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Mitch Speed

Mitch Speed is Momus's contributing editor, Berlin. His writing has appeared in Frieze, Camera Austria, Turps, and Canadian Art. Speed has an MFA from Mason Gross School of the Arts, at Rutgers University, and a BFA from Emily Carr University, in Vancouver. While at Rutgers, he was a part-time lecturer at the undergraduate level, and founder of a reading group called The Obsolete Juror, focusing on the relationship between contemporary art and writing. From 2011 until 2014, he was founder and co-editor of Setup, a journal of contemporary art and writing published by Publication Studio.

Reviews• November 5, 2019

Unequal Planes: Vancouver’s Architectural Clash of Ideal and Real

By Mitch Speed

When socio-political awareness gathers to a breaking point, and nerves are raw, and people start getting fed up, fantasy runs into problems. In fraught…

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Reviews• July 26, 2019

Wire and String: Olga Balema’s Sinewy Abjection

By Mitch Speed

What does it mean when the most meaningful thing is damn near nothing at all? Not the antiseptic nothing of Marie Kondo’s puritan minimalism,…

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Features, Reviews• May 1, 2019

The Erotics of Liberty: Dorothy Iannone’s Cultivated Bohemia

By Mitch Speed

Whatever else they do in this world or the next, gods take up space. Consider Dorothy Iannone’s recent exhibition Lady Liberty Meets Her Match…

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Features, Reviews• February 12, 2019

Ana Mendieta’s Death is Not a Metaphor

By Mitch Speed

Let the art come first. This must have been the axiom behind Covered in Time and History, Martin-Gropius-Bau’s 2018 exhibition of twenty-three films and…

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Features, Reviews• January 16, 2019

What’s Wrong with a Fairly Good Biennial?

By Mitch Speed

What’s not to like about good art, hung well – not too packed, not too sparse – across venues of many scales and vintages,…

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Reviews• July 25, 2018

Worrying the Note: A German Stage for Arthur Jafa’s Black-American Chorus

By Mitch Speed

Arthur Jafa’s exhibition at the Julia Stoschek Collection exceeds the oft-recited cliché that “context matters.” In Berlin, it forms an imagistic phenomena, like some luminescent…

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Features, Reviews• May 4, 2018

What is to be Learned, What is to be Done? Thomas Hirschhorn at the Remai Modern

By Mitch Speed

Three months ago, I bought a CD of poetry from Johnny Marceland, a sixty-year-old Dene man who lives in my hometown of Saskatoon. Throughout…

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Features• March 9, 2018

“More Than Those Who Despised Her”: Unforgetting on the Prairies

By Mitch Speed

How can – how should – the ghosts of our brutalized bodies be ushered into public space? This was the enigma posed by Gregory…

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Features, Reviews• February 9, 2018

Dubious Icons: Godheads, Messiahs, and the Artist as Celebrity

By Mitch Speed

Perhaps it’s an unfair caricature of MFA students, that each appears to inhabit their own personalized reality TV show. Perhaps. But having been one…

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Reviews• December 15, 2017

Crocodile Tears: Ed Atkins and the Crisis of Pathetic Masculinity

By Mitch Speed

Type “Ed Atkins” into Google, and you’ll shortly come face to face with an asshole: not the artist himself – though his smiling visage…

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