Launching at West Space, 4-6pm Saturday 16 December.
un Magazine 17.2 – Launching December 2023
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.
Subscribe below to make sure you get your print copy delivered straight to your door upon issue publication! 💌 Watch this space for our launch events later this year featuring readings from contributors and guests.
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 Extended – un Projects online platform for arts writing, podcasts, and events.
cobalt goblin – Emily Morel
‘I don’t know if this is a case of pareidolia or Whistler’s intention, but painted on the plate’s surface I can distinctly see a cute, impish face. Has Kai isolated a reference to the kobold here? Or perhaps has a kobald made itself manifest in this cobalt glaze?’
Emily Morel reviews cobalt goblin, a recent exhibition of work by Amy Stuart, R Kai, Luyuan Zhang, Mari Matsumoto, housed at the West Melbourne artist-run Car Wash.
Commissioned by Diego Ramírez, un Extended Editor-in-Residence.
A never-quiet looking, an endless pulling – Skye Malu Baker
‘On second glance, these works are evasive and refuse to be pinned down. The viewer’s innate desire to attach meaning to the symbolic is co-opted into a staged drama of questioned perception.’
Skye Malu Baker writes a double review for un Extended: Victoria Stolz, no external (Cathedral Cabinet) and Francis Carmody, A Relic Remains (Gertrude Glasshouse).
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.
Flesh Boundaries – Madison Pawle
‘Another synchronicity: when I arrive at FUTURES I have been reading through Carson’s back catalogue. Like Drinan, Carson has a way of taking an everyday thing and making it sensational. The figurative encroaches on scenes of ordinary encounter.’
Madison Pawle reviews Sarah Drinan Flesh Boundaries, a recent solo exhibition at FUTURES Gallery.
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.
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.
A Language of Craftivism – Uswa Qureshi
‘The language of activism remains relevant in a social economy based on efficiency. Obliqueness is an enemy to being heard and we require more than just visual symbolism to process the mess of information we absorb daily. Maybe Cox’s work is an antidote to an information overload that can be debilitating to both personal health and collective action.’
Uswa Qureshi reviews Sophie Cox’s ‘Protest and Survive’, a recent solo exhibition at Rubicon ARI.
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.
With energy stolen from the bohemians who decorate the room? – Douglas Maxted
‘You’re weird. What do you want? A cappuccino, please. Grunt. The waiter rips out a page from their pad. They slam it on the table. It reads ‘theory boy cappuccino’ in marker. They turn to the long-haired sommelier. What are you doing tonight? Everything, baby. I’m a bohemian.’
Douglas Maxted’s meta-fictional response to ‘With energy stolen from the bohemians who decorate the room’, a recent group exhibition at Bus Projects. Edited by Carmen-Sibha Keiso, un Extended Editor-in-Residence.
Modernist Monstrosities or Future? A Review of Sydney Contemporary – Levent Can Kaya
‘Already seeing more sculptures and less paintings upon an initial scan of Hall D, the edge and verve of the ‘Future’ sector’s gallery was immediately apparent. Touché, Sydney Contemporary.’
On a search for artist-runs, Levent Can Kaya strolls through Hall D at Sydney Contemporary 2023.
Making the Invisible Visible – Ella Howells
‘Wood grain veneer, wobbled Word Art photocopies and chairs upholstered with flecked carpet are elevated beyond the substrates of nostalgia; utilitarian liturgy acknowledged. The artist’s latest approach warps these motifs of ad-hoc literality through an esoteric magnetic filter for presentation in a group show curated by David Sequeira and Hee Joon Youn, opaquely titled Making the Invisible Visible.’
Ella Howells speaks to the magnetic shape, line and form of Gabriella D’Costa’s work, currently showing at Fiona and Sidney Myer Gallery.
Soda Jerking Pepsi – Philip Brophy
‘This “review” is a consideration of how Soda Jerk queries the effectiveness and relevance of satire, under contemporary political conditions of image-making, by specifically taking up their strategic insertion of the Pepsi® ad as a “Prologue” within Hello Dankness, to discuss broader issues of image-making and the mediascape within which both are produced.’
Philip Brophy on advertising, aspiration and Soda Jerk.
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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, present and emerging.
