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paul boyé

@pb_______

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🇵🇸 | boorloo - @coolchangecontemporary @goolugatupheathcote @uwa_design mgmgmgmg

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We're excited to open submissions for 21.1 AUTODIDACTICISM guest edited by Paul Boyé to come out mid 2027! 👀

Proposals are due by 11:59pm AEDT Monday 2nd November 2026 🗓️

'If the 20th century was the age of the promethean — the hubris of which is epitomised by the 1968 Whole Earth Catalogue’s purpose statement : 'we are as gods and might as well get good at it' — then the 21st century has been a failure of the bootstrap in two senses. First, our weary hands slipping at each bootstrap-pull attempted and secondly, to borrow from the computational definition, a dusty kernel of techno-optimism that is failing to reboot the system.

Within the western context at least, the last one hundred years or so places the figure of the autodidact — someone who learns skills through self-teaching or informal education — in the middle of several contradictions. The academic and elitist establishment traditionally patronises the autodidact as incomplete, one who may be able to perform skillfully in any given field, but lacks the moral and cultural capacity for judgment and greater purpose. On the other hand, the technocratic middle-class emerging from the industrial society of the US valued invention, enterprise and the ‘self-made man’. Here, the elite academy is represented as a boorish timewaste, distrustful and a bulwark to private enterprise.

The endgames of such contradictions, otherwise known as ‘neoliberalism’, has led to a devaluing of state education and the forum of public intellectualism more broadly, and replaced it with a contrived entrepreneurial drive that treats thought and creativity as venture for small business start-up and influence. What then remains of our sputtering engines of self-development? Is there anything salvageable from the fading ideals of alternative education, knowledge-sharing and DIY?...'

[Read the full call out for proposals online]

We are seeking all kinds of submissions: arts criticism, artist pages, interviews, artist profiles, exhibition reviews, and more!

We can't wait to see what you're working on! 🧩 by @__pb_________

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While we're busy working on 20.2, we're excited to announce our first un Magazine guest editor for 2027, vol 21… Paul Boyé! 📖

Boyé will be editing 21.1 to come out mid 2027. The call out for proposals will be up in the following days, so stay tuned... ₊⊹ 🗯

Paul Boyé is a writer and curator working in Boorloo/Perth. They are the Curator at Goolugatup Gallery, Lecturer of Art History and Curatorial Studies at University of Western Australia, and has worked with artist-run projects such as Cool Change and un Projects over the last decade. Paul is a part of the performance collective ‘mgmgmg’, and collaborates often with Boorloo-based artist Ella Valentine. Following their PhD on speculative philosophy and the ‘inhuman’, Paul is developing a curatorial methodology that engages with contemporary tension. Their creative research seeks pathways through encroaching inhuman worlds and technologies: this can be seen in recent exhibition projects investigating the psychosocial limits of domestic and work environments (SNEAK OUT, TBC, Melbourne) or travelling through poetic thresholds of interiority and exteriority (The world is all cut-outs then, Goolugatup Gallery, Perth). In 2026, Paul produced two exhibitions on the theme of hope in collaboration with Isabella Hone-Saunders, as that year's MADA Gallery Curators-in-Residence.

We’re so delighted to be working with Boyé who was previously our first un Extended Editor-in-Residence in 2022, has collaborate with un on a variety of reading groups and talks, and written many vital pieces for us over the years!. ₊⊹

Subscribe to support un and be the first to get these incoming issues 20.2 Jessyca Hutchens (December) and 21.1 Paul Boyé (June) straight to your door, and keep your eye out for our open proposals call! 📚

Image: @karl_halliday by @__pb_________

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We (Isabella Hone-Saunders & Paul Boyé) are excited to announce our second exhibition as a part of the MADA Curator-in-Residence Program. Thank you to Melanie Flynn, the MADA faculty and MUMA for the opportunity to collaborate on these exhibitions.

‘Inter-narratives of hope: Stay away from nothing’ will open October 1 at MADA Gallery, featuring works by Aleks Danko, Danielle Freakley, George Watson, Liv Moriarty, Michael Cook, P. Staff (c/o Triple Canopy) and Tamara Marrington.

For this second exhibition, the nature of the social - how we hope together - is the threshold for contingent perspectives on and against hope. On this threshold, directions are dowsed with unexpected compasses. Through several works and an ongoing instructional performance by Danielle Freakley, conflict and agreement are taken as navigational principles, complicating further into questions on responsibility and causation. The diagram is taken as an interface, but also as a means to record growth, frustration; lapses and voids.

‘Stay away from nothing’ stages several systems of pathos, plotted on nodes of cause. Through eventual consensus grows a garden-path of effects.

Please join us at MADA Gallery from 6pm, Thursday October 1 for the opening of this exhibition. The exhibition will run until October 24.

Design and catalogue by Dennis Grauel, Illustrations by Liv Moriarty

Supported by Creative Australia and the WA Government (CITS). by @__pb_________

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“I wake up, I arrive here, I sit in contempt, and I ask the machine Scissi, what are some other words for waste? and she tells me squander, refuse, atrophy,
surplus. I go on to ask her Scissi, is Bataille against death, is he pro-waste? She responds not exactly, for death does not negate life, it simply operates as a
natural luxury or expenditure to the economy of life… see when something dies it leaves room for the coming of the newborn, I think I know, yes, he definitely
says this himself. Unsure of what I want from her, I continue to prod… Scissi, what do you think being born premature would feel like”

To accompany ACCURSED SHARING, Carmen-Sibha Keiso’s text ‘Scissiparity’ considers the growth and development of imagined and actual systems.

Carmen-Sibha Keiso is an artist, writer and curator working in performance, video, and text. They co-direct expanded literary practice space Read the Room and have published with Afterall, Circuit Editions, HEAD Genéve, Memo Review, No More Poetry, The Manhattan Art Journal, unProjects, Form IV, Lieu Journal, min.report, ELP, DEFF, ACCA, and Montez Press.

It is the last weekend to visit ACCURSED SHARING, before we close for installation.

--~*~--

@melvillecity @melvillecityartsandevents

Photography courtesy of Aaron Claringbold @waterrunningslowlyoverrocks by @__pb_________

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ACCURSED SHARING

09 May – 26 July

In the thick of it. Life and culture seem tense, felt in the back of the neck. Are you repulsed, or drawn to this sciatic, obsessive interior? There is no neutral position. ACCURSED SHARING follows what Pierre Klossowski called the suppôt: “How can one give an account of an irreducible depth of sensibility, except by acts that betray it?”

Betraying their interiors, Chandler Abrahams and Valentina Sartori have produced new sculptural and image-based work foreshadowing a metabolic protagonist exhaled out of the internet. Several neon works by Kartika Laila Ahmad diffuse the tension of the contemporary built environment into the imaginary of its counter-utopia: striated and capillary-like neon batons meet steel framework. Thomas Brown’s viscera triptych exposes the libidinal core of breathing-things: assemblages of guts rendered soft and edgeless.

ACCURSED SHARING empties out an attic of obsessional images, a body without organisation.

Curated by Goolugatup Gallery Curator Paul Boyé.

Exhibitions open Tuesday – Sunday, 10am-4pm

--~*~--

@melvillecity @melvillecityartsandevents

Photography courtesy of Aaron Claringbold @waterrunningslowlyoverrocks by @__pb_________

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Our HART3330 Art Writing students, coordinated by Paul Boyé (@__pb_________), recently undertook a residency at gallery and studio space underscore.gs (@_____g.s).
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‘Northbridge Dérive’ asked students to respond to the geography of Northbridge as a site of spontaneous and intentional culture and develop their writing skills as a form of field-work research. As art history and curatorial studies students, they drew from an archive of artist writing relating to built environments, movement and access, assembly and ‘the public’.
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The two-week residency entailed writing, reading groups, ephemera and image gathering. It closed with an exhibition and reading event, featuring spoken texts by Art Writing students, and special guests Chandler Abrahams, Samuel Beilby, Maile Bowen, Robert Cook, Rachel Ciesla, Kate Moss and Paul Sutherland also performing readings.
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@uwastudents @universitywa by @__pb_________

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6 months ago

hello, we made a cute catalogue ~ biggest thanks to audrey jo pfister for their essay, dennis grauel for his design, stray pages for the beautiful riso printing and to creative australia for the funds to produce this first of two publications ~

join us for the opening of ‘inter-narratives of hope: building catastrophe resilience’ next thursday 6–8pm at MADA gallery, caulfield

How does hope confront the denial of the future?

The ‘inter-narrative’ functions here as a navigational tool for approaching hope, a virtual idea that floats and haunts above us in the everyday of crisis. As a methodology, the inter-narrative refuses to be flattened into a single story; instead, it creates an arrangement of materially and geographically distinct experiences that act as anchors. This intentional commitment drives the formation of the many inter-narratives within this exhibition: human and non-human stories of tender dependence, visual parallels of environmental crisis, extractivism, and utopia.

In a void of footholds, hope confronts the denial of the future. Whether foreclosed by climate collapse, monstrous capitalism, or the erasure of marginalised life, hope cannot be a speculative investment in a ‘later’ that may never arrive. In this exhibition, hope is active because it is foundational; it is the infrastructure of resistance that allows us to act despite the lack of a guaranteed outcome. If capitalism denies us a future, hope responds by reclaiming the integrity of the now.

By disrupting system breakdown through a constellation of images, people, and symbols, we attempt to collapse the distance between art and solidarity. When we speak of building catastrophe resistance, we are speaking of the way we work together as curators and artists. This is a commitment to a ‘near horizon’ where the work is the sustenance. We offer these inter-narratives not as a promised solution, but as a disciplined methodology for navigating the everyday of crisis.

Dani Marti, Holly Childs + Gediminas Žygus, Joshua Petherick, Polly Borland, Rory Pilgrim, Susan Norrie, Wendy Hubert

Isabella Hone-Saunders and Paul Boyé ~ MADA Curators-in-Residence by @__pb_________

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'The exploration of a fixed spatial field entails establishing bases and calculating directions of penetration'
— Guy Debord

Over the last two weeks, HART3330 Art Writing students (unit coordinator Paul Boyé) have been undertaking a residency at _____g.s.
‘Northbridge Dérive’ asks students to respond to the geography of Northbridge as a site of spontaneous and intentional culture, and develop their writing skills as a form of field-work research. As art history and curatorial studies students, we will be drawing from an archive of artist writing relating to built environments, movement and access, assembly and ‘the public’.
The two-week residency will entail writing, reading groups, ephemera and image gathering. It will culminate in a live reading event, and exhibition in the _____g.s gallery space.
You are cordially invited to the closing event, this Sunday 29 March, from 5pm. Along with readings from the residency, guest speakers Chandler Abrahams, Samuel Beilby, Maile Bowen, Robert Cook, Rachel Ciesla, Kate Moss and Paul Sutherland.

_____g.s is located on unceded Whadjuk Noongar Boodja. We pay our respects to Elders past and present and acknowledge their continuing sovereignty, culture and law. Always was, always will be, Aboriginal land. taken in William Street Northbridge by @__pb_________

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Feeling particularly excited to finally announce this first of two exhibitions curated by myself and Paul Boyé as part of the MADA Curator-in-Residence program.  ‘Inter-narratives of hope: building catastrophe resilience’ will open on April 16 at MADA gallery, featuring works by; Holly Childs + Gediminas Žygus, Rory Pilgrim, Dani Marti, Wendy Hubert, Susan Norrie, Joshua Petherick and Polly Borland.
 John Berger once remarked, “It’s in hell where solidarity is important, not in heaven.”  However, from shared experiences of catastrophe within the Australian settler-colonial context, can solidarity be our highest hope without imagining a better alternative?

‘Inter-narratives of hope: building catastrophe resilience’ takes on major themes of survival and belonging as a starting point, folding in a constellation of materially and geographically distinct works into conceptual alignment.  Through actual and potential forms of community collaboration and mutual affirmation – taken as solidarity frameworks for resilience – this exhibition poses a counter-narrative to the catastrophes of resource extraction, environmental devastation, grief and crisis. Inter-narratives of hope, building catastrophe resilience is a project that invites reflection on what support structures, both metaphorical and structural, are needed to navigate and mitigate harm in the uncertain collective present.  The exhibition folds in a new commission, current work, representations and MUMA Collection works.

Design and catalogue by Dennis Grauel.

This exhibition will be accompanied by a text from Audrey Pfister. by @__pb_________

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Go and see it and view the movie at Goolugatup heathcote. It’s a nice show for anyone 💙 by @__pb_________

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is very excited to invite you to attend the opening night of ‘Metalux’ on Thursday, December 4th, 6 - 9 pm at Shop 13, 375 William Street, Boorloo 6000.

'Metalux', curated by Jo Law and Redmond Bridgeman, and facilitated by Paul Boyé, is a series of experimental cameraless films and experimental video from 1990’s Western Australia. These works represent a scene of filmic experimentation with materialist methodologies, influenced by the late Peter Mudie. The program considers perception construction, identity formation, and structures of consciousness through an investigation of the material of film.

The gallery is located on the ground floor and is wheelchair accessible. If you’re after dinner, please consider eating at one of our neighbours restaurants.

_____g.s is located on unceded Whadjuk Noongar Boodja. We pay our respects to Elders past and present and acknowledge their continuing sovereignty, culture and law. Always was, always will be, Aboriginal land. taken in William Street Northbridge by @__pb_________

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un Magazine 19.1: Resonant imaginaries and sound clashes: contemporary – political – disruptive – polyrhythmic. Ed. Lucreccia Quintanilla   WA Launch event _____g.s Shop 13, 375 William Street, Boorloo Friday, September 19, 5 - 9pm  Featuring a panel talk with WA writers: Ross Bolleter & Eduardo Cossio,
Samuel Beilby,
and mgmgmgmg (Chandler Abrahams, Paul Boye, Levi Mclean & Samuel Beilby).
Facilitated by Dr. Sarah Collins.  Also featuring live performances by:
Ross Bolleter & Eduardo Cossio,
mgmgmgmg

Un magazine 19.1 features contributions on experimental walking radio work, polyrhythms and singeli music, decolonising legacy sound art, Taiwanese noise scenes, ecological-focused sound workshops, and more.   Please join us for a night of noise, experimental music, performance art and discussion. The publication will be available to purchase at the event.

@un_projects
@lucrecciaquintanilla
@eduardo__cossio @samuelbeilby  @custom_chrome_decal
@__pb_________
@__serge_de_nimes by @__pb_________

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