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  • Akram Zaatari: Dance to the End of Love

    by Vijay Masharani. Features
  • Wayne Salmon’s Portraits of Black Belonging in Kensington Market

    by Neil Price. Reviews
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Features

Akram Zaatari: Dance to the End of Love

By Vijay Masharani

Dance to the End of Love is a four-channel polyphonic, visual fantasia composed of found YouTube footage of young men in the MENA region….

Reviews

Wayne Salmon’s Portraits of Black Belonging in Kensington Market

By Neil Price

In Kensington Market: Meditations on Home, photographer Wayne Salmon continues his decades-long rumination on the beauty of Black life within the wake of slavery….

Arushi Vats

By Momus

“We are post-purity,” observes Arushi Vats, a Delhi-based writer and inaugural fellow of the Momus/Eyebeam Critical Writing Fellowship. Rooted in field research and expanded…

Features, Reviews

Where Do Dreams Live?

By Siera Hyte

In Misdemeanor Dream, a new play presented at La MaMa by the performance collective Spiderwoman Theater, earlier this spring, Indigenous fairies sing, dance, tell…

Features

Hypoxia and Hope

By Kamayani Sharma

Last April, in the fog of the second wave of the COVID-19 pandemic, as the bodies piled up, India heaved with hate. The Delta…

Reviews

Mimi Ọnụọha: Making Data Matter

By Constanza Salazar

Data is often thought of as immaterial, floating in the digital sphere, and evasive. It slips away from our fingertips as we scroll, like,…

Features

The Artist Is the Void

By Elisabeth Nicula

I didn’t expect to hate Michael Heizer’s seminal earthwork Double Negative when I visited it in 2017. I thought it would be a marvel,…

Features

Mary Mattingly’s Way to Adapt

By Michael McCanne

On an unseasonably warm day in mid-December, I took a ferry from lower Manhattan on the short trip across to Governors Island. I was…

Features

Proving the Rule: The “Exceptionalism” Problem with Art-World Labor

By Dana Kopel

It’s a rainy winter day in New York amid the ongoing apocalypse and I am struggling to think about museums. I do not, any…

Features

Colossal Harbingers: The Monumentalism of Art About Climate Change

By Hua Xi

At the same time as the earth’s atmosphere grows more strange, giant anthropomorphic sculptures have been rising eerily out of the landscape. In the…

Rahel Aima

By Momus

This month, Sky Goodden speaks with Rahel Aima, a prolific critic, art writer, and Associate Editor at Momus. We focus on a text Aima published in Momus, “Depleting…

Reviews

A Lapidary Grief: Sheila Heti’s “Pure Colour” Dares Her Critics

By Jocelyn Parr

Sheila Heti’s most recent novel, Pure Colour, is a dream-like, funny, soulful, hard-to-wrangle meditation on what it means to live as someone else’s creation,…

Features

“I Wish We Could Reach for New Language”: An Interview with Sky Goodden

By Calum Sutherland

Sky Goodden is the founding publisher and editor of Momus, an online art publication based in Canada. Since its founding in 2014 Momus has…

Features, Reviews

An Ascetic Pose: Avery Singer’s New Refusal

By Geoffrey Mak

Before I saw Avery Singer’s paintings in Reality Ender, her first solo show at Hauser & Wirth in New York, I didn’t think it…

Raimundas Malašauskas

By Momus

 Days after Russia’s invasion of Ukraine, the Lithuanian curator and writer Raimundas Malašauskas resigned as curator of the Russian Pavilion at the 59th Venice…

Features, Reviews

Plague Medicine: Reading Avocado Ibuprofen in a Pandemic

By Saelan Twerdy

Over the last several years, Jaakko Pallasvuo’s Instagram comics (produced under the handle @avocado_ibuprofen) have become a minor phenomenon. Beloved among art world participants,…

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