Momus: The Podcast

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 Felix Gonzales-Torres” (July 2020), that takes aim at “a mammoth exhibition” of the late Gonzalez-Torres’s 1990 work Untitled (Fortune Cookie Corner). Aima writes “In a move taken right out of the influencer marketing playbook,” Andrea Rosen and David Zwirner, who co-represent his estate, shipped the piece around the world to collectors who would then display and “document them for the ‘gram.” While Gonzales-Torres’s work conjures a body through accumulation and depletion, “we can understand the exhibition as an extension of overwhelmingly white, moneyed arts professionals and their tendency to trivialize Black and Indigenous death by trying to relate it to the art world.” Aima engages us in a gripping conversation about writing, including the discomfort of penning a polemic that goes viral.

In this episode Lauren Wetmore speaks with writer and organizer Dana Kopel about her widely-read article “Against Artspolitation: Unionizing the New Museum,” published in September 2021 by The Baffler. In conversation, Kopel expands on “the personal and messy dimensions” of unionizing work, and reflects on the challenges of calling out the exploitation, abuses, and hypocrisies of an art industry that, at the time, she was actively working in. She doesn’t hold back on the sacrifices made or the consequences suffered as a result of this successful union drive, but she also stresses that there is never a sole author. Kopel offers emotional and practical resources for organizing work but also acknowledges that “the fight really doesn’t end … the end point is the end of capitalism, the end of institutions, and abolition. And until we get there, this is just what we keep doing every fucking day.”

In this episode, artist Harry Dodge reads from My Meteorite, or Without the Random There Can Be No New Thing (Penguin Press, 2020). Dodge, a sculptor, writes from inside the artist’s life and the sometimes inchoate density of a studio practice. Tracking us through cosmic patterns and material grapplings as they intersect with family, work, and grief, Dodge’s first book gives us a genre-defying memoir that succeeds as art writing.

Harry Dodge is an American visual artist and writer. He was the recipient of a Guggenheim Fellowship in 2017, and his sculpture, drawing, and video work has been exhibited at many venues nationally and internationally, including JOAN (LA, 2018),  Tufts University Art Gallery (2019), Grand Army Collective (Brookyn, 2017), and the Armory Center for the Arts, Pasadena (2016). His first book, My Meteorite, was published by Penguin Press in 2020.

In the first episode of Season 5, Lauren Wetmore speaks with Nigerian art writer Emmanuel Iduma, who reads from “Mileage from Here: Nine Narratives.” Known for his travel and photography writing, and for establishing what he calls “a third, or shared, space between images and text,” the selection Iduma reads from (published in an exceptional presentation of Todd Webb’s previously lost photographic work, Todd Webb in Africa, by Thames & Hudson, 2021) sees Iduma choose a selection of photographs and imaginatively write to, as well as of them. 

In the penultimate episode of Season 4 – across which Momus: The Podcast has been engaging writers on the genesis and reception of a particular piece of criticism – Sky Goodden speaks with Kristian Vistrup Madsen about writing Artforum Diary through the pandemic, and bringing the historic column to a more isolated, romantic, and literary space. The conversation also touches on Madsen’s first book, Doing Time: Essays on Using People (Floating Opera Press), which has just been released and features a series of “reflections about the politics of solidarity and appropriation, but also about writing itself and what happens when life is turned into art.” Madsen says, “There’s such an overemphasis on representation as though representation is the sphere in which the violence takes place and not the sphere in which the violence is portrayed.”

This episode gets a jump on summer with artist and filmmaker Tourmaline and writer and producer Muna Mire. In conversation, they discuss Mire’s profile of Toumaline in Frieze (October 2020) and elaborate on Tourmaline’s celebration of trans histories, queer joy, community organizing, Black freedom, and what she describes as her “works of care, of lineage holding, of remembering who we really are and what we deserve.” They also delight in the everyday beauty and mysticism that holds their friendship, and the significance, for Mire, of establishing that textured intimacy in this text. Mire also touches on the experience of writing and publishing in the past year: “The reason this article exists is that people set cars on fire, people burned down police precincts, and the ripple effect of that is really powerful.”

“A school will change you, and it teaches you as much about how people will interpret you, misunderstand and dismiss you, as it will teach you about a creative life.”

Critic, curator, and educator Nora N. Khan reads from “Dark Study: Within, Below, and Alongside,” a feature text published in the inaugural issue of March, which starts with the question: “how to go on?” In discussion with Sky Goodden, Khan describes this question’s implications for a text about the “life and death” of study, especially for first-generation immigrants studying in the US; and the effects of writing this piece in the midst of a crisis for both art education and bodies of color. “This is an effect of trauma,” she says, of writing the piece. A text that operates on several levels and interweaves the personal and the proclamatory, “Dark Study” reads as both a repudiation of professionalism as we’ve come to know it, and a manifesto for the future potential of “mastery” in the arts.

Lauren Wetmore interviews Swiss American curator and writer Alexandra Stock about her scathing critique of Christophe Büchel’s 2019 Venice Biennale project Barca Nostra. Published that same year by the independent Egyptian online newspaper Mada Masr, Stock’s “The Privileged, Violent Stunt That is the Venice Biennale Boat Project” decries an “artworld that repels all criticism of it,” and describes the repercussion of being one of the first voices to publicly denouncing this high-profile artwork.

Rianna Jade Parker reads “Letter from London: What is the Status of Black Artists in England Today?” published in ARTnews (June 2020), and engages Sky Goodden on issues of artworld access, stature, masculinity, precariousness, deference to sovereignty, and duty to one another, for Black British artists working in the UK. From Steve McQueen’s accepting the Knighthood to a broader conversation around meritocracy and the sudden rush of Black British art (after decades of deletion), Parker discusses her feeling of responsibility to her peers through criticism, and the long unmarked history that she’s beginning to write.

“Most other press speaks about Black British art right now as this […] thing that we need to cling to – this idea of Black culture, Blackness, ‘Black Britain’ – without really assessing ourselves or our social situation. I do love art; but I am all of these things before then. I live in a real material world. I try to explain to people ‘I’m in the art world, but not of the art world’. There is no amount of riches or patron support that I could get that would ever change that. And I don’t need it to.”