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

Alex Vivian

To propose a petroleum jelly advertisement or campaign

(top) To propose a petroleum jelly advertisement or campaign(movement, camouflage, etc.) (bottom) To propose a petroleum jelly advertisement or campaign(colour, clothing, etc.)

Jesse Dyer

Une séance du cinéma

‘Didn’t the images and forms of modernism already have ruin, decay, and obsolescence written into them?’[^1] — Mark Lewis, Is Modernity our Antiquity? Daria Martin’s One of the Things that Makes Me Doubt is an ambiguous exhibition experience. The chattering of film projectors and the earthy soundtracks by Zeena Parkins resonate through the muddy acoustics […]

Briony Galligan

Cemeti Art House on turning twenty-five

Mella Jaarsma and Nindityo Adipurnomo are artists and the Yogyakarta-based directors of Cemeti Art House, the art space they founded in 1988 in the front room of their house. Their aim for Cemeti was to exhibit new work and function as an information centre that promoted Indonesian artists over the longer term. Twenty-five years on, […]

Christopher Williams-Wynn

On the (im)possibility of anachronism in contemporary art

When investigating cultural understandings of time and space at the beginning of the twentieth century, historian Stephen Kern notes a rising contest between ideas of public (or social) time and private time in Europe.[^1] Public time is the realm of shared understandings of temporal experience, disseminated through calendars, clocks and the adoption of standard time, […]

Thomas Jeppe

In time: emotional professionalism

Emotion TJ : Being mindful to sidestep sentimentality, tell me about how emotion comes into this. Because I think it is something of a cornerstone. RC : I was planning an essay about this show called ‘The Exhibition as Catharsis’. This is why I’m a bad curator on a few levels, I am a free-association […]

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 & Harriet Kate Morgan

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 […]

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