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

Pippa Milne

The past is present: the curatorial act of exhibiting exhibitions

It sounds like an art world joke: What do you get when you pluck a 1969 exhibition from a German Kunsthalle and reconstruct it in an 18th-century Venetian palazzo, forty-four years later? Add some gallery attendants in Prada suits and an audience fresh from Massimiliano Gioni’s 55th Venice Biennale, and you have an answer that, […]

Aodhan Madden

Bathing in cool water: an interview with Grace Cossington Smith*

Sophia Dacy-Cole

The Artist Book Studio: the pitfalls of a nostalgic politic

I was recently lucky enough to spend two mornings in the Monash Artist Book Studio and Ancora Press headquarters. The space houses antiquated printing presses and their corresponding instruments: movable type, composing sticks, inks, etc. While I was in awe of the machines and tools housed within, and taken with the books that had been […]

Tom Melick

Ciao Giotto!

Delivery to the following recipient failed permanently: [email protected] Technical details of permanent failure: DNS Error: Domain name not found —– Original message —– From: Silvio Berlusconi Date: Wed, Oct 2, 2013 at 11.58 PM Subject: Urgent!!!! 🙂 To: Giotto di Bondone Ciao! It’s me, Silvio. Drop what you’re doing. Drop the brushes and paints Giotto! […]

Amanda Kouriroukidis

Divine comedies, they’re getting worse every year

An impeccable looking man in a tuxedo jacket and striped pants enters carrying a headless dressmaker’s dummy. He feigns marriage, puts a bunch of artificial flowers at the dummy’s feet, sits down, turns his back to the audience and begins to speak. As he speaks the tension in the room weighs heavier and heavier. Soon […]

Ellie Buttrose

Processing Disagreement: Part One, OtherFilm and Institute of Modern Art, 5 September 2013

Bryan Spier

Naked and alone: Pat Larter, Laser-Print Painting, 1995

I confess to a prickling of embarrassment when I look at Pat Larter’s Laser-Print Painting of 1995. I first saw it at the opening of the Sarah Scout instalment of Geoff Newton’s epic Like Mike series. Here I found myself embarrassed to gaze too deeply at it, and ashamed to be seen averting my eyes. […]

Helen Johnson

Memory is not a recording device: on Eliza Hutchison’s Hair in the Gate, a biograph

In Australia, we struggle to insist on identity even as we are engulfed by the unrepresentable. I feel that this is a condition of being Australian. The moment we believe we have defeated the unrepresentable is the moment we have once again failed, retreating into construct only to await the next encroachment. Hutchison’s work is […]

Robert Shumoail-Albazi

Zoë Croggon, Pool, West Space, 19 July – 10 August 2013

The contradictory elements of dynamism at play throughout Zoë Croggon’s recent exhibition Pool at West Space, Melbourne, reflect an imitative relationship of both movement and stasis, often through the effective use of visual comparison. Comprising six collage prints fluently combining images of the human body in motion with architectural environments alongside a dance-based video piece, […]

Ian Haig

McCarthyism: Paul McCarthy, WS, The Armory, 19 June – 4 August 2013

The McCarthy era of post-war America in the late 1940s had its eyes firmly set on all things communist, as well as an Orwellian attitude towards subversive behavior. Namesake and bastard child of the era Paul McCarthy however, has his eyes set on all things perverse and fucked up in American culture. His massive exhibition […]

Julian Aubrey Smith

Leanne Hermosilla, Limited Visibility, Beam Contemporary, 8 June – 6 July 2013

Isabelle Sully

Kain Picken, Economy Class/Resort, West Space, 29 August – 14 September 2013

Jarrod Rawlins & Robert McKenzie

Editorial: A short conversation between Jarrod Rawlins and Robert McKenzie

JR : Rob, I want to discuss the concept of anachronism in contemporary art with you. This is the theme we are all working on for the 7.2 issue of un Magazine. You recently mentioned to me that you had been thinking about this subject, about ‘the perpetuation of antiquated styles and the way critical […]

Chelsea Hopper

Georgia Kaw, Patrick Miller & Elizabeth Pulie, Loose Change Menu, Moana Project Space, 19 July – 23 August 2013

Loose Change Menu: an apt title for a rather ill fitting yet satisfying jumbled assortment of artworks. On the whole, it’s a haptic exhibition: giant poster prints of an old couch drape over the walls, literally spilling into the creative studios next door; an unearthed tennis pole from a game of swing ball is lounging […]

Tara McDowell

This monstrous neologism: on Lyotard’s Les Immatériaux

Les Immatériaux roughly translates to ‘the immaterials’ or ‘the non-materials’. These materials are new in that they newly challenge our relationship to the world, whether through the dehumanisation of technology or by the faltering of man’s mastery over nature. And so the exhibition was filled with computers (often malfunctioning) but also artificial skin, Kevlar, and […]

Patrice Sharkey

Channel G, West Space, 21 June – 13 July 2013

In June and July 2013, Sean Peoples staged Channel G at West Space, transforming the gallery’s back space into a temporary, makeshift film studio that broadcast live and unscripted video content produced by an ensemble of local contemporary artists and friends of Peoples. As viewers of Channel G, we were privy to a wide range […]

Michael Ascroft

The controversy over Like Mike

Mike Brown is however not the only artist in Australian history to have been convicted of obscenity. The second, less well known case involved Cath Phillips, a one-time artist, author and publisher, and also organiser at the Sydney Mardi Gras and the Gay Games. Following complaints about her installation Butch Maison: The Palace at Femme, […]

Daniel Withers

Monochrome Exhibition, Sutton Project Space, 22 August – 14 September 2013

Nearly a century after the Russian Supremacists, the contemporary relevance of the monochrome painting is explored in a considered exhibition at Sutton Projects. David Homewood’s curatorial statement speaks of the complications with our traditional process in trying to make sense of a painting when considering the monochrome. Instead of focusing on whether we like the […]

Anusha Kenny

Kim Donaldson, tomorrow a well, VCA Student Gallery, 27–28 February 2013

Kim Donaldson’s PhD confirmation exhibition tomorrow a well formally marked the beginning of her academic research into the concepts of ‘performing the curatorial’ and ‘context-sensitivity’ in exhibition-making.[^1] In reality, Donaldson has been exploring these concepts for most of her career, working as both an artist and a curator to initiate group exhibitions exploring temporality, speculative […]

Isobel Parker Phillip

Clare Milledge, Motivated Reasoning: Strategic, Tactical, Operational, The Commercial Gallery, 22 March – 13 April 2013

Clare Milledge’s recent exhibition at The Commercial in Sydney, Motivated Reasoning: Strategic, Tactical, Operational, consumed and transformed the space of the gallery. Viewers were invited to navigate the calculated arrangement of painted glass, furniture and hanging fabric as a composite and self-contained artistic statement. To make sense of the exhibition, it was necessary to decipher […]

Helen Johnson

Is the research your practice, or is the practice your research?

The question of research in relation to practice is one that every artist undertaking a PhD must struggle with. Below is an attempt to lay out my own understanding of this relationship as I enter the Winter of the final six months of my PhD candidature at Monash University. For if, treating it [fine art] […]

Shena Jamieson

Joshua Petherick, Cusp and Cornice, Centre for Contemporary Photography, 8 February – 24 March 2013

Joshua Petherick’s exhibition Cusp and Cornice at the Centre for Contemporary Photography (CCP) brought together two bodies of work, Gutters and Carriers. Both traverse ideas of the everyday, and evoke points of reference within art history such as the Dadaist’s adoration of the arbitrary, the concept of found objects and strategies of chance composition. Petherick […]

Georgina Criddle

Matthew Greaves, MF, West Space, 22 March – 13 April 2013

In some cases, the failure of a work of art can be traced back to inconsistencies between content and form; however, as we see in Matthew Greaves’s exhibition MF at West Space, failing to be coherent in this sense can also be seen as a strategy, if not the actual point. In the exhibition Greaves […]

Shelley McSpedden

Occasional Miracles: Contemporary artists respond to the Shepparton Art Museum ceramics collection, Shepparton Art Museum, 8 February – 30 June 2013

As its title suggests, Occasional Miracles: Contemporary artists respond to the Shepparton Art Museum ceramics collection makes use of a classic curatorial device by inviting six artists to create new works that engage with the museum’s extensive holdings of historic Australian and international ceramics. It seems a foolproof formula. The museum’s collection is enlivened with […]