The Technologies of Art and War: Lucy Raven at Vancouver Art Gallery
Recently, I’ve been enjoying art that disappears. Art that combusts, implodes, melts, burns; that’s what I’m after. Google Gustav Metzger’s singed, barely-there canvases, for…
What a Book Can Do: On Editing Emily Mason and Alice Trumbull Mason’s Monographs
For the past weeks, I’ve kept a new monograph on the artist Emily Mason on my glass coffee table, observing the sea of its…
Myth and Reality Converge: Qiu Anxiong and Howie Tsui at Richmond Art Gallery
Entering The Roaming Peach Blossom Spring, Qiu Anxiong and Howie Tsui’s two-person exhibition at the Richmond Art Gallery, British Columbia, felt like stepping into…
The All-Seeing Eyes of Carol Rama
During the reign of Benito Mussolini, an enormous carved relief of the dictator’s head loomed over the streets of Rome, his downcast gaze surveilling…
Andrii Ushytskyi
In the season’s penultimate episode, we feature Andrii Ushytskyi, a Kyiv-based writer, dancer, and co-editor of Solomiya, an independent magazine founded in response to…
“Staying with the Trouble” at the Helsinki Biennial: Challenges of Environmental Curating
In the Helsinki archipelago, as the days stretched toward the midsummer sun, birds were my consistent companions. Gulls circled overhead as I rode the…
Jeffrey Gibson Saves America
Premiering at the 60th Venice Biennale in 2024 before opening this summer at the Broad in Tovaangar (Los Angeles), Jeffrey Gibson’s exhibition the space…
Programming the Diaspora: On How the Moving Image Shapes the Present
“Seeking liberation is rebellious.” —Katherine McKittrick, Dear Science and Other Stories Last summer, I was on the train with the artist and curator…
Re’al Christian, JJJJJerome Ellis, and Diana SeoHyung
This special summer episode includes a live recording of the Spring issue of Post/doc, co-published by Momus and the Vera List Center for Art…
Love Letter Incinerators: Martin Wong’s Prison Paintings
“We know how much of sexuality there is in all cruelties, tortures, beatings.” —Frantz Fanon “Abolition requires we change one thing: everything.” —Ruth Wilson Gilmore I…
Jack Whitten, Human Xerox Machine
Tilt your ear to a Jack Whitten painting and you might hear music. “You gotta be able to think like John Coltrane to do…
“I Always Wanted to Participate”: In Conversation with Vijay Masharani
At three intervals throughout Vijay Masharani’s eighteen-minute video Good Attack (2021), the camera fixates on a sign hanging in a pet store above the…
A Note on Omission: Navigating Institutional Censorship and the Need for Repair
When I used the term “Muslim body” in my curatorial note* for an exhibition in New Delhi last year, I did not anticipate the…
Paul Chan
Paul Chan is an artist, writer, and former publisher. For this episode of Momus: The Podcast, Chan’s self-made automated doppelganger reads “Sade Today (after…
The Close-Up Reveals Nothing: How Deborah-Joyce Holman Complicates Interiority
A soft, warm light morphs into a shadow of a woman’s braided hair on the back of her neck. There is the sound of…
A Model for Risk-Taking: Arthur Tress’s Grotesque Allegory of a Presidential Cabinet
“What do you see when you look at pictures of President Trump’s cabinet?” asks writer David French in an interactive web exclusive that ran…