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  • All Positions Possible: Simone Forti Across Time, Through Community

    by Catherine G. Wagley Features
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Features

All Positions Possible: Simone Forti Across Time, Through Community

By Catherine G. Wagley

An eight-foot wooden ramp was propped up at a forty-five-degree angle in one corner. Knotted ropes hung from six holes drilled near the ramp’s…

Reviews

Mia Sandhu Holds the Gaze Hostage

By Chelsea Rozansky

Seeing You, Seeing Me, Seeing You, as a title, is a bit misleading. At first blush, you couldn’t tell whether the figures in Mia…

Features, Reviews

Portrait of the Artist as a Young Thief

By Jenny Wu

If they were lucky, novels about artists published in the past year got to ride the wave of a literary trend termed “Künstlermania.” The…

Jessica Lynne and Kemi Adeyemi

By Momus

The finale of Season 5 features a conversation between writer, art critic, and co-founder of ARTS.BLACK, Jessica Lynne, and Dr. Kemi Adeyemi about her new…

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Features

“We’re All Tied to the Place That We’re From”: Celebrating 50 Years with Equinox Gallery

By Momus

When Equinox Gallery—one of Canada’s best-established galleries, and a longstanding benchmark of Vancouver’s art scene—announced its 50th anniversary, earlier this year, I did a…

Reviews

Common Boundaries and Refused Exits: Aman Sandhu and Andrew Black

By Megan Switzer

A double-sided screen hung in the middle of Centre Clark’s main gallery, suspending two landscapes like a portal. On one side was Aman Sandhu’s…

Features, Reviews

Reviewing the Reviews: Documenta 15

By Rahel Aima and Catherine G. Wagley

The coverage and criticism of Documenta 15 was an experience in itself, whether or not you made it to Kassel this year. This edition…

Cecilia Alemani

By Momus

 For the penultimate episode of Season 5, Sky Goodden interviews Cecilia Alemani, the Artistic Director of the 59th Venice Biennale. After three years of…

Reviews

The Remains of the Day: Nadia Belerique in Glasgow

By Calum Sutherland

In between visits to Nadia Belerique’s exhibition, SLICE, at David Dale Gallery in Glasgow, I’d been engaged in moving flats for the first time…

Features, Reviews

Duplicity and Diptychs: The Maraya Project’s Twinned Visions of Complicity

By Shazia Hafiz Ramji

The similarities between the seawall in Vancouver and the seawall in Dubai are eerie. You might not think to compare them unless you have…

Features

A Distance That I Cannot Seem to Close

By Diana Seo Hyung Lee

My quiet mother, my Umma, used to write me letters, then regarding them, say, “I don’t speak well but I can write better. Without…

Features

Preoccupied with Things Left Behind: On Three Nigerian Artists

By Ayodeji Rotinwa

There are three Nigerian artists you must know who are preoccupied with things left behind.  There’s Kelani Abass, based in an enclave between Lagos…

Features

On the Fear “That There Wouldn’t be Another Project”: A Conversation with Lisa Hsiao Chen

By Catherine G. Wagley

As soon as I heard about Lisa Hsiao Chen’s novel Activities of Daily Living, I wanted something from it. I had been searching Publishers…

Meeka Walsh

By Momus

On the occasion of her first book of collected art writings, Malleable Forms (ARP Books), Meeka Walsh, editor of Border Crossings magazine, speaks to…

Features

How Does a Collective End? An Interview with Robert Gabris and Ľuboš Kotlár

By Denisa Tomková

It is the middle of the summer in Prague and the art nouveau Šaloun Villa’s glass ceiling and glass wall recalls a greenhouse. The…

Features, Reviews

Relocating Trauma at the Venice Biennale

By Julie Weitz

During my visit to the 59th Venice Biennale, I found myself in the Venetian ghetto twice. The first was to celebrate Shabbat with an…

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