The Picture of Terror: Contemporary Art and the Islamic State
In January of 2015, Hito Steyerl ventured to the border between Turkey and Syria while the battle for Kobanê – a harrowing struggle between…
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Bad Faith in MOCA Toronto’s Inaugural Show, “Believe”
I’ve spent the better part of five months trying to write a review of a show that’s now closed: MOCA Toronto’s inaugural exhibition, Believe….
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What’s Wrong with a Fairly Good Biennial?
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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How a Dynasty Defines Taste: The Deep Roots of Middle Eastern Abstraction
The Nicolas Ibrahim Sursock Museum opened its grand stairway entrance to the public on November 18, 1961, nine years after the death of its…
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The Bold Refusal of lauren woods’s “American Monument”
There is a room for reflection with plush fuchsia carpeting outside of American Monument, an exhibition by lauren woods (she always uses lower-case letters)…
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Marilyn Minter’s Co-opted Desire
“The internet wouldn’t exist without pornography,” Marilyn Minter quipped on at least two occasions while in Hong Kong for the opening of her summer…
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A Frieze in Rome: William Kentridge Updates Augustus, Tangling Time
“When in Rome, do as the Romans do.” It sounds like good advice, but Romans seem largely to ignore William Kentridge’s Triumphs and Laments,…
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“In the Round of Her Need”: An Interview with Ambera Wellmann
I first observed the uncanny paintings of Ambera Wellmann in an intimate solo show at Toronto’s now-defunct Richard Rhodes Dupont Projects. A natural light…
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Episode 7: “Over, Again and Again,” Renewing Canada’s Artist-Run Culture
In Momus: The Podcast‘s 7th episode, we have brought together a group of artists, curators, and scholars to update the conversation around Artist-Run…
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An Exhibit in an Email: Vimeo Links, PR, and Posturing by Proxy
The night is dark and full of texture. And somewhere, over an indeterminate stretch of inky sea, the sky is lit up with red…
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