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Southern Summer / Northern Winter, 2022 Edition



“Writing Relations, Making Futurities: Global Indigenous Art Criticism”

Great Ocean February 7-11, 2022 & Turtle Island + Arctic March 14-18, 2022

Led by Dr. Léuli Eshrāghi 


Drawing on the complexity and diversity of Indigenous art criticism that is documented in gatherings, aesthetic and performative practices, as well as in publications, this Momus Emerging Critics Residency led by Dr. Léuli Eshrāghi (Sāmoan: Āpia, Salelologa, Siʻumu, Leulumoega) is dedicated to global Indigenous art criticism, history, theory, orature, and relationality. This gathering is a digital territory where shared destinies are fully recognized between our many homelands under settler colonial, militourist, and extractivist occupations. This residency is a kin constellation where innovation and validation go hand in hand with respect to our many ceremonial-political and intellectual practices. This platform is for emerging and experienced Indigenous critics, writers, curators, historians, and theorists to share compelling developments in situated community-level practices and transnational movements. 

Participants in Writing Relations, Making Futurities will develop texts that are informed by the breadth of global Indigenous art criticism, cultural protocols, and citational practices, prioritized in the sessions led by leading practitioners belonging to Indigenous communities around the world. This Momus Emerging Critics Residency complements the visionary work being undertaken in the following initiatives: Art Monthly Australasia’s Indigenous Voices Program; C Magazine and Indigenous Curatorial Collective/Collectif des commissaires autochtones’ (ICCA) Indigenous Art Writing Award; The Pantograph Punch’s Pacific Arts Legacy Project; Artlink Magazine’s Indigenous art annual issue (and First Nations editors to be announced); First American Magazine; and with the rising corpus of recent writing in un magazine, Runway Journal, Asian Diasporic Visual Cultures and the Americas Journal, Running Dog, Flux Hawaiʻi, among others.

Session Leaders (with more to be announced):

Dr. Ngarino Ellis | Ngāpuhi, Ngāti Porou Associate Professor, Art History, University of Auckland

Dr. Léuli Eshrāghi | Sāmoa | Curatorial Researcher in Residence (Blue Assembly), University of Queensland Art Museum, and Curator of 9th TarraWarra Biennial of Australian Art (2023)

Dr. Liisa-Rávná Finbog | Sámi | Postdoctoral Fellow: Mediated Arctic Geographies, Tampere University and Co-Curator, Sámi Pavilion, Biennale di Venezia – Arte (2022)

Dr. Lana Lopesi | Sāmoa | Editor in Chief, Pacific Arts Legacy Project, and Kaitohu Taupua Interim Director, The Pantograph Punch

Dr. Joseph M. Pierce | Cherokee | Associate Professor, Hispanic Languages and Literature, Stony Brook University, Lenapehoking / New York City

Dr. Jolene Rickard | Skarù:ręˀ / Tuscarora | Artist, Curator, and Associate Professor of the History of Art and Visual Studies / Director of the American Indian and Indigenous Studies Program, Cornell University


Practical information:

  • Full tuition will be covered for every participant with the support of our sponsors
  • Applicants must identify as Indigenous
  • Participation in both sessions is expected – the residency takes place over two separate weeks lasting 5 days each, 3 hours per day
  • Applications (C.V. and statement of interest) due Sunday 12 December, midnight EST 

For more information on this forthcoming edition of the Residency, including how to apply, see here.

Deadline: December 12, 2021.



About the Momus Emerging Critics Residency

In the past half-decade, we’ve seen art publishing revivified, both better attended to and better contested. Art criticism is increasingly animated through smaller, not-for-profit, and ad-hoc publications (which are, themselves, increasingly based online, and therefore better able to launch and circulate), and playing host to a number of pressing conversations regarding a renewed ethics in art. However, despite the recent swell in independently-published criticism, the field at large has never been so precarious for those working within it. In a pandemic year, most major art publishers are freezing their freelance budgets; and the same editors who are seeking historically undervalued writers and perspectives often take liberty with these authors’ bylines, do damage to unique and vulnerable voices, or gate-keep to the exclusion of important positions. How do we more transparently chart the opportunities and revitalized potential in the field of art writing, as we work to better identify the risks?

Starting in 2019, Momus began hosting twice-annual Momus Emerging Critics Residencies in its effort to attend to both the heightened stakes, increasing potential, and renewed challenges for art criticism—and to do so outside of a traditional MFA program, through intensive bursts of economically accessible mentorship and professional council. These residencies last two concentrated weeks, and lead to ongoing conversations and collaborations that span seasons and years, both among the residents and their mentors.