un Projects is based on the unceded sovereign land and waters of the Wurundjeri and Boon Wurrung people of the Kulin Nation; we pay our respects to their Elders, past, present and emerging.
un Projects
Jack Ball, Magic marker 8, 2023, inkjet print on rag, aluminium pins, acrylic paint, 80 x 110 cm. Image courtesy the artist and sweet pea. (Cropped)

Launching at West Space, 4-6pm Saturday 16 December.

un Magazine 17.2 – RETURN

un Magazine 17.2: RETURN, guest edited by Bahar Sayed and Gemma Weston.

Contributors: Bianca Acimovic & Ruby Djikarra Alderton, Hana Pera Aoake, Anjelica Angwin & Eugene Hawkins, Aaqila, Jack Ball, Robert Cook & Benjamin Forster, Corinna Berndt, Marguerite Carson, Suzanne Claridge, d duan, Wendy Hubert, Tahmina Maskinyar, Katie Paine, Tui Raven, daniel ward, Justine Youssef.

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un Magazine 17.1

un Magazine 17.1, RESIST, guest edited by Bahar Sayed and Gemma Weston.

Issue 17.1 features contributions from Aisyah Aaqil Sumito & Mossy 333, Elyas Alavi, Hana Pera Aoake, Mayma Awaida, Timmah Ball, Andy Butler, Marguerite Carson, Sam Elkin, HEAVY DUTY, Marnie Badham & Kelly Hussey-Smith & Nina Mulhall, Hannan Jones & Shamica Ruddock, Joana Partyka, Leila el Rayes, Jack Augustine Irvine Mitchell & Eliki Reade, Emily Morel & Amy Stuart, Olga Svyatova, Rebecca Suares-Jury, Megan Tan, and Ane Tonga.


un Projects Board – Call out for un Projects board members expressions of Interest (EOIs)

un Projects is currently seeking individuals to join our board and contribute to the direction of un Projects as we enter our third decade of operations. We encourage people from a range of disciplines, careers and experience who are keen to contribute to un Projects to submit an EOI.

un Extended – un Projects online platform for arts writing, podcasts, and events.

Back cover of Ann Stephen, Ian Burn: COLLECTED WRITINGS 1966 – 1993, Power Publications:
Sydney, 2024. Ian Burn at his desk in Finsbury Park flat, London, 1966.

Returns to Burn: A review of Ian Burn: COLLECTED WRITINGS 1966-1993 by Camille Orel
‘Thirty years on, Stephen’s collection returns us to the question: why does Burn remain a tragic point of identification for artists and art historians in Australia? And what bearing does this have on his steadily growing international audience?’

Camille Orel writes an extended book review for un Extended: Returns to Burn — a review of Ian Burn: Collected Writings 1966-1993 (ed. Ann Stephen). 

This review was edited by one of our un Extended Editors-in-Residence, Ella Howells, and supported by Yarra Arts and City of Melbourne.

Everybody Everywhere All at Once: reflecting on the 60th Venice Biennale
by Alice Castello & Is Randell

‘As I wax and wane in and out of this experience of being an Australian Biennale delegate in Venice surrounded by foreigners, kith and, art world kin, I think about our ability to make meaning in our togetherness and what it means to be held by these raw encounters with artists’ offerings. Indigenous modes of thinking and being in solidarity with each other frames the experiences of Venice.’

Two Australian Venice Biennale delegates, Alice Castello & Is Randell, reflect on the 60th Venice Biennale, what it means to be ‘foreign’, Archie Moore’s history Golden Lion win, and Palestinian resistance and activism.

Read more…

Documentation of MAGNETIC_EXCURSION_Soft Edges Barkandji Country, August 2018, Photo by Clare Britton.

Magnetic Topographies: a conversation with Therese Keogh, Kenzee Patterson & Clare Britton

‘For Magnetic Topographies, a social practice becomes a place-based practice becomes a compost made up of new friendships and knowledge. A practice that is playfully unassuming yet deeply anti-institutional: meet your friends, go for a walk, see what happens.’

For her first un Extended editor-in-residence piece, Sofia Sid Akhmed, interviews Magnetic Topographies (Therese Keogh, Kenzee Patterson & Clare Britton).

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Exhibition view of Breathing and Chaos, 2024 at Cache.

Breathing and Chaos by Margarita Kontev

‘The paintings turn from liquid to gas, and back again. Akin to von Bingen’s ‘Voice of the Living Light’, combating the lume isn’t in Clara’s best interest. In fact, she holds it close to her chest.’

Margarita Kontev writes a review for un Extended: Breathing and Chaos an exhibition by Clara Joyce at Cache, Melbourne.

This is the first piece commissioned and edited by one of our 2024 un Extended Editors-in-Residents, Ella Howells

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Archivo Entusiasta, curated by Syndell Razo, 2023-24. Image courtesy of Grupo Ascencio.

Fire Me, Paul – Diego Ramírez

‘Two weeks had suddenly passed and I was also late for the extension, Paul. I was busy attending a psychic expo with my partner, where I bought Uruguayan amethyst, Paul. Time is running out once again, so let me tell you about Grupo Ascencio, located in the city of Guadalajara, Mexico, Paul.’

For his last contribution, outgoing un Editor-in-Residence Diego Ramírez tests the editors, extends deadlines and reflects on his recent time visiting and working in artist-run spaces in
Guadalajara, Mexico.

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Roberta Joy Rich: The Purple Shall Govern, installation view, Perth Institute of Contemporary Arts (PICA), 2023, image © the artist, photo: Dan McCabe.

Archival / Activism – Timmah Ball

‘Purple is splashed across the entrance of PICA and the windows in the West End Gallery are coated with a purple glaze which permeates the space. This imbues the building with the energy of protest that movingly reflects the current gathering of bodies that take to the streets filling urban environments with colour: this time, watermelon.’

Timmah Ball reflects on Roberta Joy Rich’s recent exhibition The Purple Shall Govern showing last year at PICA.

Read more…

Image courtesy the author.

Inter-Review with the artists in their office-cum-studio-cum-gallery – Carmen-Sibha Keiso

‘It is not common to be surprised by the artistic endeavours of a peer, as you can’t avoid looking into things too intimately or ask questions too domestically; where most decisions are accepted as mere tokens or trials in experimentation. Looking at an object, totally reliant on the natural progressions of assemblage and my prefixed trust of the artist’s personal taste; I have no choice but to passively accept their motives.’

Outgoing un Extended Editor-in-Residence Carmen-Sibha Keiso inter-reviews Hana Earles and Anabel Robinson at their studio ‘Dream Gallery’ in Pakenham.

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John Nixon—Four Decades, Five Hundred Prints, installation view, Geelong Gallery 2023, Photographer: Andrew Curtis.

Four Decades, Five Hundred Prints – Giles Fielke

‘Coupled with his practical, “non-objective” philosophy of engaging commonly available “everyday” materials like newspaper; cardboard; hessian; industrial-grade timbers; Perspex; and housepaint; the set of works on display — many for the first time — at the Geelong Gallery, are further constrained by the typical and recognisable artistic vocabulary he set out consistently across his career. In this way Nixon might be understood an antipodean Ellsworth Kelly, a regional Piet Mondrian.’

Giles Fielke delves into a showing of work by the late John Nixon at Geelong Gallery, guided by seven watchwords: ‘Matrix’, ‘Potato’, ‘Orange’, ‘Waste Not Want Not’, ‘Frottage’, ‘Montage’, ‘The Cross’.

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Image courtesy the artist.

Alex Hobba – Cockfighter’s Ghost – Tom Campbell

Cockfighter’s Ghost is an ambitious presentation, a successful emulation of the documentary form, and the artist injects her trademark sense of humour into her worldbuilding. ‘

Tom Campbell reviews Alex Hobba’s Cockfighter’s Ghost, which showed at BLINDSIDE earlier this year.

This text was commissioned through the Emerging Writers’ Program – an annual collaborative projects from KINGS and un Projects, that supports critical arts wrting, fiction, poetry, experimental, cross-genre and digital text forms.

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Photography by Mischa Wang. Featuring a performance by Rosie Isaac titled ‘Various Blues’.

Language Ecologies – Ren Jiang, Wen-Juenn Lee, Madison Pawle

‘We attempted to coordinate an arriving-together to ACCA but we failed and instead met on the seats inside, gossiping over instant coffee and lemon ginger tea as we waited for Language Ecologies to begin.’

In the lead up to un Projects’ 20 year anniversary, we hosted Language Ecologies, a day of panel discussions, readings, and performances that explored the multiple ways language and writing emerges from, and shapes, artistic practice. Situated in James Nguyen’s exhibition ‘Open Glossary’ at the Australian Centre for Contemporary Art, Language Ecologies fostered discussions on publishing, storytelling, self-determination, togetherness, entanglement, digital networks, and language materiality.

For un Extended, we asked three attendees — Ren Jiang, Wen-Juenn Lee, Madison Pawle — to write a response to Language Ecologies.

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Still from Carmen-Sibha Keiso and Emily Hanson, Emily Cardboard; Tendencies in Female Behavior, 2020

Emily Cardboard: Tendencies in Female Behavior – Joanna Pope

‘Keiso described their long walks together as exercises in autistic-girly-psychogeography. As a female autist, I find their solemn, eventless traipsing through the city in strange sexy-ugly garb almost joyous, a perfect study in autistic girl companionship and all its drama-free intensity.’

Joanna Pope visits Emily Cardboard; Tendencies in Female Behavior, a recent exhibition at Hyacinth by Carmen-Sibha Keiso and Emily Hanson, featuring their short film of the same name. Commissioned by Carmen-Sibha Keiso, un Extended Editor-in-Residence.

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un Projects is based on the unceded sovereign land and waters of the Wurundjeri and Boon Wurrung people of the Kulin Nation; we pay our respects to their Elders past and present.