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

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Submissions are still open for un Magazine 21.1 'Autodidactism' guest edited by Paul Boyé 👀 @__pb_________

We are seeking all kinds of submissions from art criticism, artist pages, interviews, exhibition reviews, letters, alternative models, reflections, experimental and poetic texts and more!?

'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....'

Read the full call out for proposals to un Magazine 21.1 Autodidactism on our Google form. 📢

Submit your magazine proposal before 2 November 2026 midnight (11:59pm AEDT) 🫡✍️ We can't wait to see what you're working on!

In the meantime, subscribe to get our next issue from @jessycahutchens this December. 😛

Font: Frick @dennisgrauel
Image: First slide @laura1uciana at 20.1 @season___season launch. Last slide archive un Magazines.

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Last weekend, I had the honour of launching my debut photobook RETRACER in the company of some of my dearest friends at @perimeterbooks

Three years in the making, RETRACER is now available for order on the @junemeadoweditions website - link in bio.

What better opportunity to express my gratitude to Alex Malkovic @civoklam without whom this book would not be possible. As editor, designer, publisher and bona fide G, Alex had the mammoth task of combing through a decade’s worth of photographs from my archive, weaving together an incredible tapestry of pictures, presenting them in ways I could never conceive myself. Over the course of many zoom meetings, phone calls and interstate visits, Alex was quick to quell my uncertainties with his dedication, vision and belief in the value of my work, meaningfully restoring my faith in my practice in the process. What a pleasure it has been to be part of his exciting new publishing venture. The success is yours my friend. Thank you.

I must also extend my appreciation to Paul Boyé @__pb_________ for gracing the book with his thoughtful and imaginative writing, which appears on interleaved sheets of tracing paper throughout so text and image merge into one. It was a dream team to say the least!

For those interested, you can purchase the book through the June Meadow Editions website, or in-store at beloved stockists @perimeterbooks and @firstedition.library

There is also a special book + print bundle available, with the option of one of three limited edition prints hand-signed by yours truly. If you are based in Naarm and keen to collect a copy from me personally, select ‘local delivery’ at checkout and I will drop one off :)

Photo credits:
1 & 2 @sher_burntout
7 @jesseingram

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Show your love this AusArt Day 💜 This year we're asking for your support to help us bring back our un Extended Editor-in-Residence program in 2027.

From its humble beginnings in 2022; our EiR program has supported the creative careers of Paul Boyé, Carmen-Sibha Keiso, Diego Ramírez, Ella Howells, Sofia Sid Ahkmed, and Victoria Perin.

These editors have commissioned the likes of Philip Brophy, Chunxiao Qu, Anador Walsh, Natalie Thomas, Edie Duffy, Roukaya Hassoun, Cameron Hurst, David Chesworth, and more. Here writers have covered the archives of Clifton Hill Music Centre, Melbourne Art Ephemera Archive, the artist Ian Burns, and reviewed exhibitions from the Nicholas Building in Melbourne to PICA in Perth to ARIs in Mexico City.

Each year, the EiR commissions writers to respond to exhibitions and artists across Australia, while providing an editor with paid work, mentorship and the opportunity to shape a program of new criticism.

It’s a small-scale program with a big impact: creating paid opportunities for writers, putting emerging artists into conversation with new voices, and ensuring Australian art is documented and discussed.

But we can’t do this without you! Critical writing needs critical support. Donate to un Projects this #AusArtDay 📢

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Unbelievably it’s already the final week of ‘Inter-narratives of hope; Stay away from nothing’ so, please join us for our finissage Argument Jams session in the Argument Lab with Danielle Freakley.

This Saturday October 24, 2–5pm at MADA Gallery.

Open to all, there will be live argument jams, card games, conflict resultions walk and talks, all in the argument lab.

‘A major structural anchor for this second show is Danielle Freakley’s instructional performance, Argument Jams. In my own research, I am trying to pull hope down from the speculative and lofty clouds of a deferred ‘later’ and look at it as a gritty, relational infrastructure. Freakley’s work does exactly this by intervening in the micro-dynamics of human speech, coercion, and obligation. It forces a hyper-awareness of how we construct consensus, conflict, and tender dependence through real-time conversations.’
- IHS on Danielle Freakley’s ‘Argument Jams’.

As with the first exhibition, Dennis Grauel designed our beautiful catalogue, printed artfully by Stray Pages. It features a poem by P. STAFF, an essay by Liz Smith, writing and illustrations by Liv Moriarty and a conversation between Bella and Paul.

A huge and heart filled thank you to all the artists and contributors across both exhibitions, it’s been such a pleasure to work together.

‘And so maybe our shared time navigating hope has not been with a compass or a clearly defined map, but rather as two people (old guys ha ha) scrounging through notions, feelings, limits, and so on, but holding fast an aim toward hope, rather than generating yet another ‘well-executed work of mourning for being’.’
- PB in conversations with IHS.

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Karl Halliday, Retracer.

200 x 270mm, 120pp. 79 colour plates. Swiss-bound softcover with exposed spine, debossed cover, tip-on, loose inserts hand-placed throughout. Launching this Saturday the 17th of October at @perimeterbooks and available online very shortly.

Retracer moves through the world the way memory does - not in a line, but in returns. To retrace is not to arrive anywhere new, but to tread ground already walked, checking what has shifted and what remains the same. The debut publication from Naarm-based photographer Karl Halliday gathers fragments from the artist’s archive of images drawn from the ordinary furniture of a life lived and re-lived in photographs. The past not looked back on so much as reworked, carried forward, made to answer for the present.

Collisions invite the eye to hunt for the logic joining any two moments, dissolving into a somnambulatory state of free association and open proposition. A retracing that erodes slightly each time it runs, like ground worn by repeated passage. What accumulates is less a story than a rhythm, a circular movement, returning again and again until the going-back becomes the subject. They are the humble repetitions that life turns out to be made from.

Interleaved throughout, an accompanying text by Paul Boyé offers points of orientation without prescribing a route. Printed loose and left unbound, its position can shift between sections, allowing words and images to meet differently with each arrangement.

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Submissions are still open for un Magazine 21.1 'Autodidactism' guest edited by Paul Boyé 👀

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

We are seeking elaboration on and critique of autodidacticism, an ancient approach to self-making that now, in the 21st century, meets the open-access tools and information technology with great enthusiasm. When it comes to art-making and art-organising, the notion of the DIY both secures autonomy while also refiguring forms of labour as invisible and unrecognised. It could be argued that the figure of the autodidact ought to be both held to account and seen as a path forward in the present twilight of ‘artist-run’ organising.

Potential topics include: self-learning, alternative arts education, teaching experimental art history, DIY in contemporary art, curatorial models for learning and education in the gallery, citizen science, para-academia, Indigenous pedagogy, child development, home-schooling, eurythmy, ‘training’ of computational models, shadow libraries and online text repositories, diagrammatics, psychoanalytic insight into self-development, the Platonic figure of the ‘demiurge’, bildungsroman.

Read the full call out for proposals online.

We can't wait to see what you're working on! Issue comes out mid-2027. In the meantime, subscribe to get our next issue from @jessycahutchens this December. 📔

Font: Frick @dennisgrauel
Images: 20.1 launch @futurejuice.xyz

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June Meadow Editions invites you to celebrate the release of the debut publication from Naarm-based photographer Karl Halliday – Saturday the 17th of October at Perimeter Books.

Join us from 3-5pm for a book signing and artist talk, where Karl will be joined by writer and curator Paul Boyé for an informal conversation around the making of the book and his wider practice, with light refreshments to follow.

All welcome - we hope to see you there! ⊹

@karl_halliday @perimeterbooks @__pb_________

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‘Internarratives of Hope, Stay away from nothing’ - October 1-24 @ MADA Gallery.

ISABELLA: In our first iteration, Paul, we established the inter-narrative as a navigational tool for the near horizon, a way of anchoring ourselves within a stretched out present. I saw this play out as a dynamic and relational constellation of the sky, the earth, and immediate somatic intimacies. For this second show, our curatorial posture shifts. It is less about establishing those grounding, protective coordinates, and more about navigating the volatile, forked paths of decision making that occur when those very relations are thrust into conflict.
 When system breakdown strips us of consensus, navigation becomes a radical, conflictual act of decision making. My question is about the shift from anchoring to steering: How do we steer forward when the very signs and lodestars we rely on are caught in a differend? If there is no consensus on what a liveable future looks like, how does, or can, curatorial pathfinding avoid becoming just another forced direction?

PAUL: When we first started working together on this residency, I felt that we already had a shared toolbox of concepts around relation and time. I don’t mean to say that our perspectives and ideas are in total alignment, but rather that the theme of hope, one quite foreign and troubling to me, could be worked through coherently between the two of us.

Hope, to me, seems like a genre of being always in dispute, yet when taken this way, does not simply continue the nihilistic pursuit of retelling ‘whether bitterly or gladly, the great narrative of the end of great narratives.’ And so maybe our shared time navigating hope has not been with a compass or a clearly defined map, but rather as two people scrounging through notions, feelings, limits, and so on, but holding fast an aim toward hope. It seeds a map of possibility and potential. No promises, no futures, but mole tunnels through the garbage heap.

Excerpt from a conversation between Paul Boyé & Isabella Hone-Saunders. Read the conversation in full in our catalogue, designed by Dennis Grauel.

George Watson

Tamara Marrington

Tamara Marrington & Aleks Danko

Liv Moriar

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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

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@arteryzine #4 last night 🫶 Thank you all for coming and thank you contributors for reading! It was a pleasure working around your paintings, Lucinda, amazing meeting you last night as well!
Shout out to @lucysheardown & @lutwidgekeats who I didn't get photos with 🥹👉👈 & @rhyshermite for writing my favourite piece but not being able to attend 🙂‍↕️

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LANDSCAPE EDITION: CONTRIBUTOR ANNOUNCEMENT! While we put the finishing touches to Issue 5 before sending the edition off to the printers, Pelican Magazine is excited to reveal our contributor list for LANDSCAPE! Running to almost 100 pages in length, this issue is filled with exceptional writing, and we are delighted to be privileged enough to curate such a gorgeous body of work. Launch details forthcoming!

Edit: We would like to note a typo here, it should read Jada De Luca.

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