 NGA’s International Indigenous Arts fellowship. Recently Carmichael was awarded the inaugural Macquarie Group First Nations emerging curatorial award.

Léuli Māzyār Lunaʻi Eshrāghi is a curator, artist and Monash University PhD candidate visiting Kulin Nation lands and waters. Eshrāghi hails from the Sāmoan villages of Āpia, Leulumoega, Siʻumu, Salelologa, from Irānzamin, Guangdong, and other ancestries. His work centres on ceremonial-political practices, language renewal, and Indigenous futures. He has undertaken residencies at Para Site Hong Kong, Banff Centre for Arts and Creativity, University of British Columbia – Okanagan, and Tautai Pacific Arts Trust. He serves on the board of the Aboriginal Curatorial Collective (Canada), editorial advisories for Broadsheet and un Magazine, and the Pacific Advisory Group to Melbourne Museum.

Tarah Hogue is a curator, writer and uninvited guest on xʷməθkʷəy̓əm (Musqueam), Skwxwu7mesh (Squamish), and səl̓ilwətaɁɬ (Tsleil-Waututh) territories/Vancouver, British Columbia where she has lived since 2008. She is a member of the Métis Nation of Alberta. Her work activates Indigenous and feminist methodologies of reciprocal relationality and collaboration, and attends to the politics of place. Hogue is the inaugural Senior Curatorial Fellow, Indigenous Art at the Vancouver Art Gallery (2017–2020). She was the 2016 Audain Aboriginal Curatorial Fellow at the Art Gallery of Greater Victoria (Canada), and has curated numerous exhibitions and discursive projects.

Lana Lopesi is a critic of art and culture based in Tāmaki Makaurau, Aotearoa New Zealand. Lana is the Editor-in-Chief for The Pantograph Punch and Editor for Design Assembly, where she writes a monthly column called Graphic Matters. Lopesi has held residencies in Taipei, Taiwan and Auckland, Aotearoa New Zealand. Lana’s writing has featured in a number of publications in print and online including New Zealand publications PaperboyArt New ZealandHOME MagazineAotearoticaBulletin and The Spinoff; Australian publications Un MagazineBroadsheet and Runway; and international publications such as GARAGE Magazine and VICE.


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