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.
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un Magazine 16.2

un Magazine 16.2, A Collection of Annotated Bibliographies Vol. 2, edited by D. Harding and Hilary Thurlow 

un Magazine 16.2 features contributions from Gabrielle Bergman, Trent Crawford & Stanton Cornish-Ward, Caitlin Franzmann & Amaara Raheem, Lou Garcia-Dolnik, Lewis Gittus, Yuki Kihara, Natalie King OAM, Ioana Gordon-Smith & Allan Haeweng, KINK, Thomas Solomon Kuiper, Liv Moriarty, Emily Mulvihill, Sarah Poulgrain, and Rasheeda Wilson. 

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Performance Lecture by Diego Ramírez, 2021, for the Liquid Architecture program Mono-Poly, hosted at Composite. Image courtesy of Composite

A body with many parts: An interview with Channon Goodwin of Composite

‘Be it the embodied performances of Jill Orr and Mike Parr, VNS Matrix’s seminal cyberfeminist interventions, or Lou Hubbard’s ongoing exercises in formal deconstruction, it often goes understated just how crucial an ingredient the moving image has been in the constitution of Australian art history in the past fifty years. Looking towards the future, and now more so than ever, the moving image claims dominance within the institutional art circuit, having overtaken the still photographic image as the preeminent visual language of the times.’

un Projects’ Editor-in-Residence Program is supported by the City of Yarra.

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Review: Becoming, Warsan Mohammed curated by Anna Emina El Samad.

By Celine Saoud

‘Black Muslim women are at the intersection of multiple marginalised communities in Australia, facing a Western gaze that vilifies Islam, oppresses Black people and subjugates women. The safe spaces created by Black Muslim women, depicted by Warsan in Becoming, are an act of resistance to this Western worldview. They reject being pigeonholed by a white lens, instead engaging in social, critical and religious discourse together.’

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