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It’s here… 19.2 We Swear We Saw This, Drawings About Notebooks and Notebooks about the Wor(l)ds, guest edited by Azza Zein reflects on the notebook — as witness, a site of translation, a mapping device, a tool to demarcate time and otherwise unpublished notes and drawings. 📘

Inside you’ll find Articles that explore the variety of methodologies found in artists’ and writers’ notebooks including Australian painter Bea Maddock, Palestinian artist Nahil Bishara, the NZ choreographer Douglas Wright, American modernist poet H.D, and conceptual artist Lutz Bacher. You’ll find artist pages with sketches of Nubia, carrier pigeons, scrapbooks, surreal playing cards and notebook neologisms. Reflections on local projects from Dandenong’s ‘HOME 25’ exhibition, to Launceston’s ‘Portrait of Community’.

Contributions by Menna Agha, Mya Cole, Carlos Eduardo Morreo, Marcela Alejandra Gómez Escudero, Joyce Joumaa, Tina Stefanou, Miriam La Rosa, Sunny Lei, Laura Luciana, Hugh Magnus, Marcus McKenzie, Thomas Moran, Georgia Mulholland, Zoë Sadokierski, Zara Sully & Lisa Roberts and Toyah Webb.

Designed by Dennis Grauel & Zenobia Ahmed.

Subscribe to be the first to get your copy or order online.. Makes the perfect gift for your friend, collaborator, crush, or self! Support your local publisher. 💌

Launch events coming early 2026.. 👀

AVAILABLE NOW! 𐙚 ‧₊˚ ⋅

It’s here… 19.2 We Swear We Saw This, Drawings About Notebooks and Notebooks about the Wor(l)ds, guest edited by Azza Zein reflects on the notebook — as witness, a site of translation, a mapping device, a tool to demarcate time and otherwise unpublished notes and drawings. 📘

Inside you’ll find Articles that explore the variety of methodologies found in artists’ and writers’ notebooks including Australian painter Bea Maddock, Palestinian artist Nahil Bishara, the NZ choreographer Douglas Wright, American modernist poet H.D, and conceptual artist Lutz Bacher. You’ll find artist pages with sketches of Nubia, carrier pigeons, scrapbooks, surreal playing cards and notebook neologisms. Reflections on local projects from Dandenong’s ‘HOME 25’ exhibition, to Launceston’s ‘Portrait of Community’.

Contributions by Menna Agha, Mya Cole, Carlos Eduardo Morreo, Marcela Alejandra Gómez Escudero, Joyce Joumaa, Tina Stefanou, Miriam La Rosa, Sunny Lei, Laura Luciana, Hugh Magnus, Marcus McKenzie, Thomas Moran, Georgia Mulholland, Zoë Sadokierski, Zara Sully & Lisa Roberts and Toyah Webb.

Designed by Dennis Grauel & Zenobia Ahmed.

Subscribe to be the first to get your copy or order online.. Makes the perfect gift for your friend, collaborator, crush, or self! Support your local publisher. 💌

Launch events coming early 2026.. 👀

AVAILABLE NOW! 𐙚 ‧₊˚ ⋅

It’s here… 19.2 We Swear We Saw This, Drawings About Notebooks and Notebooks about the Wor(l)ds, guest edited by Azza Zein reflects on the notebook — as witness, a site of translation, a mapping device, a tool to demarcate time and otherwise unpublished notes and drawings. 📘

Inside you’ll find Articles that explore the variety of methodologies found in artists’ and writers’ notebooks including Australian painter Bea Maddock, Palestinian artist Nahil Bishara, the NZ choreographer Douglas Wright, American modernist poet H.D, and conceptual artist Lutz Bacher. You’ll find artist pages with sketches of Nubia, carrier pigeons, scrapbooks, surreal playing cards and notebook neologisms. Reflections on local projects from Dandenong’s ‘HOME 25’ exhibition, to Launceston’s ‘Portrait of Community’.

Contributions by Menna Agha, Mya Cole, Carlos Eduardo Morreo, Marcela Alejandra Gómez Escudero, Joyce Joumaa, Tina Stefanou, Miriam La Rosa, Sunny Lei, Laura Luciana, Hugh Magnus, Marcus McKenzie, Thomas Moran, Georgia Mulholland, Zoë Sadokierski, Zara Sully & Lisa Roberts and Toyah Webb.

Designed by Dennis Grauel & Zenobia Ahmed.

Subscribe to be the first to get your copy or order online.. Makes the perfect gift for your friend, collaborator, crush, or self! Support your local publisher. 💌

Launch events coming early 2026.. 👀

AVAILABLE NOW! 𐙚 ‧₊˚ ⋅

It’s here… 19.2 We Swear We Saw This, Drawings About Notebooks and Notebooks about the Wor(l)ds, guest edited by Azza Zein reflects on the notebook — as witness, a site of translation, a mapping device, a tool to demarcate time and otherwise unpublished notes and drawings. 📘

Inside you’ll find Articles that explore the variety of methodologies found in artists’ and writers’ notebooks including Australian painter Bea Maddock, Palestinian artist Nahil Bishara, the NZ choreographer Douglas Wright, American modernist poet H.D, and conceptual artist Lutz Bacher. You’ll find artist pages with sketches of Nubia, carrier pigeons, scrapbooks, surreal playing cards and notebook neologisms. Reflections on local projects from Dandenong’s ‘HOME 25’ exhibition, to Launceston’s ‘Portrait of Community’.

Contributions by Menna Agha, Mya Cole, Carlos Eduardo Morreo, Marcela Alejandra Gómez Escudero, Joyce Joumaa, Tina Stefanou, Miriam La Rosa, Sunny Lei, Laura Luciana, Hugh Magnus, Marcus McKenzie, Thomas Moran, Georgia Mulholland, Zoë Sadokierski, Zara Sully & Lisa Roberts and Toyah Webb.

Designed by Dennis Grauel & Zenobia Ahmed.

Subscribe to be the first to get your copy or order online.. Makes the perfect gift for your friend, collaborator, crush, or self! Support your local publisher. 💌

Launch events coming early 2026.. 👀

AVAILABLE NOW! 𐙚 ‧₊˚ ⋅

It’s here… 19.2 We Swear We Saw This, Drawings About Notebooks and Notebooks about the Wor(l)ds, guest edited by Azza Zein reflects on the notebook — as witness, a site of translation, a mapping device, a tool to demarcate time and otherwise unpublished notes and drawings. 📘

Inside you’ll find Articles that explore the variety of methodologies found in artists’ and writers’ notebooks including Australian painter Bea Maddock, Palestinian artist Nahil Bishara, the NZ choreographer Douglas Wright, American modernist poet H.D, and conceptual artist Lutz Bacher. You’ll find artist pages with sketches of Nubia, carrier pigeons, scrapbooks, surreal playing cards and notebook neologisms. Reflections on local projects from Dandenong’s ‘HOME 25’ exhibition, to Launceston’s ‘Portrait of Community’.

Contributions by Menna Agha, Mya Cole, Carlos Eduardo Morreo, Marcela Alejandra Gómez Escudero, Joyce Joumaa, Tina Stefanou, Miriam La Rosa, Sunny Lei, Laura Luciana, Hugh Magnus, Marcus McKenzie, Thomas Moran, Georgia Mulholland, Zoë Sadokierski, Zara Sully & Lisa Roberts and Toyah Webb.

Designed by Dennis Grauel & Zenobia Ahmed.

Subscribe to be the first to get your copy or order online.. Makes the perfect gift for your friend, collaborator, crush, or self! Support your local publisher. 💌

Launch events coming early 2026.. 👀

AVAILABLE NOW! 𐙚 ‧₊˚ ⋅

It’s here… 19.2 We Swear We Saw This, Drawings About Notebooks and Notebooks about the Wor(l)ds, guest edited by Azza Zein reflects on the notebook — as witness, a site of translation, a mapping device, a tool to demarcate time and otherwise unpublished notes and drawings. 📘

Inside you’ll find Articles that explore the variety of methodologies found in artists’ and writers’ notebooks including Australian painter Bea Maddock, Palestinian artist Nahil Bishara, the NZ choreographer Douglas Wright, American modernist poet H.D, and conceptual artist Lutz Bacher. You’ll find artist pages with sketches of Nubia, carrier pigeons, scrapbooks, surreal playing cards and notebook neologisms. Reflections on local projects from Dandenong’s ‘HOME 25’ exhibition, to Launceston’s ‘Portrait of Community’.

Contributions by Menna Agha, Mya Cole, Carlos Eduardo Morreo, Marcela Alejandra Gómez Escudero, Joyce Joumaa, Tina Stefanou, Miriam La Rosa, Sunny Lei, Laura Luciana, Hugh Magnus, Marcus McKenzie, Thomas Moran, Georgia Mulholland, Zoë Sadokierski, Zara Sully & Lisa Roberts and Toyah Webb.

Designed by Dennis Grauel & Zenobia Ahmed.

Subscribe to be the first to get your copy or order online.. Makes the perfect gift for your friend, collaborator, crush, or self! Support your local publisher. 💌

Launch events coming early 2026.. 👀

AVAILABLE NOW! 𐙚 ‧₊˚ ⋅

It’s here… 19.2 We Swear We Saw This, Drawings About Notebooks and Notebooks about the Wor(l)ds, guest edited by Azza Zein reflects on the notebook — as witness, a site of translation, a mapping device, a tool to demarcate time and otherwise unpublished notes and drawings. 📘

Inside you’ll find Articles that explore the variety of methodologies found in artists’ and writers’ notebooks including Australian painter Bea Maddock, Palestinian artist Nahil Bishara, the NZ choreographer Douglas Wright, American modernist poet H.D, and conceptual artist Lutz Bacher. You’ll find artist pages with sketches of Nubia, carrier pigeons, scrapbooks, surreal playing cards and notebook neologisms. Reflections on local projects from Dandenong’s ‘HOME 25’ exhibition, to Launceston’s ‘Portrait of Community’.

Contributions by Menna Agha, Mya Cole, Carlos Eduardo Morreo, Marcela Alejandra Gómez Escudero, Joyce Joumaa, Tina Stefanou, Miriam La Rosa, Sunny Lei, Laura Luciana, Hugh Magnus, Marcus McKenzie, Thomas Moran, Georgia Mulholland, Zoë Sadokierski, Zara Sully & Lisa Roberts and Toyah Webb.

Designed by Dennis Grauel & Zenobia Ahmed.

Subscribe to be the first to get your copy or order online.. Makes the perfect gift for your friend, collaborator, crush, or self! Support your local publisher. 💌

Launch events coming early 2026.. 👀

AVAILABLE NOW! 𐙚 ‧₊˚ ⋅

It’s here… 19.2 We Swear We Saw This, Drawings About Notebooks and Notebooks about the Wor(l)ds, guest edited by Azza Zein reflects on the notebook — as witness, a site of translation, a mapping device, a tool to demarcate time and otherwise unpublished notes and drawings. 📘

Inside you’ll find Articles that explore the variety of methodologies found in artists’ and writers’ notebooks including Australian painter Bea Maddock, Palestinian artist Nahil Bishara, the NZ choreographer Douglas Wright, American modernist poet H.D, and conceptual artist Lutz Bacher. You’ll find artist pages with sketches of Nubia, carrier pigeons, scrapbooks, surreal playing cards and notebook neologisms. Reflections on local projects from Dandenong’s ‘HOME 25’ exhibition, to Launceston’s ‘Portrait of Community’.

Contributions by Menna Agha, Mya Cole, Carlos Eduardo Morreo, Marcela Alejandra Gómez Escudero, Joyce Joumaa, Tina Stefanou, Miriam La Rosa, Sunny Lei, Laura Luciana, Hugh Magnus, Marcus McKenzie, Thomas Moran, Georgia Mulholland, Zoë Sadokierski, Zara Sully & Lisa Roberts and Toyah Webb.

Designed by Dennis Grauel & Zenobia Ahmed.

Subscribe to be the first to get your copy or order online.. Makes the perfect gift for your friend, collaborator, crush, or self! Support your local publisher. 💌

Launch events coming early 2026.. 👀

un Magazine 19.1: Resonant imaginaries and sound clashes, ed. Lucreccia Quintanilla @lucrecciaquintanilla

Featuring contributions by: Samuel Beilby, Ross Bolleter & Eduardo Cossio, Daisy & Nicholas Currie, Suneel Jethani, Nadeem Tiafau Eshraghi & Ripley Kavara, Anabelle Lacroix, Wen Pei Low, Justine Makdessi, mgmgmgmg, Victoria Pham, Geoff Robinson, Hayden Ryan, Edwina Stevens, Shareeka Helaluddin & Aasma Tulika, and Hannah Wickramasuriya.

Design by Zenobia Ahmed & Dennis Grauel

Typeset in RJ Sancha, designed by @robert.janes

Image description:
A series of book scans showing pages from un Magazine 19.1 and demonstrating the flexible properties of its exposed section-sewn binding. The cover papers are a soft green, while the inside pages are creamy and high-bulk. The cover design is a collage featuring selected images from the issue in a high-contrast B&W treatment: a painted hand, a drawing with lots of overlapping elipses and small text, a photo of people wearing headphones in a cave, and an audiovisual spectrogram.

un Magazine 19.1: Resonant imaginaries and sound clashes, ed. Lucreccia Quintanilla @lucrecciaquintanilla

Featuring contributions by: Samuel Beilby, Ross Bolleter & Eduardo Cossio, Daisy & Nicholas Currie, Suneel Jethani, Nadeem Tiafau Eshraghi & Ripley Kavara, Anabelle Lacroix, Wen Pei Low, Justine Makdessi, mgmgmgmg, Victoria Pham, Geoff Robinson, Hayden Ryan, Edwina Stevens, Shareeka Helaluddin & Aasma Tulika, and Hannah Wickramasuriya.

Design by Zenobia Ahmed & Dennis Grauel

Typeset in RJ Sancha, designed by @robert.janes

Image description:
A series of book scans showing pages from un Magazine 19.1 and demonstrating the flexible properties of its exposed section-sewn binding. The cover papers are a soft green, while the inside pages are creamy and high-bulk. The cover design is a collage featuring selected images from the issue in a high-contrast B&W treatment: a painted hand, a drawing with lots of overlapping elipses and small text, a photo of people wearing headphones in a cave, and an audiovisual spectrogram.

un Magazine 19.1: Resonant imaginaries and sound clashes, ed. Lucreccia Quintanilla @lucrecciaquintanilla

Featuring contributions by: Samuel Beilby, Ross Bolleter & Eduardo Cossio, Daisy & Nicholas Currie, Suneel Jethani, Nadeem Tiafau Eshraghi & Ripley Kavara, Anabelle Lacroix, Wen Pei Low, Justine Makdessi, mgmgmgmg, Victoria Pham, Geoff Robinson, Hayden Ryan, Edwina Stevens, Shareeka Helaluddin & Aasma Tulika, and Hannah Wickramasuriya.

Design by Zenobia Ahmed & Dennis Grauel

Typeset in RJ Sancha, designed by @robert.janes

Image description:
A series of book scans showing pages from un Magazine 19.1 and demonstrating the flexible properties of its exposed section-sewn binding. The cover papers are a soft green, while the inside pages are creamy and high-bulk. The cover design is a collage featuring selected images from the issue in a high-contrast B&W treatment: a painted hand, a drawing with lots of overlapping elipses and small text, a photo of people wearing headphones in a cave, and an audiovisual spectrogram.

un Magazine 19.1: Resonant imaginaries and sound clashes, ed. Lucreccia Quintanilla @lucrecciaquintanilla

Featuring contributions by: Samuel Beilby, Ross Bolleter & Eduardo Cossio, Daisy & Nicholas Currie, Suneel Jethani, Nadeem Tiafau Eshraghi & Ripley Kavara, Anabelle Lacroix, Wen Pei Low, Justine Makdessi, mgmgmgmg, Victoria Pham, Geoff Robinson, Hayden Ryan, Edwina Stevens, Shareeka Helaluddin & Aasma Tulika, and Hannah Wickramasuriya.

Design by Zenobia Ahmed & Dennis Grauel

Typeset in RJ Sancha, designed by @robert.janes

Image description:
A series of book scans showing pages from un Magazine 19.1 and demonstrating the flexible properties of its exposed section-sewn binding. The cover papers are a soft green, while the inside pages are creamy and high-bulk. The cover design is a collage featuring selected images from the issue in a high-contrast B&W treatment: a painted hand, a drawing with lots of overlapping elipses and small text, a photo of people wearing headphones in a cave, and an audiovisual spectrogram.

un Magazine 19.1: Resonant imaginaries and sound clashes, ed. Lucreccia Quintanilla @lucrecciaquintanilla

Featuring contributions by: Samuel Beilby, Ross Bolleter & Eduardo Cossio, Daisy & Nicholas Currie, Suneel Jethani, Nadeem Tiafau Eshraghi & Ripley Kavara, Anabelle Lacroix, Wen Pei Low, Justine Makdessi, mgmgmgmg, Victoria Pham, Geoff Robinson, Hayden Ryan, Edwina Stevens, Shareeka Helaluddin & Aasma Tulika, and Hannah Wickramasuriya.

Design by Zenobia Ahmed & Dennis Grauel

Typeset in RJ Sancha, designed by @robert.janes

Image description:
A series of book scans showing pages from un Magazine 19.1 and demonstrating the flexible properties of its exposed section-sewn binding. The cover papers are a soft green, while the inside pages are creamy and high-bulk. The cover design is a collage featuring selected images from the issue in a high-contrast B&W treatment: a painted hand, a drawing with lots of overlapping elipses and small text, a photo of people wearing headphones in a cave, and an audiovisual spectrogram.

un Magazine 19.1: Resonant imaginaries and sound clashes, ed. Lucreccia Quintanilla @lucrecciaquintanilla

Featuring contributions by: Samuel Beilby, Ross Bolleter & Eduardo Cossio, Daisy & Nicholas Currie, Suneel Jethani, Nadeem Tiafau Eshraghi & Ripley Kavara, Anabelle Lacroix, Wen Pei Low, Justine Makdessi, mgmgmgmg, Victoria Pham, Geoff Robinson, Hayden Ryan, Edwina Stevens, Shareeka Helaluddin & Aasma Tulika, and Hannah Wickramasuriya.

Design by Zenobia Ahmed & Dennis Grauel

Typeset in RJ Sancha, designed by @robert.janes

Image description:
A series of book scans showing pages from un Magazine 19.1 and demonstrating the flexible properties of its exposed section-sewn binding. The cover papers are a soft green, while the inside pages are creamy and high-bulk. The cover design is a collage featuring selected images from the issue in a high-contrast B&W treatment: a painted hand, a drawing with lots of overlapping elipses and small text, a photo of people wearing headphones in a cave, and an audiovisual spectrogram.

un Magazine 19.1: Resonant imaginaries and sound clashes, ed. Lucreccia Quintanilla @lucrecciaquintanilla

Featuring contributions by: Samuel Beilby, Ross Bolleter & Eduardo Cossio, Daisy & Nicholas Currie, Suneel Jethani, Nadeem Tiafau Eshraghi & Ripley Kavara, Anabelle Lacroix, Wen Pei Low, Justine Makdessi, mgmgmgmg, Victoria Pham, Geoff Robinson, Hayden Ryan, Edwina Stevens, Shareeka Helaluddin & Aasma Tulika, and Hannah Wickramasuriya.

Design by Zenobia Ahmed & Dennis Grauel

Typeset in RJ Sancha, designed by @robert.janes

Image description:
A series of book scans showing pages from un Magazine 19.1 and demonstrating the flexible properties of its exposed section-sewn binding. The cover papers are a soft green, while the inside pages are creamy and high-bulk. The cover design is a collage featuring selected images from the issue in a high-contrast B&W treatment: a painted hand, a drawing with lots of overlapping elipses and small text, a photo of people wearing headphones in a cave, and an audiovisual spectrogram.

un Magazine 19.1: Resonant imaginaries and sound clashes, ed. Lucreccia Quintanilla @lucrecciaquintanilla

Featuring contributions by: Samuel Beilby, Ross Bolleter & Eduardo Cossio, Daisy & Nicholas Currie, Suneel Jethani, Nadeem Tiafau Eshraghi & Ripley Kavara, Anabelle Lacroix, Wen Pei Low, Justine Makdessi, mgmgmgmg, Victoria Pham, Geoff Robinson, Hayden Ryan, Edwina Stevens, Shareeka Helaluddin & Aasma Tulika, and Hannah Wickramasuriya.

Design by Zenobia Ahmed & Dennis Grauel

Typeset in RJ Sancha, designed by @robert.janes

Image description:
A series of book scans showing pages from un Magazine 19.1 and demonstrating the flexible properties of its exposed section-sewn binding. The cover papers are a soft green, while the inside pages are creamy and high-bulk. The cover design is a collage featuring selected images from the issue in a high-contrast B&W treatment: a painted hand, a drawing with lots of overlapping elipses and small text, a photo of people wearing headphones in a cave, and an audiovisual spectrogram.

un Magazine 19.1: Resonant imaginaries and sound clashes, ed. Lucreccia Quintanilla @lucrecciaquintanilla

Featuring contributions by: Samuel Beilby, Ross Bolleter & Eduardo Cossio, Daisy & Nicholas Currie, Suneel Jethani, Nadeem Tiafau Eshraghi & Ripley Kavara, Anabelle Lacroix, Wen Pei Low, Justine Makdessi, mgmgmgmg, Victoria Pham, Geoff Robinson, Hayden Ryan, Edwina Stevens, Shareeka Helaluddin & Aasma Tulika, and Hannah Wickramasuriya.

Design by Zenobia Ahmed & Dennis Grauel

Typeset in RJ Sancha, designed by @robert.janes

Image description:
A series of book scans showing pages from un Magazine 19.1 and demonstrating the flexible properties of its exposed section-sewn binding. The cover papers are a soft green, while the inside pages are creamy and high-bulk. The cover design is a collage featuring selected images from the issue in a high-contrast B&W treatment: a painted hand, a drawing with lots of overlapping elipses and small text, a photo of people wearing headphones in a cave, and an audiovisual spectrogram.

un Magazine 19.1: Resonant imaginaries and sound clashes, ed. Lucreccia Quintanilla @lucrecciaquintanilla

Featuring contributions by: Samuel Beilby, Ross Bolleter & Eduardo Cossio, Daisy & Nicholas Currie, Suneel Jethani, Nadeem Tiafau Eshraghi & Ripley Kavara, Anabelle Lacroix, Wen Pei Low, Justine Makdessi, mgmgmgmg, Victoria Pham, Geoff Robinson, Hayden Ryan, Edwina Stevens, Shareeka Helaluddin & Aasma Tulika, and Hannah Wickramasuriya.

Design by Zenobia Ahmed & Dennis Grauel

Typeset in RJ Sancha, designed by @robert.janes

Image description:
A series of book scans showing pages from un Magazine 19.1 and demonstrating the flexible properties of its exposed section-sewn binding. The cover papers are a soft green, while the inside pages are creamy and high-bulk. The cover design is a collage featuring selected images from the issue in a high-contrast B&W treatment: a painted hand, a drawing with lots of overlapping elipses and small text, a photo of people wearing headphones in a cave, and an audiovisual spectrogram.

Following on from our 2014 anthology, ‘un Anthology 2014-2014 (another) decade of art and ideas’ invited guest editors from the past 10 years to chose a piece to re-publish from their volume and write a new introduction for it.

Featuring works by:
Rosie Isaac @rulesy_isaac
Pip Wallis @pip_wallis
Anatol Pitt @anatolp
Anastasia Klose @anastasia_klose_studio
Genevieve Grieves @gengrieves
Andrew Norman Wilson @andrewnormanwilson_actually
Sam Peterson @sampetercine
Gabriel Curtin & Ender Başkan @enderbaskan
Melissa Ratliff @melratliff
Timmah Ball @electric_zines

New introductions from:
Shelley McSpedden & Meredith Turnbull @smcspedden @merecatu
David Capra @davidcapra
Neika Lehman & Arlie Alizzi @10000_turns
Hugh Childers & Bobuq Sayed @djinn_t0nic
Elena Gomez & Rosie Isaac @rulesy_isaac @eaeolian
Snack Syndicate @snack_syndicate
Hilary Thurlow & D Harding @hildiddy @d_gnidrah
Bahar Sayed & Gemma Weston @halal_deepfake @gw_2000
Plus essays from Lily Hibberd @lily.hibberd and Audrey Jo Pfister @eggeplant

Designed by @zenobiaahmed @dennisgrauel 🖤

Get your copy online now 💌

Following on from our 2014 anthology, ‘un Anthology 2014-2014 (another) decade of art and ideas’ invited guest editors from the past 10 years to chose a piece to re-publish from their volume and write a new introduction for it.

Featuring works by:
Rosie Isaac @rulesy_isaac
Pip Wallis @pip_wallis
Anatol Pitt @anatolp
Anastasia Klose @anastasia_klose_studio
Genevieve Grieves @gengrieves
Andrew Norman Wilson @andrewnormanwilson_actually
Sam Peterson @sampetercine
Gabriel Curtin & Ender Başkan @enderbaskan
Melissa Ratliff @melratliff
Timmah Ball @electric_zines

New introductions from:
Shelley McSpedden & Meredith Turnbull @smcspedden @merecatu
David Capra @davidcapra
Neika Lehman & Arlie Alizzi @10000_turns
Hugh Childers & Bobuq Sayed @djinn_t0nic
Elena Gomez & Rosie Isaac @rulesy_isaac @eaeolian
Snack Syndicate @snack_syndicate
Hilary Thurlow & D Harding @hildiddy @d_gnidrah
Bahar Sayed & Gemma Weston @halal_deepfake @gw_2000
Plus essays from Lily Hibberd @lily.hibberd and Audrey Jo Pfister @eggeplant

Designed by @zenobiaahmed @dennisgrauel 🖤

Get your copy online now 💌

Following on from our 2014 anthology, ‘un Anthology 2014-2014 (another) decade of art and ideas’ invited guest editors from the past 10 years to chose a piece to re-publish from their volume and write a new introduction for it.

Featuring works by:
Rosie Isaac @rulesy_isaac
Pip Wallis @pip_wallis
Anatol Pitt @anatolp
Anastasia Klose @anastasia_klose_studio
Genevieve Grieves @gengrieves
Andrew Norman Wilson @andrewnormanwilson_actually
Sam Peterson @sampetercine
Gabriel Curtin & Ender Başkan @enderbaskan
Melissa Ratliff @melratliff
Timmah Ball @electric_zines

New introductions from:
Shelley McSpedden & Meredith Turnbull @smcspedden @merecatu
David Capra @davidcapra
Neika Lehman & Arlie Alizzi @10000_turns
Hugh Childers & Bobuq Sayed @djinn_t0nic
Elena Gomez & Rosie Isaac @rulesy_isaac @eaeolian
Snack Syndicate @snack_syndicate
Hilary Thurlow & D Harding @hildiddy @d_gnidrah
Bahar Sayed & Gemma Weston @halal_deepfake @gw_2000
Plus essays from Lily Hibberd @lily.hibberd and Audrey Jo Pfister @eggeplant

Designed by @zenobiaahmed @dennisgrauel 🖤

Get your copy online now 💌

Following on from our 2014 anthology, ‘un Anthology 2014-2014 (another) decade of art and ideas’ invited guest editors from the past 10 years to chose a piece to re-publish from their volume and write a new introduction for it.

Featuring works by:
Rosie Isaac @rulesy_isaac
Pip Wallis @pip_wallis
Anatol Pitt @anatolp
Anastasia Klose @anastasia_klose_studio
Genevieve Grieves @gengrieves
Andrew Norman Wilson @andrewnormanwilson_actually
Sam Peterson @sampetercine
Gabriel Curtin & Ender Başkan @enderbaskan
Melissa Ratliff @melratliff
Timmah Ball @electric_zines

New introductions from:
Shelley McSpedden & Meredith Turnbull @smcspedden @merecatu
David Capra @davidcapra
Neika Lehman & Arlie Alizzi @10000_turns
Hugh Childers & Bobuq Sayed @djinn_t0nic
Elena Gomez & Rosie Isaac @rulesy_isaac @eaeolian
Snack Syndicate @snack_syndicate
Hilary Thurlow & D Harding @hildiddy @d_gnidrah
Bahar Sayed & Gemma Weston @halal_deepfake @gw_2000
Plus essays from Lily Hibberd @lily.hibberd and Audrey Jo Pfister @eggeplant

Designed by @zenobiaahmed @dennisgrauel 🖤

Get your copy online now 💌

Following on from our 2014 anthology, ‘un Anthology 2014-2014 (another) decade of art and ideas’ invited guest editors from the past 10 years to chose a piece to re-publish from their volume and write a new introduction for it.

Featuring works by:
Rosie Isaac @rulesy_isaac
Pip Wallis @pip_wallis
Anatol Pitt @anatolp
Anastasia Klose @anastasia_klose_studio
Genevieve Grieves @gengrieves
Andrew Norman Wilson @andrewnormanwilson_actually
Sam Peterson @sampetercine
Gabriel Curtin & Ender Başkan @enderbaskan
Melissa Ratliff @melratliff
Timmah Ball @electric_zines

New introductions from:
Shelley McSpedden & Meredith Turnbull @smcspedden @merecatu
David Capra @davidcapra
Neika Lehman & Arlie Alizzi @10000_turns
Hugh Childers & Bobuq Sayed @djinn_t0nic
Elena Gomez & Rosie Isaac @rulesy_isaac @eaeolian
Snack Syndicate @snack_syndicate
Hilary Thurlow & D Harding @hildiddy @d_gnidrah
Bahar Sayed & Gemma Weston @halal_deepfake @gw_2000
Plus essays from Lily Hibberd @lily.hibberd and Audrey Jo Pfister @eggeplant

Designed by @zenobiaahmed @dennisgrauel 🖤

Get your copy online now 💌

Following on from our 2014 anthology, ‘un Anthology 2014-2014 (another) decade of art and ideas’ invited guest editors from the past 10 years to chose a piece to re-publish from their volume and write a new introduction for it.

Featuring works by:
Rosie Isaac @rulesy_isaac
Pip Wallis @pip_wallis
Anatol Pitt @anatolp
Anastasia Klose @anastasia_klose_studio
Genevieve Grieves @gengrieves
Andrew Norman Wilson @andrewnormanwilson_actually
Sam Peterson @sampetercine
Gabriel Curtin & Ender Başkan @enderbaskan
Melissa Ratliff @melratliff
Timmah Ball @electric_zines

New introductions from:
Shelley McSpedden & Meredith Turnbull @smcspedden @merecatu
David Capra @davidcapra
Neika Lehman & Arlie Alizzi @10000_turns
Hugh Childers & Bobuq Sayed @djinn_t0nic
Elena Gomez & Rosie Isaac @rulesy_isaac @eaeolian
Snack Syndicate @snack_syndicate
Hilary Thurlow & D Harding @hildiddy @d_gnidrah
Bahar Sayed & Gemma Weston @halal_deepfake @gw_2000
Plus essays from Lily Hibberd @lily.hibberd and Audrey Jo Pfister @eggeplant

Designed by @zenobiaahmed @dennisgrauel 🖤

Get your copy online now 💌

Contribute to un Magazine 20.2: The Leftovers guest edited by Jessyca Hutchens! 📓

The title of this issue is foremostly a reference to the three-part HBO television series, The Leftovers (2014-17) adapted from a novel by Tom Perotta, where roughly 2% of the world’s population suddenly and inexplicably disappear. The main characters chart a course through a world being re-shaped by new but familiar responses to collective trauma — nihilistic cults, charismatic leaders and conspiracy theories; self-help, self-diagnosis, and self-harm; mystical visions and psychosis; experimental therapies, sham technological panaceas and calls to return to order. A major arc of the third series plots a journey into 'Aboriginal Australia', with a knowing performance by the late David Gulpilil, who calms down one of the central characters’ fantastical projections onto Indigenous people as holding prophetic answers to humanities distress. The part is almost a perfect inversion of Gulpilil’s role in Peter Weir’s dystopian The Last Wave (1977). Instead of the white guy saviour being able to tap into Indigenous spiritual power, the old man is simply given some much needed care and brought back down to earth...

Read the call out in full online, plus more information about submitting to un Magazine. 💬

We are seeking all kinds of submissions from arts criticism essays, artwork pages, interviews, artist profiles, exhibition reviews, and more! All are encouraged to apply however, un Magazine prioritises proposals from applicants based in Australia.

9 more days left to go! Apply now or send to a friend who you think would be great for this issue. ✉

Contribute to un Magazine 20.2: The Leftovers guest edited by Jessyca Hutchens! 📓

The title of this issue is foremostly a reference to the three-part HBO television series, The Leftovers (2014-17) adapted from a novel by Tom Perotta, where roughly 2% of the world’s population suddenly and inexplicably disappear. The main characters chart a course through a world being re-shaped by new but familiar responses to collective trauma — nihilistic cults, charismatic leaders and conspiracy theories; self-help, self-diagnosis, and self-harm; mystical visions and psychosis; experimental therapies, sham technological panaceas and calls to return to order. A major arc of the third series plots a journey into 'Aboriginal Australia', with a knowing performance by the late David Gulpilil, who calms down one of the central characters’ fantastical projections onto Indigenous people as holding prophetic answers to humanities distress. The part is almost a perfect inversion of Gulpilil’s role in Peter Weir’s dystopian The Last Wave (1977). Instead of the white guy saviour being able to tap into Indigenous spiritual power, the old man is simply given some much needed care and brought back down to earth...

Read the call out in full online, plus more information about submitting to un Magazine. 💬

We are seeking all kinds of submissions from arts criticism essays, artwork pages, interviews, artist profiles, exhibition reviews, and more! All are encouraged to apply however, un Magazine prioritises proposals from applicants based in Australia.

9 more days left to go! Apply now or send to a friend who you think would be great for this issue. ✉

Contribute to un Magazine 20.2: The Leftovers guest edited by Jessyca Hutchens! 📓

The title of this issue is foremostly a reference to the three-part HBO television series, The Leftovers (2014-17) adapted from a novel by Tom Perotta, where roughly 2% of the world’s population suddenly and inexplicably disappear. The main characters chart a course through a world being re-shaped by new but familiar responses to collective trauma — nihilistic cults, charismatic leaders and conspiracy theories; self-help, self-diagnosis, and self-harm; mystical visions and psychosis; experimental therapies, sham technological panaceas and calls to return to order. A major arc of the third series plots a journey into 'Aboriginal Australia', with a knowing performance by the late David Gulpilil, who calms down one of the central characters’ fantastical projections onto Indigenous people as holding prophetic answers to humanities distress. The part is almost a perfect inversion of Gulpilil’s role in Peter Weir’s dystopian The Last Wave (1977). Instead of the white guy saviour being able to tap into Indigenous spiritual power, the old man is simply given some much needed care and brought back down to earth...

Read the call out in full online, plus more information about submitting to un Magazine. 💬

We are seeking all kinds of submissions from arts criticism essays, artwork pages, interviews, artist profiles, exhibition reviews, and more! All are encouraged to apply however, un Magazine prioritises proposals from applicants based in Australia.

9 more days left to go! Apply now or send to a friend who you think would be great for this issue. ✉

Contribute to un Magazine 20.2: The Leftovers guest edited by Jessyca Hutchens! 📓

The title of this issue is foremostly a reference to the three-part HBO television series, The Leftovers (2014-17) adapted from a novel by Tom Perotta, where roughly 2% of the world’s population suddenly and inexplicably disappear. The main characters chart a course through a world being re-shaped by new but familiar responses to collective trauma — nihilistic cults, charismatic leaders and conspiracy theories; self-help, self-diagnosis, and self-harm; mystical visions and psychosis; experimental therapies, sham technological panaceas and calls to return to order. A major arc of the third series plots a journey into 'Aboriginal Australia', with a knowing performance by the late David Gulpilil, who calms down one of the central characters’ fantastical projections onto Indigenous people as holding prophetic answers to humanities distress. The part is almost a perfect inversion of Gulpilil’s role in Peter Weir’s dystopian The Last Wave (1977). Instead of the white guy saviour being able to tap into Indigenous spiritual power, the old man is simply given some much needed care and brought back down to earth...

Read the call out in full online, plus more information about submitting to un Magazine. 💬

We are seeking all kinds of submissions from arts criticism essays, artwork pages, interviews, artist profiles, exhibition reviews, and more! All are encouraged to apply however, un Magazine prioritises proposals from applicants based in Australia.

9 more days left to go! Apply now or send to a friend who you think would be great for this issue. ✉

Contribute to un Magazine 20.2: The Leftovers guest edited by Jessyca Hutchens! 📓

The title of this issue is foremostly a reference to the three-part HBO television series, The Leftovers (2014-17) adapted from a novel by Tom Perotta, where roughly 2% of the world’s population suddenly and inexplicably disappear. The main characters chart a course through a world being re-shaped by new but familiar responses to collective trauma — nihilistic cults, charismatic leaders and conspiracy theories; self-help, self-diagnosis, and self-harm; mystical visions and psychosis; experimental therapies, sham technological panaceas and calls to return to order. A major arc of the third series plots a journey into 'Aboriginal Australia', with a knowing performance by the late David Gulpilil, who calms down one of the central characters’ fantastical projections onto Indigenous people as holding prophetic answers to humanities distress. The part is almost a perfect inversion of Gulpilil’s role in Peter Weir’s dystopian The Last Wave (1977). Instead of the white guy saviour being able to tap into Indigenous spiritual power, the old man is simply given some much needed care and brought back down to earth...

Read the call out in full online, plus more information about submitting to un Magazine. 💬

We are seeking all kinds of submissions from arts criticism essays, artwork pages, interviews, artist profiles, exhibition reviews, and more! All are encouraged to apply however, un Magazine prioritises proposals from applicants based in Australia.

9 more days left to go! Apply now or send to a friend who you think would be great for this issue. ✉

Contribute to un Magazine 20.2: The Leftovers guest edited by Jessyca Hutchens! 📓

The title of this issue is foremostly a reference to the three-part HBO television series, The Leftovers (2014-17) adapted from a novel by Tom Perotta, where roughly 2% of the world’s population suddenly and inexplicably disappear. The main characters chart a course through a world being re-shaped by new but familiar responses to collective trauma — nihilistic cults, charismatic leaders and conspiracy theories; self-help, self-diagnosis, and self-harm; mystical visions and psychosis; experimental therapies, sham technological panaceas and calls to return to order. A major arc of the third series plots a journey into 'Aboriginal Australia', with a knowing performance by the late David Gulpilil, who calms down one of the central characters’ fantastical projections onto Indigenous people as holding prophetic answers to humanities distress. The part is almost a perfect inversion of Gulpilil’s role in Peter Weir’s dystopian The Last Wave (1977). Instead of the white guy saviour being able to tap into Indigenous spiritual power, the old man is simply given some much needed care and brought back down to earth...

Read the call out in full online, plus more information about submitting to un Magazine. 💬

We are seeking all kinds of submissions from arts criticism essays, artwork pages, interviews, artist profiles, exhibition reviews, and more! All are encouraged to apply however, un Magazine prioritises proposals from applicants based in Australia.

9 more days left to go! Apply now or send to a friend who you think would be great for this issue. ✉

At Melbourne Art Book Fair all weekend with the latest un Magazine issue from @3azzazein, our 20th anniversary editions @taraheffers @joelsting @nadiarefaei @liv__koh and our un Anthology📚💜

Come say hi - here Fri-Sun 10-5pm! 💌 #MABF2026

In the final instalment of @_victoriaperin's un Extended EiR program, Jarrod Zlatic submits a theory about the Crank in Australian art:

'The Crank remains a designation which is also an accusation, a threat which can be levelled by the professional. Due to this latent hostility, The Crank is, by default, antagonistic. The Crank is the continuation of connoisseurship by other means; axes to grind, bones to pick, grist to mill. While much is often made of the word amateur’s root in amour, the labours of love, one should not ignore that the root of the word ‘obsession’ is in war; to obsess was originally to be-siege.'

@zlajz
@_victoriaperin

Read the article in full on un Extended now. 🌐 Edited by our un Extended Editor-in-Residence, Victoria Perin and supported by @creative.australia

Images:
[Slide 2] Belle Epoque Fine Art Gallery, Instagram post, @belle.epoque.fine.art, 3 April 2026.

[slide 4] Joseph Tierney [Bernard Smith], The Giant Puppets of Andropov and Reagan Passing the Cathedral, Palm Sunday, 1984, oil on canvas, 70.5 x 91 cm. Private collection.

[5] Australian Saucer Record, volume 8, number 4, 1962, unpaginated.

[6] David Homewood, Intoxication in a New Skill: Ian Burn at Guzzler, 2024.

In the final instalment of @_victoriaperin's un Extended EiR program, Jarrod Zlatic submits a theory about the Crank in Australian art:

'The Crank remains a designation which is also an accusation, a threat which can be levelled by the professional. Due to this latent hostility, The Crank is, by default, antagonistic. The Crank is the continuation of connoisseurship by other means; axes to grind, bones to pick, grist to mill. While much is often made of the word amateur’s root in amour, the labours of love, one should not ignore that the root of the word ‘obsession’ is in war; to obsess was originally to be-siege.'

@zlajz
@_victoriaperin

Read the article in full on un Extended now. 🌐 Edited by our un Extended Editor-in-Residence, Victoria Perin and supported by @creative.australia

Images:
[Slide 2] Belle Epoque Fine Art Gallery, Instagram post, @belle.epoque.fine.art, 3 April 2026.

[slide 4] Joseph Tierney [Bernard Smith], The Giant Puppets of Andropov and Reagan Passing the Cathedral, Palm Sunday, 1984, oil on canvas, 70.5 x 91 cm. Private collection.

[5] Australian Saucer Record, volume 8, number 4, 1962, unpaginated.

[6] David Homewood, Intoxication in a New Skill: Ian Burn at Guzzler, 2024.

In the final instalment of @_victoriaperin's un Extended EiR program, Jarrod Zlatic submits a theory about the Crank in Australian art:

'The Crank remains a designation which is also an accusation, a threat which can be levelled by the professional. Due to this latent hostility, The Crank is, by default, antagonistic. The Crank is the continuation of connoisseurship by other means; axes to grind, bones to pick, grist to mill. While much is often made of the word amateur’s root in amour, the labours of love, one should not ignore that the root of the word ‘obsession’ is in war; to obsess was originally to be-siege.'

@zlajz
@_victoriaperin

Read the article in full on un Extended now. 🌐 Edited by our un Extended Editor-in-Residence, Victoria Perin and supported by @creative.australia

Images:
[Slide 2] Belle Epoque Fine Art Gallery, Instagram post, @belle.epoque.fine.art, 3 April 2026.

[slide 4] Joseph Tierney [Bernard Smith], The Giant Puppets of Andropov and Reagan Passing the Cathedral, Palm Sunday, 1984, oil on canvas, 70.5 x 91 cm. Private collection.

[5] Australian Saucer Record, volume 8, number 4, 1962, unpaginated.

[6] David Homewood, Intoxication in a New Skill: Ian Burn at Guzzler, 2024.

In the final instalment of @_victoriaperin's un Extended EiR program, Jarrod Zlatic submits a theory about the Crank in Australian art:

'The Crank remains a designation which is also an accusation, a threat which can be levelled by the professional. Due to this latent hostility, The Crank is, by default, antagonistic. The Crank is the continuation of connoisseurship by other means; axes to grind, bones to pick, grist to mill. While much is often made of the word amateur’s root in amour, the labours of love, one should not ignore that the root of the word ‘obsession’ is in war; to obsess was originally to be-siege.'

@zlajz
@_victoriaperin

Read the article in full on un Extended now. 🌐 Edited by our un Extended Editor-in-Residence, Victoria Perin and supported by @creative.australia

Images:
[Slide 2] Belle Epoque Fine Art Gallery, Instagram post, @belle.epoque.fine.art, 3 April 2026.

[slide 4] Joseph Tierney [Bernard Smith], The Giant Puppets of Andropov and Reagan Passing the Cathedral, Palm Sunday, 1984, oil on canvas, 70.5 x 91 cm. Private collection.

[5] Australian Saucer Record, volume 8, number 4, 1962, unpaginated.

[6] David Homewood, Intoxication in a New Skill: Ian Burn at Guzzler, 2024.

In the final instalment of @_victoriaperin's un Extended EiR program, Jarrod Zlatic submits a theory about the Crank in Australian art:

'The Crank remains a designation which is also an accusation, a threat which can be levelled by the professional. Due to this latent hostility, The Crank is, by default, antagonistic. The Crank is the continuation of connoisseurship by other means; axes to grind, bones to pick, grist to mill. While much is often made of the word amateur’s root in amour, the labours of love, one should not ignore that the root of the word ‘obsession’ is in war; to obsess was originally to be-siege.'

@zlajz
@_victoriaperin

Read the article in full on un Extended now. 🌐 Edited by our un Extended Editor-in-Residence, Victoria Perin and supported by @creative.australia

Images:
[Slide 2] Belle Epoque Fine Art Gallery, Instagram post, @belle.epoque.fine.art, 3 April 2026.

[slide 4] Joseph Tierney [Bernard Smith], The Giant Puppets of Andropov and Reagan Passing the Cathedral, Palm Sunday, 1984, oil on canvas, 70.5 x 91 cm. Private collection.

[5] Australian Saucer Record, volume 8, number 4, 1962, unpaginated.

[6] David Homewood, Intoxication in a New Skill: Ian Burn at Guzzler, 2024.

In the final instalment of @_victoriaperin's un Extended EiR program, Jarrod Zlatic submits a theory about the Crank in Australian art:

'The Crank remains a designation which is also an accusation, a threat which can be levelled by the professional. Due to this latent hostility, The Crank is, by default, antagonistic. The Crank is the continuation of connoisseurship by other means; axes to grind, bones to pick, grist to mill. While much is often made of the word amateur’s root in amour, the labours of love, one should not ignore that the root of the word ‘obsession’ is in war; to obsess was originally to be-siege.'

@zlajz
@_victoriaperin

Read the article in full on un Extended now. 🌐 Edited by our un Extended Editor-in-Residence, Victoria Perin and supported by @creative.australia

Images:
[Slide 2] Belle Epoque Fine Art Gallery, Instagram post, @belle.epoque.fine.art, 3 April 2026.

[slide 4] Joseph Tierney [Bernard Smith], The Giant Puppets of Andropov and Reagan Passing the Cathedral, Palm Sunday, 1984, oil on canvas, 70.5 x 91 cm. Private collection.

[5] Australian Saucer Record, volume 8, number 4, 1962, unpaginated.

[6] David Homewood, Intoxication in a New Skill: Ian Burn at Guzzler, 2024.

We love our stockists 📚📚📚

You can find copies of un Magazine in bookstores, galleries, art spaces all across Australia. Here is un at @oddanygallery @futurejuice.xyz @feltspace you can find the full list on our site.

Support independent spaces, and keep critical arts writing in circulation 🌐 Or subscribe to be the first to get our incoming issue from VNS Matrix 🗞

We love our stockists 📚📚📚

You can find copies of un Magazine in bookstores, galleries, art spaces all across Australia. Here is un at @oddanygallery @futurejuice.xyz @feltspace you can find the full list on our site.

Support independent spaces, and keep critical arts writing in circulation 🌐 Or subscribe to be the first to get our incoming issue from VNS Matrix 🗞

We love our stockists 📚📚📚

You can find copies of un Magazine in bookstores, galleries, art spaces all across Australia. Here is un at @oddanygallery @futurejuice.xyz @feltspace you can find the full list on our site.

Support independent spaces, and keep critical arts writing in circulation 🌐 Or subscribe to be the first to get our incoming issue from VNS Matrix 🗞

We love our stockists 📚📚📚

You can find copies of un Magazine in bookstores, galleries, art spaces all across Australia. Here is un at @oddanygallery @futurejuice.xyz @feltspace you can find the full list on our site.

Support independent spaces, and keep critical arts writing in circulation 🌐 Or subscribe to be the first to get our incoming issue from VNS Matrix 🗞

We love our stockists 📚📚📚

You can find copies of un Magazine in bookstores, galleries, art spaces all across Australia. Here is un at @oddanygallery @futurejuice.xyz @feltspace you can find the full list on our site.

Support independent spaces, and keep critical arts writing in circulation 🌐 Or subscribe to be the first to get our incoming issue from VNS Matrix 🗞

We love our stockists 📚📚📚

You can find copies of un Magazine in bookstores, galleries, art spaces all across Australia. Here is un at @oddanygallery @futurejuice.xyz @feltspace you can find the full list on our site.

Support independent spaces, and keep critical arts writing in circulation 🌐 Or subscribe to be the first to get our incoming issue from VNS Matrix 🗞

We're excited to open submissions for 20.2 The Leftovers guest edited by Jessyca Huchtens to come out late 2026! 👀

🗓️ Proposals are due by 11:59pm AEST Wednesday 27th May 2026. 🗓️

Here are some excerpts from the call out. The editor draws on the TV series, The Leftovers (2014-17), and late David Gulpilil performance, in a setting where 2% of the world’s population suddenly and inexplicably disappear. The main characters chart a course through a world being re-shaped by new but familiar responses to collective trauma — nihilistic cults, charismatic leaders and conspiracy theories; self-help, self-diagnosis, and self-harm; mystical visions and psychosis; experimental therapies, sham technological panaceas and calls to return to order...

...to occupy a leftover position — neither a return to mythical, irrecoverable 'origins', nor a form of dismantling the old and starting over — but a kind of working with what you’ve got.

Many of the well-worn artistic approaches to working with traces of loss and repressed history and trauma — institutional critique within museums, postcolonial poetics, the artist as historian or archivist, re-enactment — had already perhaps started to feel sombre and outpaced by the great weirding of the world and its intensified collapsing of shared senses of reality (namely, because, the old institutions now caricatured themselves). Like a good film noir, The Leftovers refuses a satisfying solution to its central mystery; humbles the egos and personal 'copes' of its protagonists; and throws everyone back into the tangled mess of an unreal world, scrambling to hold the threads of the past.

In terms of the leftovers to be explored in this issue: artistically and theoretically, what are we drawing from to get us through another day? What are the strange returns and re-runs and do they help us keep pace with the world? What is ours to pick-up and share and what tastes good tomorrow?

[Read the full call out for proposals online]

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

We can't wait to see what you're working on 🧩

We're excited to open submissions for 20.2 The Leftovers guest edited by Jessyca Huchtens to come out late 2026! 👀

🗓️ Proposals are due by 11:59pm AEST Wednesday 27th May 2026. 🗓️

Here are some excerpts from the call out. The editor draws on the TV series, The Leftovers (2014-17), and late David Gulpilil performance, in a setting where 2% of the world’s population suddenly and inexplicably disappear. The main characters chart a course through a world being re-shaped by new but familiar responses to collective trauma — nihilistic cults, charismatic leaders and conspiracy theories; self-help, self-diagnosis, and self-harm; mystical visions and psychosis; experimental therapies, sham technological panaceas and calls to return to order...

...to occupy a leftover position — neither a return to mythical, irrecoverable 'origins', nor a form of dismantling the old and starting over — but a kind of working with what you’ve got.

Many of the well-worn artistic approaches to working with traces of loss and repressed history and trauma — institutional critique within museums, postcolonial poetics, the artist as historian or archivist, re-enactment — had already perhaps started to feel sombre and outpaced by the great weirding of the world and its intensified collapsing of shared senses of reality (namely, because, the old institutions now caricatured themselves). Like a good film noir, The Leftovers refuses a satisfying solution to its central mystery; humbles the egos and personal 'copes' of its protagonists; and throws everyone back into the tangled mess of an unreal world, scrambling to hold the threads of the past.

In terms of the leftovers to be explored in this issue: artistically and theoretically, what are we drawing from to get us through another day? What are the strange returns and re-runs and do they help us keep pace with the world? What is ours to pick-up and share and what tastes good tomorrow?

[Read the full call out for proposals online]

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

We can't wait to see what you're working on 🧩

We're excited to open submissions for 20.2 The Leftovers guest edited by Jessyca Huchtens to come out late 2026! 👀

🗓️ Proposals are due by 11:59pm AEST Wednesday 27th May 2026. 🗓️

Here are some excerpts from the call out. The editor draws on the TV series, The Leftovers (2014-17), and late David Gulpilil performance, in a setting where 2% of the world’s population suddenly and inexplicably disappear. The main characters chart a course through a world being re-shaped by new but familiar responses to collective trauma — nihilistic cults, charismatic leaders and conspiracy theories; self-help, self-diagnosis, and self-harm; mystical visions and psychosis; experimental therapies, sham technological panaceas and calls to return to order...

...to occupy a leftover position — neither a return to mythical, irrecoverable 'origins', nor a form of dismantling the old and starting over — but a kind of working with what you’ve got.

Many of the well-worn artistic approaches to working with traces of loss and repressed history and trauma — institutional critique within museums, postcolonial poetics, the artist as historian or archivist, re-enactment — had already perhaps started to feel sombre and outpaced by the great weirding of the world and its intensified collapsing of shared senses of reality (namely, because, the old institutions now caricatured themselves). Like a good film noir, The Leftovers refuses a satisfying solution to its central mystery; humbles the egos and personal 'copes' of its protagonists; and throws everyone back into the tangled mess of an unreal world, scrambling to hold the threads of the past.

In terms of the leftovers to be explored in this issue: artistically and theoretically, what are we drawing from to get us through another day? What are the strange returns and re-runs and do they help us keep pace with the world? What is ours to pick-up and share and what tastes good tomorrow?

[Read the full call out for proposals online]

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

We can't wait to see what you're working on 🧩

We're excited to open submissions for 20.2 The Leftovers guest edited by Jessyca Huchtens to come out late 2026! 👀

🗓️ Proposals are due by 11:59pm AEST Wednesday 27th May 2026. 🗓️

Here are some excerpts from the call out. The editor draws on the TV series, The Leftovers (2014-17), and late David Gulpilil performance, in a setting where 2% of the world’s population suddenly and inexplicably disappear. The main characters chart a course through a world being re-shaped by new but familiar responses to collective trauma — nihilistic cults, charismatic leaders and conspiracy theories; self-help, self-diagnosis, and self-harm; mystical visions and psychosis; experimental therapies, sham technological panaceas and calls to return to order...

...to occupy a leftover position — neither a return to mythical, irrecoverable 'origins', nor a form of dismantling the old and starting over — but a kind of working with what you’ve got.

Many of the well-worn artistic approaches to working with traces of loss and repressed history and trauma — institutional critique within museums, postcolonial poetics, the artist as historian or archivist, re-enactment — had already perhaps started to feel sombre and outpaced by the great weirding of the world and its intensified collapsing of shared senses of reality (namely, because, the old institutions now caricatured themselves). Like a good film noir, The Leftovers refuses a satisfying solution to its central mystery; humbles the egos and personal 'copes' of its protagonists; and throws everyone back into the tangled mess of an unreal world, scrambling to hold the threads of the past.

In terms of the leftovers to be explored in this issue: artistically and theoretically, what are we drawing from to get us through another day? What are the strange returns and re-runs and do they help us keep pace with the world? What is ours to pick-up and share and what tastes good tomorrow?

[Read the full call out for proposals online]

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

We can't wait to see what you're working on 🧩

❧

The time is nigh for KINGS x un Projects Emerging Writers' Program 2026 call-out!

Applications are now open.

Applications close: Wednesday, 6th May 2026, 11:59pm.

❧

For details and to apply: see link in bio or access link via kingsartistrun.org.au/publishing/

❧

For inquiries including access queries and requirements, contact KINGS EWP co-ordinators:

✾ Amy Stuart amymaystuart@gmail.com / Rachel Gresswell rachel.gresswell@gmail.com ✾

❧

@un_projects
@kingsartistrun

❧

We're excited to announce our second vol.20 un Magazine guest editor for the year… Jessyca Hutchens! 📖

Hutchens will be editing issue 20.2 to come out later this year, following 20.1 guest edited by V Barratt & Julianne Pierce coming out mid-year. ₊⊹

Dr Jessyca Hutchens is a Palyku woman living and working on Noongar boodja. She is a Lecturer at the School of Indigenous Studies and Co-Director of the Berndt Museum, at the University of Western Australia. Jessyca is an art historian, curator, and writer who has previously held positions as the Curator at the Berndt Museum, a Curatorial Fellow at the Kluge-Ruhe Aboriginal Art Collection at the University of Virginia, the Curatorial Assistant to the Artistic Director for the 22nd Biennale of Sydney, and as a Lecturer in Global Art History at the University of Birmingham. She is on the Editorial Advisory Committee for Artlink and is a founding editor of an online journal of artistic research, oarplatform.com(.)

We’re so delighted to be working with Hutchens who has previously written for un Extended and sat on the un Editorial Committee. ₊⊹

Stay tuned for a call out for 20.2 proposals coming next month, meanwhile we're finishing up designing 20.1 Stones & Circuits 👀

Subscribe to support un and be the first to get both issues stray to your door! 📚

Image: Scott Burton.

This week marks the end an era as our friends un Projects move… across the courtyard.

@un_projects joined the West Space office in 2023. Sharing our workspace with Audrey Jo Pfister, General Manager, has been a way of supporting arts writing and a fellow independent, non-profit arts organisation.

un contribute to a culture of robust dialogue and criticality around artistic practice in this country. Over the years, we have co-hosted internships, writing workshops, readings, and discussions. Here in Collingwood Yards, their publications and events enhance the vibrancy of this place.

It’s been a joy to work alongside the un team. Their company around our (tiny) desk will be greatly missed! Thankfully, un are not moving far, now residing in the @staysoftstudio co-working space, @collingwood_yards.

While it’s “see ya in the courtyard” for now, our bookshop remains stocked full the latest issues 📚

💗🫶 @un_projects 4eva 🫶💗

__
Images: WS team Ronen and Gabriela with un Magazine 19.2, 2026; Audrey at un Magazine 19.1 launch, @hopestradio, 2026; un Magazine 17 launch, WS, 2023; Aziz Sohail presents un Talks produced by Vicki Nguyễn, WS, 2024; un Magazine x West Space’s writing workshop in response to wani toaishara’s commission, 2024; our shared storage in Visual Art Publishing Review, photo: Gary Tringh; un in the WS shop.

This week marks the end an era as our friends un Projects move… across the courtyard.

@un_projects joined the West Space office in 2023. Sharing our workspace with Audrey Jo Pfister, General Manager, has been a way of supporting arts writing and a fellow independent, non-profit arts organisation.

un contribute to a culture of robust dialogue and criticality around artistic practice in this country. Over the years, we have co-hosted internships, writing workshops, readings, and discussions. Here in Collingwood Yards, their publications and events enhance the vibrancy of this place.

It’s been a joy to work alongside the un team. Their company around our (tiny) desk will be greatly missed! Thankfully, un are not moving far, now residing in the @staysoftstudio co-working space, @collingwood_yards.

While it’s “see ya in the courtyard” for now, our bookshop remains stocked full the latest issues 📚

💗🫶 @un_projects 4eva 🫶💗

__
Images: WS team Ronen and Gabriela with un Magazine 19.2, 2026; Audrey at un Magazine 19.1 launch, @hopestradio, 2026; un Magazine 17 launch, WS, 2023; Aziz Sohail presents un Talks produced by Vicki Nguyễn, WS, 2024; un Magazine x West Space’s writing workshop in response to wani toaishara’s commission, 2024; our shared storage in Visual Art Publishing Review, photo: Gary Tringh; un in the WS shop.

This week marks the end an era as our friends un Projects move… across the courtyard.

@un_projects joined the West Space office in 2023. Sharing our workspace with Audrey Jo Pfister, General Manager, has been a way of supporting arts writing and a fellow independent, non-profit arts organisation.

un contribute to a culture of robust dialogue and criticality around artistic practice in this country. Over the years, we have co-hosted internships, writing workshops, readings, and discussions. Here in Collingwood Yards, their publications and events enhance the vibrancy of this place.

It’s been a joy to work alongside the un team. Their company around our (tiny) desk will be greatly missed! Thankfully, un are not moving far, now residing in the @staysoftstudio co-working space, @collingwood_yards.

While it’s “see ya in the courtyard” for now, our bookshop remains stocked full the latest issues 📚

💗🫶 @un_projects 4eva 🫶💗

__
Images: WS team Ronen and Gabriela with un Magazine 19.2, 2026; Audrey at un Magazine 19.1 launch, @hopestradio, 2026; un Magazine 17 launch, WS, 2023; Aziz Sohail presents un Talks produced by Vicki Nguyễn, WS, 2024; un Magazine x West Space’s writing workshop in response to wani toaishara’s commission, 2024; our shared storage in Visual Art Publishing Review, photo: Gary Tringh; un in the WS shop.

This week marks the end an era as our friends un Projects move… across the courtyard.

@un_projects joined the West Space office in 2023. Sharing our workspace with Audrey Jo Pfister, General Manager, has been a way of supporting arts writing and a fellow independent, non-profit arts organisation.

un contribute to a culture of robust dialogue and criticality around artistic practice in this country. Over the years, we have co-hosted internships, writing workshops, readings, and discussions. Here in Collingwood Yards, their publications and events enhance the vibrancy of this place.

It’s been a joy to work alongside the un team. Their company around our (tiny) desk will be greatly missed! Thankfully, un are not moving far, now residing in the @staysoftstudio co-working space, @collingwood_yards.

While it’s “see ya in the courtyard” for now, our bookshop remains stocked full the latest issues 📚

💗🫶 @un_projects 4eva 🫶💗

__
Images: WS team Ronen and Gabriela with un Magazine 19.2, 2026; Audrey at un Magazine 19.1 launch, @hopestradio, 2026; un Magazine 17 launch, WS, 2023; Aziz Sohail presents un Talks produced by Vicki Nguyễn, WS, 2024; un Magazine x West Space’s writing workshop in response to wani toaishara’s commission, 2024; our shared storage in Visual Art Publishing Review, photo: Gary Tringh; un in the WS shop.

This week marks the end an era as our friends un Projects move… across the courtyard.

@un_projects joined the West Space office in 2023. Sharing our workspace with Audrey Jo Pfister, General Manager, has been a way of supporting arts writing and a fellow independent, non-profit arts organisation.

un contribute to a culture of robust dialogue and criticality around artistic practice in this country. Over the years, we have co-hosted internships, writing workshops, readings, and discussions. Here in Collingwood Yards, their publications and events enhance the vibrancy of this place.

It’s been a joy to work alongside the un team. Their company around our (tiny) desk will be greatly missed! Thankfully, un are not moving far, now residing in the @staysoftstudio co-working space, @collingwood_yards.

While it’s “see ya in the courtyard” for now, our bookshop remains stocked full the latest issues 📚

💗🫶 @un_projects 4eva 🫶💗

__
Images: WS team Ronen and Gabriela with un Magazine 19.2, 2026; Audrey at un Magazine 19.1 launch, @hopestradio, 2026; un Magazine 17 launch, WS, 2023; Aziz Sohail presents un Talks produced by Vicki Nguyễn, WS, 2024; un Magazine x West Space’s writing workshop in response to wani toaishara’s commission, 2024; our shared storage in Visual Art Publishing Review, photo: Gary Tringh; un in the WS shop.

This week marks the end an era as our friends un Projects move… across the courtyard.

@un_projects joined the West Space office in 2023. Sharing our workspace with Audrey Jo Pfister, General Manager, has been a way of supporting arts writing and a fellow independent, non-profit arts organisation.

un contribute to a culture of robust dialogue and criticality around artistic practice in this country. Over the years, we have co-hosted internships, writing workshops, readings, and discussions. Here in Collingwood Yards, their publications and events enhance the vibrancy of this place.

It’s been a joy to work alongside the un team. Their company around our (tiny) desk will be greatly missed! Thankfully, un are not moving far, now residing in the @staysoftstudio co-working space, @collingwood_yards.

While it’s “see ya in the courtyard” for now, our bookshop remains stocked full the latest issues 📚

💗🫶 @un_projects 4eva 🫶💗

__
Images: WS team Ronen and Gabriela with un Magazine 19.2, 2026; Audrey at un Magazine 19.1 launch, @hopestradio, 2026; un Magazine 17 launch, WS, 2023; Aziz Sohail presents un Talks produced by Vicki Nguyễn, WS, 2024; un Magazine x West Space’s writing workshop in response to wani toaishara’s commission, 2024; our shared storage in Visual Art Publishing Review, photo: Gary Tringh; un in the WS shop.

This week marks the end an era as our friends un Projects move… across the courtyard.

@un_projects joined the West Space office in 2023. Sharing our workspace with Audrey Jo Pfister, General Manager, has been a way of supporting arts writing and a fellow independent, non-profit arts organisation.

un contribute to a culture of robust dialogue and criticality around artistic practice in this country. Over the years, we have co-hosted internships, writing workshops, readings, and discussions. Here in Collingwood Yards, their publications and events enhance the vibrancy of this place.

It’s been a joy to work alongside the un team. Their company around our (tiny) desk will be greatly missed! Thankfully, un are not moving far, now residing in the @staysoftstudio co-working space, @collingwood_yards.

While it’s “see ya in the courtyard” for now, our bookshop remains stocked full the latest issues 📚

💗🫶 @un_projects 4eva 🫶💗

__
Images: WS team Ronen and Gabriela with un Magazine 19.2, 2026; Audrey at un Magazine 19.1 launch, @hopestradio, 2026; un Magazine 17 launch, WS, 2023; Aziz Sohail presents un Talks produced by Vicki Nguyễn, WS, 2024; un Magazine x West Space’s writing workshop in response to wani toaishara’s commission, 2024; our shared storage in Visual Art Publishing Review, photo: Gary Tringh; un in the WS shop.

Next month un Projects will be at the Melbourne Art Book Fair, presenting our latest issues alongside a selection of past publications. 📜

The fair brings together local and international publishers, artists, designers and independent presses working across contemporary printed matter -- from artist books and zines to magazines, photobooks and experimental formats. Join us across the weekend to browse, read and pick up our latest issue in person, and say hi.

Fri-Sun 15-17 May | 10am–5pm
@ngvmelbourne

Alongside friends @artguideau @artsprojectaust @chibiandesme @fiendbookshop @debrismag @no_more_poetry @perimeterbooks @thewhitneyreview @bookshop_by_uro and more!

Come say hello, have a chat, and take something home. 📚

Next month un Projects will be at the Melbourne Art Book Fair, presenting our latest issues alongside a selection of past publications. 📜

The fair brings together local and international publishers, artists, designers and independent presses working across contemporary printed matter -- from artist books and zines to magazines, photobooks and experimental formats. Join us across the weekend to browse, read and pick up our latest issue in person, and say hi.

Fri-Sun 15-17 May | 10am–5pm
@ngvmelbourne

Alongside friends @artguideau @artsprojectaust @chibiandesme @fiendbookshop @debrismag @no_more_poetry @perimeterbooks @thewhitneyreview @bookshop_by_uro and more!

Come say hello, have a chat, and take something home. 📚

Next month un Projects will be at the Melbourne Art Book Fair, presenting our latest issues alongside a selection of past publications. 📜

The fair brings together local and international publishers, artists, designers and independent presses working across contemporary printed matter -- from artist books and zines to magazines, photobooks and experimental formats. Join us across the weekend to browse, read and pick up our latest issue in person, and say hi.

Fri-Sun 15-17 May | 10am–5pm
@ngvmelbourne

Alongside friends @artguideau @artsprojectaust @chibiandesme @fiendbookshop @debrismag @no_more_poetry @perimeterbooks @thewhitneyreview @bookshop_by_uro and more!

Come say hello, have a chat, and take something home. 📚