Throughout the season, Lauren Wetmore and Sky Goodden will speak with participants of the Momus residency, “Estuaries: An International Indigenous Art Criticism Residency,” created with Forge Project and led by Dr. Léuli Eshrāghi (Sāmoa) and Candice Hopkins (Carcross/Tagish). To launch this series, Wetmore speaks with writer and curator Megan Tamati-Quennell, who is of Te Āti Awa, Ngāi Tahu, KātiMāmoe, and Waitaha Māori descent and is Curator of Modern and Contemporary Māori and Indigenous Art at Museum of New Zealand | Te Papa Tongarewa in Wellington, New Zealand. Wetmore and Tamati-Quennell discuss a 2006 text on artist Michael Riley by Australian historian Nikos Papastergiadis, as well as Tamati-Quennell’s own writing and research, where she makes use of "Whakapapa," a knowledge system that binds all Māori people. "The joy is being able to put something into the world, and honor some people, and maybe shift some ground,” says Tamati-Quennell about her ongoing work. Our deepest appreciation to this episode's advertiser, SFU Galleries, whose special project, Witnessing Tsēmā Igharas: Hughadēsłēł — give it all away, is available for listening now.

Throughout the season, Lauren Wetmore and Sky Goodden will speak with participants of the Momus residency, “<a href="https://momus.ca/momus-emerging-critics-residency/" rel="nofollow" target="_blank">Estuaries: An International Indigenous Art Criticism Residency</a>,” created with <a href="https://forgeproject.com/" rel="nofollow" target="_blank">Forge Project</a> and led by Dr. Léuli Eshrāghi (Sāmoa) and Candice Hopkins (Carcross/Tagish). To launch this series, Wetmore speaks with writer and curator <a href="https://sharjahart.org/sharjah-art-foundation/people/megan-tamati-quennell" rel="nofollow" target="_blank">Megan Tamati-Quennell</a>, who is of Te Āti Awa, Ngāi Tahu, KātiMāmoe, and Waitaha Māori descent and is Curator of Modern and Contemporary Māori and Indigenous Art at <a href="https://www.tepapa.govt.nz/" rel="nofollow" target="_blank">Museum of New Zealand | Te Papa Tongarewa</a> in Wellington, New Zealand. Wetmore and Tamati-Quennell discuss a 2006 text on artist <a href="http://www.michaelriley.com.au/michael-riley/" rel="nofollow" target="_blank">Michael Riley</a> by Australian historian <a href="http://nikos.papastergiadis.com/" rel="nofollow" target="_blank">Nikos Papastergiadis</a>, as well as Tamati-Quennell’s own writing and research, where she makes use of "Whakapapa," a knowledge system that binds all Māori people. "The joy is being able to put something into the world, and honor some people, and maybe shift some ground,” says Tamati-Quennell about her ongoing work. Our deepest appreciation to this episode's advertiser, <a href="http://www.sfu.ca/galleries.html" rel="nofollow" target="_blank">SFU Galleries</a>, whose special project, <a href="http://www.sfu.ca/galleries/special-projects/current/witnessing-ts_m_-igharas--hughads---give-it-all-away.html" rel="nofollow" target="_blank">Witnessing Tsēmā Igharas: Hughadēsłēł — give it all away</a>, is available for listening now.

Megan Tamati-Quennell - Season 6, Episode 2

To launch our sixth season, Lauren Wetmore interviews Sky Goodden on a book that has recently got her all "twirled up." They discuss Art Writing in Crisis (Sternberg Press, 2021) which sits adjacent to an exhausting list of books on art criticism in crisis and points instead to the emancipatory potential of criticism, and, as Goodden and Lauren term it, the "present imperfect" of a field actively redefining itself. "I think it's important to understand what art writing and criticism has recently been in order to have a sense of its future," reflects Goodden. "However, I find that, for decades now, we can get so stuck in what it's been, we never get to the second part."All thanks to Jacob Irish (Editor) and Chris Andrews (Assistant Producer).Our deepest appreciation to this episode's advertisers: Plural Contemporary Art Fair and Maleko Mokgosi: Imaging Imaginations at the Art Gallery of York University.Look for us on Google Podcasts, Spotify, Stitcher, iTunes, and wherever you get your podcasts.Please consider donating through our Patreon campaign.To inquire about advertising opportunities or other forms of support, please contact: skygoodden@momus.ca.

To launch our sixth season, Lauren Wetmore interviews Sky Goodden on a book that has recently got her all "twirled up." They discuss <a href="https://www.sternberg-press.com/product/art-writing-in-crisis/" rel="nofollow" target="_blank">Art Writing in Crisis</a> (Sternberg Press, 2021) which sits adjacent to an exhausting list of books on art criticism in crisis and points instead to the emancipatory potential of criticism, and, as Goodden and Lauren term it, the "present imperfect" of a field actively redefining itself. "I think it's important to understand what art writing and criticism has recently been in order to have a sense of its future," reflects Goodden. "However, I find that, for decades now, we can get so stuck in what it's been, we never get to the second part." All thanks to Jacob Irish (Editor) and Chris Andrews (Assistant Producer). Our deepest appreciation to this episode's advertisers: <a href="https://www.plural.art/en" rel="nofollow" target="_blank">Plural Contemporary Art Fair</a> and <a href="https://agyu.art/project/mokgosi/" rel="nofollow" target="_blank">Maleko Mokgosi:</a> <a href="https://agyu.art/project/mokgosi/" rel="nofollow" target="_blank">Imaging Imaginations</a> at the Art Gallery of York University. Look for us on <a href="https://podcasts.google.com/?feed=aHR0cHM6Ly9tb211cy5jYS9mZWVkL3BvZGNhc3Qv" rel="nofollow" target="_blank">Google Podcasts</a>, <a href="https://open.spotify.com/show/5i3zzCD5YPIXWuiL1IA5aL" rel="nofollow" target="_blank">Spotify</a>, <a href="https://www.stitcher.com/podcast/momus-the-podcast" rel="nofollow" target="_blank">Stitcher</a>, <a href="https://podcasts.apple.com/ca/podcast/momus-the-podcast/id1342481337" rel="nofollow" target="_blank">iTunes</a>, and wherever you get your podcasts. Please consider donating through our <a href="https://momus.ca/patreon/" rel="nofollow" target="_blank">Patreon campaign</a>. To inquire about advertising opportunities or other forms of support, please contact: <a href="mailto:skygoodden@momus.ca">skygoodden@momus.ca</a>.

Sky Goodden – Season 6, Episode 1

Kemi Adeyemi

The season finale for Momus: The Podcast’s fifth season features a conversation between writer, art critic, and co-founder of ARTS.BLACK, Jessica Lynne, and Dr. Kemi Adeyemi, an “art-adjacent academic” and Director of The Black Embodiment Studio at the University of Washington. Adeyemi talks about her new book, Feels Right: Black Queer Women and the Politics of Partying in Chicago (Duke University Press, 2022), an ethnography of how Black queer women in Chicago use dance to assert their physical and affective rights to the city. Her conversation with Lynne looks at the pleasures (and challenges) of working between the classroom and the dance floor in an effort to pay a different kind of attention to Black queer women’s lives. “What pleasures are sweeter than talking with your friends about the brilliant things they write, create, and offer to us?” asks Lynne. Our thanks to Jacob Irish (Editor) and Chris Andrews (Assistant Producer), and thanks especially to Jessica Lynne and Dr. Kemi Adeyemi for their contribution to our fifth season finale.Many thanks, as well, to Cui Jinzhe for her support.Look for us on Google Podcasts, Spotify, Stitcher, iTunes, and wherever you get your podcasts.Please consider donating through our Patreon campaign.To inquire about advertising opportunities or other forms of support, please contact: skygoodden@momus.ca.

The season finale for Momus: The Podcast’s fifth season features a conversation between writer, art critic, and co-founder of ARTS.BLACK, Jessica Lynne, and Dr. Kemi Adeyemi, an “art-adjacent academic” and Director of The Black Embodiment Studio at the University of Washington. Adeyemi talks about her new book, <a href="https://www.dukeupress.edu/feels-right" rel="nofollow" target="_blank">Feels Right: Black Queer Women and the Politics of Partying in Chicago</a> (Duke University Press, 2022), an ethnography of how Black queer women in Chicago use dance to assert their physical and affective rights to the city. Her conversation with Lynne looks at the pleasures (and challenges) of working between the classroom and the dance floor in an effort to pay a different kind of attention to Black queer women’s lives. “What pleasures are sweeter than talking with your friends about the brilliant things they write, create, and offer to us?” asks Lynne.  Our thanks to Jacob Irish (Editor) and Chris Andrews (Assistant Producer), and thanks especially to Jessica Lynne and Dr. Kemi Adeyemi for their contribution to our fifth season finale. Many thanks, as well, to <a href="https://cuijinzhe.com/home.html" rel="nofollow" target="_blank">Cui Jinzhe</a> for her support. Look for us on <a href="https://podcasts.google.com/?feed=aHR0cHM6Ly9tb211cy5jYS9mZWVkL3BvZGNhc3Qv" rel="nofollow" target="_blank">Google Podcasts</a>, <a href="https://open.spotify.com/show/5i3zzCD5YPIXWuiL1IA5aL" rel="nofollow" target="_blank">Spotify</a>, <a href="https://www.stitcher.com/podcast/momus-the-podcast" rel="nofollow" target="_blank">Stitcher</a>, <a href="https://podcasts.apple.com/ca/podcast/momus-the-podcast/id1342481337" rel="nofollow" target="_blank">iTunes</a>, and wherever you get your podcasts. Please consider donating through our <a href="https://momus.ca/patreon/" rel="nofollow" target="_blank">Patreon campaign</a>. To inquire about advertising opportunities or other forms of support, please contact: <a href="mailto:skygoodden@momus.ca">skygoodden@momus.ca</a>.

Jessica Lynne and Kemi Adeyemi - Season 5, Episode 10

Cecilia Alemani

For the penultimate episode of Season 5, Sky Goodden interviews Cecilia Alemani, the Artistic Director of the 59th Venice Biennale. After three years of research and commissioning (an extended period of preparation, due to the pandemic) and 7 months of The Milk of Dreams being open to an immense public, Alemani takes a rearview look onto a show that responded to—and endured—several seismic shocks over the course of its run, and was, in so many respects, unprecedented. She touches on "history knocking on the door of the biennial" with regards to both the pandemic and the war in Ukraine, and the ways in which she embedded history in the exhibition, in turn. She also speaks to the impact of art writing, both its influence on a longer-researched edition of the biennial—one "curated from a desk"—but also in terms of the reviews, too, some of which underscored the need for more female-driven programming. Perhaps most poignantly, Alemani remembers the slow time of this show's creation, and her drawing on sensorial and somatic influences, however unconsciously, as she worked at a remove from artists' studios. "I think [the biennial] was a reaction to what I missed the most."Our thanks to Jacob Irish (Editor) and Chris Andrews (Assistant Producer), and thanks especially to Cecilia Alemani for her contribution to our fifth season.This conversation is presented in collaboration with Art Toronto; our deepest thanks to them for in part making this possible.Many thanks to Gallery 44 for their support.Please consider donating through our Patreon campaign.To inquire about advertising opportunities or other forms of support, please contact: skygoodden@momus.ca.

For the penultimate episode of Season 5, Sky Goodden interviews <a href="https://www.labiennale.org/en/art/2022/director" rel="nofollow" target="_blank">Cecilia Alemani</a>, the Artistic Director of the 59th Venice Biennale. After three years of research and commissioning (an extended period of preparation, due to the pandemic) and 7 months of <a href="https://www.labiennale.org/en/art/2022" rel="nofollow" target="_blank">The Milk of Dreams</a> being open to an immense public, Alemani takes a rearview look onto a show that responded to—and endured—several seismic shocks over the course of its run, and was, in so many respects, unprecedented. She touches on "history knocking on the door of the biennial" with regards to both the pandemic and the war in Ukraine, and the ways in which she embedded history in the exhibition, in turn. She also speaks to the impact of art writing, both its influence on a longer-researched edition of the biennial—one "curated from a desk"—but also in terms of the reviews, too, some of which underscored the need for more female-driven programming. Perhaps most poignantly, Alemani remembers the slow time of this show's creation, and her drawing on sensorial and somatic influences, however unconsciously, as she worked at a remove from artists' studios. "I think [the biennial] was a reaction to what I missed the most." Our thanks to Jacob Irish (Editor) and Chris Andrews (Assistant Producer), and thanks especially to Cecilia Alemani for her contribution to our fifth season. This conversation is presented in collaboration with <a href="https://arttoronto.ca/home/" rel="nofollow" target="_blank">Art Toronto</a>; our deepest thanks to them for in part making this possible. Many thanks to <a href="https://www.gallery44.org/" rel="nofollow" target="_blank">Gallery 44 </a>for their support. Please consider donating through our <a href="https://momus.ca/patreon/" rel="nofollow" target="_blank">Patreon campaign</a>.To inquire about advertising opportunities or other forms of support, please contact: <a href="mailto:skygoodden@momus.ca">skygoodden@momus.ca</a>.

Cecilia Alemani - Season 5, Episode 9

Jarrett Earnest

On the occasion of her first book of collected art writings, Malleable Forms (ARP Books), Meeka Walsh, editor of Border Crossings magazine, speaks to guest-host Jarrett Earnest about geographic isolation, the eroticism of art writing, her connection with an emerging spiritual lineage, and about a set of relationships driving her engagement with art. In this far-ranging and generous conversation around publishing, editing, looking, and listening, Walsh reflects, "I'm happiest when I'm writing."Meeka Walsh is a writer, art critic, editor and curator who has had a major influence on the arts in Canada. She is the editor of Border Crossings, an internationally renowned and award-winning quarterly magazine that investigates contemporary culture.Jarrett Earnest is the author of What it Means to Write About Art: Interviews with Art Critics (David Zwirner Books, 2018); editor of Hot, Cold, Heavy, Light: 100 Art Writings 1988-2017 by Peter Schjeldahl (Abrams, 2019), The Young and Evil: Queer Modernism in New York, 1930-1955 (David Zwirner 2020), and Devotion: today's future becomes tomorrow archive (PUBLIC books, 2022), among others. His criticism and long-form interviews have appeared in New York Review of Books, The Brooklyn Rail, Vulture, The Village Voice, ​Los Angeles Review of Books, Art in America, New York Magazine, and many exhibition catalogues and other publications. In 2021 Earnest was awarded a Dorothea and Leo Rabkin prize for visual arts journalism.Our thanks to Jacob Irish (Editor) and Chris Andrews (Assistant Producer), and thanks especially to Jarrett Earnest and Meeka Walsh for their contribution to our fifth season.Many thanks to SFU Galleries for their support; you can listen to their ten-part radio program Listening to Pictures: Artists on the Art Collection, featuring artist voices with lived experience on the West Coast.Please consider donating through our Patreon campaign.

On the occasion of her first book of collected art writings, <a href="http://arpbooks.org" rel="nofollow" target="_blank">Malleable Forms </a>(ARP Books), Meeka Walsh, editor of<a href="https://bordercrossingsmag.com/" rel="nofollow" target="_blank"> Border Crossings</a> magazine, speaks to guest-host <a href="http://www.jarrettearnest.com/about-1.html" rel="nofollow" target="_blank">Jarrett Earnest</a> about geographic isolation, the eroticism of art writing, her connection with an emerging spiritual lineage, and about a set of relationships driving her engagement with art. In this far-ranging and generous conversation around publishing, editing, looking, and listening, Walsh reflects, "I'm happiest when I'm writing." Meeka Walsh is a writer, art critic, editor and curator who has had a major influence on the arts in Canada. She is the editor of Border Crossings, an internationally renowned and award-winning quarterly magazine that investigates contemporary culture.Jarrett Earnest is the author of <a href="https://www.simonandschuster.com/books/What-it-Means-to-Write-About-Art/Jarrett-Earnest/9781941701898" rel="nofollow" target="_blank">What it Means to Write About Art: Interviews with Art Critics</a> (David Zwirner Books, 2018); editor of Hot, Cold, Heavy, Light: 100 Art Writings 1988-2017 by Peter Schjeldahl (Abrams, 2019), The Young and Evil: Queer Modernism in New York, 1930-1955 (David Zwirner 2020), and Devotion: today's future becomes tomorrow archive (PUBLIC books, 2022), among others. His criticism and long-form interviews have appeared in New York Review of Books, The Brooklyn Rail, Vulture, The Village Voice, ​Los Angeles Review of Books, Art in America, New York Magazine, and many exhibition catalogues and other publications. In 2021 Earnest was awarded a Dorothea and Leo Rabkin prize for visual arts journalism. Our thanks to Jacob Irish (Editor) and Chris Andrews (Assistant Producer), and thanks especially to Jarrett Earnest and Meeka Walsh for their contribution to our fifth season.Many thanks to<a href="http://www.sfu.ca/galleries.html" rel="nofollow" target="_blank"> SFU Galleries</a> for their support; you can listen to their ten-part radio program <a href="https://www.sfu.ca/galleries/special-projects/current/ListeningtoPictures.html" rel="nofollow" target="_blank">Listening to Pictures: Artists on the Art Collection,</a> featuring artist voices with lived experience on the West Coast. Please consider donating through our <a href="https://momus.ca/patreon/" rel="nofollow" target="_blank">Patreon campaign</a>.

Meeka Walsh and Jarrett Earnest - Season 5, Episode 8

Ben Davis

In the introduction to Ben Davis’s new book, a bracing and perspectival collection of essays titled Art in the After-Culture (Haymarket Books), he reflects that “the only thing that has grown faster than the demands on art has been doubt that art can respond adequately to those demands.” In a generous and thoughtful conversation with Sky Goodden, Davis expands on those cultural tensions that exacerbate an already fraught cultural dialogue, and touches on other central themes to this collection of writing, including the economic structures that inform contemporary art and its technologies, the roots of cultural appropriation, the context collapse of our critical reception, and the ambient shifts in contemporary art's 'connoisseurship'.Of course, this is also a conversation about writing. In discussing a book that has taken the better part of a decade to come out, and has required significant rewriting as Davis responded to a shape-shifting present, he reflects, “It’s a process that resembles depression in the psychoanalytic sense. You feel, for a long period of time, that you have this giant object, a presence in your life that can’t be expressed, that hangs over you like a dark cloud. I don't have a life hack around that except to say that I think it really helps to believe in what you're doing.”Ben Davis is the National Art Critic at artnet News, where he’s also a senior editor. His first book, 9.5 Theses on Art and Class, came out in 2013 (Haymarket Books) and, as one artist put it, delivered "a truth-bomb of a book.”Please consider donating through our Patreon campaign.

In the introduction to Ben Davis’s new book, a bracing and perspectival collection of essays titled <a href="http://www.benadavis.com/after-culture" rel="nofollow" target="_blank">Art in the After-Culture</a> (Haymarket Books), he reflects that “the only thing that has grown faster than the demands on art has been doubt that art can respond adequately to those demands.” In a generous and thoughtful conversation with Sky Goodden, Davis expands on those cultural tensions that exacerbate an already fraught cultural dialogue, and touches on other central themes to this collection of writing, including the economic structures that inform contemporary art and its technologies, the roots of cultural appropriation, the context collapse of our critical reception, and the ambient shifts in contemporary art's 'connoisseurship'. Of course, this is also a conversation about writing. In discussing a book that has taken the better part of a decade to come out, and has required significant rewriting as Davis responded to a shape-shifting present, he reflects, “It’s a process that resembles depression in the psychoanalytic sense. You feel, for a long period of time, that you have this giant object, a presence in your life that can’t be expressed, that hangs over you like a dark cloud. I don't have a life hack around that except to say that I think it really helps to believe in what you're doing.” Ben Davis is the National Art Critic at artnet News, where he’s also a senior editor. His first book, 9.5 Theses on Art and Class, came out in 2013 (Haymarket Books) and, as one artist put it, delivered "a truth-bomb of a book.” Please consider donating through our <a href="https://momus.ca/patreon/" rel="nofollow" target="_blank">Patreon campaign</a>.

Ben Davis - Season 5, Episode 7

"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 through poetics, Vat's text Exit the Rehearsal: A Body in Delhi, published by Runway Journal, is a precise yet capacious meditation on our "epoch of waste"— ecocide, legacy waste, and the Anthropocene in which Vats suggests that what we waste is "highly proximate, right under your skin, in your gut, and there is something radical in accepting that this is a part of your lifecycle." In this interview with Lauren Wetmore, Vats discusses building a text from both a bodily and civic curiosity, and why sometimes, when writing about culture, it is important to leave the artworks out.

"We are post-purity," observes Arushi Vats, a Delhi-based writer and inaugural fellow of the Momus/Eyebeam <a href="https://momus.ca/critical-writing-fellowship/" rel="nofollow" target="_blank">Critical Writing Fellowship</a>. Rooted in field research and expanded through poetics, Vat's text <a href="http://runway.org.au/arushi-vats" rel="nofollow" target="_blank">Exit the Rehearsal: A Body in Delhi</a>, published by Runway Journal, is a precise yet capacious meditation on our "epoch of waste"— ecocide, legacy waste, and the Anthropocene in which Vats suggests that what we waste is "highly proximate, right under your skin, in your gut, and there is something radical in accepting that this is a part of your lifecycle." In this interview with Lauren Wetmore, Vats discusses building a text from both a bodily and civic curiosity, and why sometimes, when writing about culture, it is important to leave the artworks out.

Arushi Vats - Season 5, Episode 6

Rahel Aima

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.

This month, Sky Goodden speaks with <a href="https://rahelaima.com/" rel="nofollow" target="_blank">Rahel Aima</a>, a prolific critic, art writer, and Associate Editor at Momus. We focus on a text Aima published in Momus, “<a href="https://momus.ca/depleting-felix-gonzales-torres/" rel="nofollow" target="_blank">Depleting Felix Gonzales-Torres</a>” (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.

Rahel Aima – Season 5, Episode 5

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 Bienniale, along with participating artists Alexandra Sukhareva and Kirill Savchenkov, citing the war as “politically and emotionally unbearable.” Using his letter of resignation, which Malašauskas posted to Instagram on February 27th, Lauren Wetmore interviews him about what led to this decision—“I started from my experience of being in the Empire and not wanting to go back”—and the complexities of its reception within different networks of impact across the international art world, the Russian political and cultural regime, and Malašauskas’s Lithuanian community. With this episode Momus both condemns the Russian war on Ukraine, and echoes Malašauskas’s assertion of the existence of many “different Russias” by extending solidarity to its artists and creative communities. All our thanks to Jacob Irish (Editor) and Chris Andrews (Assistant Producer), and thanks especially to Raimundas Malašauskas for his contribution to this season. Thanks to the Sobey Art Award for its support. Look for us on Google Podcasts, Spotify, Stitcher, iTunes, and wherever you get your podcasts. Please consider donating through our Patreon campaign. To inquire about advertising opportunities or other forms of support, please contact: skygoodden@momus.ca.

Days after Russia’s invasion of Ukraine, the Lithuanian curator and writer <a href="https://kadist.org/people/raimundas-malasauskas/" rel="nofollow" target="_blank">Raimundas Malašauskas</a> resigned as curator of the Russian Pavilion at the 59th Venice Bienniale, along with participating artists Alexandra Sukhareva and Kirill Savchenkov, citing the war as “politically and emotionally unbearable.” Using his <a href="https://www.instagram.com/p/CafBdqHglG4/" rel="nofollow" target="_blank">letter of resignation</a>, which Malašauskas posted to Instagram on February 27th, Lauren Wetmore interviews him about what led to this decision—“I started from my experience of being in the Empire and not wanting to go back”—and the complexities of its reception within different networks of impact across the international art world, the Russian political and cultural regime, and Malašauskas’s Lithuanian community. With this episode Momus both condemns the Russian war on Ukraine, and echoes Malašauskas’s assertion of the existence of many “different Russias” by extending solidarity to its artists and creative communities. All our thanks to Jacob Irish (Editor) and Chris Andrews (Assistant Producer), and thanks especially to Raimundas Malašauskas for his contribution to this season. Thanks to the <a href="https://www.gallery.ca/whats-on/sobey-art-award" rel="nofollow" target="_blank">Sobey Art Award</a> for its support. Look for us on <a href="https://podcasts.google.com/?feed=aHR0cHM6Ly9tb211cy5jYS9mZWVkL3BvZGNhc3Qv" rel="nofollow" target="_blank">Google Podcasts</a>, <a href="https://open.spotify.com/show/5i3zzCD5YPIXWuiL1IA5aL" rel="nofollow" target="_blank">Spotify</a>, <a href="https://www.stitcher.com/podcast/momus-the-podcast" rel="nofollow" target="_blank">Stitcher</a>, <a href="https://podcasts.apple.com/ca/podcast/momus-the-podcast/id1342481337" rel="nofollow" target="_blank">iTunes</a>, and wherever you get your podcasts. Please consider donating through our <a href="https://momus.ca/patreon/" rel="nofollow" target="_blank">Patreon campaign</a>. To inquire about advertising opportunities or other forms of support, please contact: <a href="mailto:skygoodden@momus.ca">skygoodden@momus.ca</a>.

Season 5, Episode 4: Raimundas Malašauskas

Dana Kopel

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.”We wish to thank Jacob Irish (Editor) and Chris Andrews (Assistant Producer).Thanks especially to Dana Kopel for her contribution to this season. Look for us on Google Podcasts, Stitcher, iTunes, and other podcast apps.Please consider donating through our Patreon campaign. To inquire about advertising opportunities or other forms of support, please contact: skygoodden@momus.ca.

In this episode Lauren Wetmore speaks with writer and organizer <a href="https://danakopel.com/" rel="nofollow" target="_blank">Dana Kopel</a> about her widely-read article “<a href="https://thebaffler.com/salvos/against-artsploitation-kopel" rel="nofollow" target="_blank">Against Artspolitation: Unionizing the New Museum</a>,” 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.” We wish to thank Jacob Irish (Editor) and Chris Andrews (Assistant Producer).Thanks especially to Dana Kopel for her contribution to this season.  Look for us on <a href="https://podcasts.google.com/?feed=aHR0cHM6Ly9tb211cy5jYS9mZWVkL3BvZGNhc3Qv" rel="nofollow" target="_blank">Google Podcasts</a>, <a href="https://www.stitcher.com/podcast/momus-the-podcast" rel="nofollow" target="_blank">Stitcher</a>, <a href="https://podcasts.apple.com/ca/podcast/momus-the-podcast/id1342481337" rel="nofollow" target="_blank">iTunes</a>, and other podcast apps.Please consider donating through our <a href="https://momus.ca/patreon/" rel="nofollow" target="_blank">Patreon campaign</a>. To inquire about advertising opportunities or other forms of support, please contact: skygoodden@momus.ca.

Season 5, Episode 3: Dana Kopel

Momus: The Podcast is a monthly arts and culture program hosted by Sky Goodden and Lauren Wetmore. Bringing Momus's unique insistence on criticality into a more conversational register, the podcast is dedicated to transparent conversations with an international cohort of artists, curators, critics, and art writers. Momus is in its 5th season and was named one of the top ten art podcasts by The New York Times in March 2020.Subscribe on Google Podcasts, Stitcher, iTunes, and wherever you get your podcasts. If you would like to advertise on Momus: The Podcast, please contact Chris Andrews at chrisandrews@momus.ca.

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 Lauren Wetmore speaks with writer and organizer <a href="https://danakopel.com/" rel="nofollow" target="_blank">Dana Kopel</a> about her widely-read article "<a href="https://thebaffler.com/salvos/against-artsploitation-kopel" rel="nofollow" target="_blank">Against Artspolitation: Unionizing the New Museum</a>," 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.”

Dana Kopel - Season 5, Episode 3

Harry Dodge

In this episode, artist and writer Harry Dodge reads from My Meteorite, or Without the Random There Can Be No New Thing (Penguin Press, 2020). Perhaps best known as a sculptor, Dodge 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, this first book gives us a genre-defying memoir that succeeds, as well, 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. We wish to thank Jacob Irish (Editor), Mitra Shreeram (Assistant Producer), and Chris Andrews (Sales Director and Podcast Design). Thanks especially to Harry Dodge for his contribution to this season. And thank you to Leonard &amp; Bina Ellen Art Gallery for their support.

In this episode, artist and writer <a href="http://harrydodge.com/" rel="nofollow" target="_blank">Harry Dodge</a> reads from My Meteorite, or Without the Random There Can Be No New Thing (<a href="https://www.penguinrandomhouse.com/books/607650/my-meteorite-by-harry-dodge/" rel="nofollow" target="_blank">Penguin Press</a>, 2020). Perhaps best known as a sculptor, Dodge 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, this first book gives us a genre-defying memoir that succeeds, as well, 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. We wish to thank Jacob Irish (Editor), Mitra Shreeram (Assistant Producer), and Chris Andrews (Sales Director and Podcast Design). Thanks especially to Harry Dodge for his contribution to this season. And thank you to <a href="http://ellengallery.concordia.ca/?lang=en" rel="nofollow" target="_blank">Leonard &amp; Bina Ellen Art Gallery</a> for their support.

Harry Dodge – Season 5, Episode 2

Emmanuel Iduma

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 &amp; Hudson, 2021) sees Iduma choose a selection of photographs and imaginatively write to, as well as of them. Emmanuel Iduma is the author of A Stranger’s Pose, a travel memoir. His essays and art criticism have been published in The New York Review of Books, Aperture, Best American Travel Writing 2020, Artforum, and Art in America. His honors include a Creative Capital/Warhol Foundation grant for arts writing, the inaugural Irving Sandler Award for New Voices in Art Criticism from AICA-USA, the C/O Berlin Talent Prize for Theory, and a Silvers Grant for Work in Progress. I Am Still with You, his memoir on the aftermath of the Nigerian civil war, is forthcoming from Algonquin (US), and William Collins (UK).We wish to thank Jacob Irish (Editor) and Chris Andrews (Sales Director and Podcast Design).Thanks especially to Emmanuel Iduma for his contribution to this season. And thank you to Sobey Award for their support.

In the first episode of Season 5, Lauren Wetmore speaks with Nigerian art writer <a href="https://www.mriduma.com/" rel="nofollow" target="_blank">Emmanuel Iduma,</a> 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, <a href="https://www.thamesandhudsonusa.com/books/todd-webb-in-africa-outside-the-frame-hardcover" rel="nofollow" target="_blank">Todd Webb in Africa</a>, by Thames &amp; Hudson, 2021) sees Iduma choose a selection of photographs and imaginatively write to, as well as of them.  Emmanuel Iduma is the author of A Stranger’s Pose, a travel memoir. His essays and art criticism have been published in The New York Review of Books, Aperture, Best American Travel Writing 2020, Artforum, and Art in America. His honors include a Creative Capital/Warhol Foundation grant for arts writing, the inaugural Irving Sandler Award for New Voices in Art Criticism from AICA-USA, the C/O Berlin Talent Prize for Theory, and a Silvers Grant for Work in Progress. I Am Still with You, his memoir on the aftermath of the Nigerian civil war, is forthcoming from Algonquin (US), and William Collins (UK).We wish to thank Jacob Irish (Editor) and Chris Andrews (Sales Director and Podcast Design). Thanks especially to Emmanuel Iduma for his contribution to this season. And thank you to <a href="https://www.gallery.ca/whats-on/sobey-art-award" rel="nofollow" target="_blank">Sobey Award</a> for their support.

Emmanuel Iduma – Season 5, Episode 1

Kristian Vistrup Madsen

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, existential, and sometimes fictional 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."

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 <a href="https://kristianvistrup.dk/front%20page/writing.html" rel="nofollow" target="_blank">Kristian Vistrup Madsen</a> about writing Artforum Diary through the pandemic, and bringing the historic column to a more isolated, romantic, existential, and sometimes fictional space. The conversation also touches on Madsen's first book, <a href="http://moussemagazine.it/kristian-vistrup-madsen-doing-time-essays-on-using-people-2021/" rel="nofollow" target="_blank">Doing Time: Essays on Using People</a> (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."

Kristian Vistrup Madsen - Season 4, Episode 9

Muna Mire

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, communing with her chosen ancestries, 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 sensuousness and intimacy in this text. The experience of writing and publishing in the past year is also touched on, as Mire observes, “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.”

Muna Mire & Tourmaline – Season 4, Episode 8

Nora N. Khan

“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.

“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.

Nora N. Khan on “Within, Below, and Alongside” – Season 4, Episode 7

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.

Alexandra Stock on “The Privileged, Violent Stunt” – Season 4, Episode 6

Rianna Jade Parker

Jade Parker

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.

Rianna Jade Parker on “Letter from London” – Season 4, Episode 5

Léuli Eshrāghi

In episode 4, Dr. Léuli Eshrāghi discusses "tagatavāsā," a text centered on Eshrāghi's grandmother's art practice that interweaves Indigenous language with the vernacular of contemporary art. Eshrāghi works across visual arts, curatorial practice, and university research, "intervening in display territories to centre Indigenous kin constellations, sensual and spoken languages, and ceremonial-political practices." In this intimate conversation with Lauren Wetmore, Eshrāghi  says, “I wonder how you can bring texts to be haunted by the absence of knowledge, or by the violence of the borders of today.” "tagatavāsā" was published in C Magazine in Winter 2019.

Léuli Eshrāghi on tagatavāsā – Season 4, Episode 4

“Like writing, fisting is both a replicable skill and a rarefied art form.” This brachioproctic line begins writer Tausif Noor’s “Hand In Glove” (Artforum, 12 April 2019), a joyfully loaded review of William E. Jones’s novel I’m Open to Anything, released in 2019 by Los Angeles independent publisher We Heard You Like Books. In this searching conversation, Lauren and Tausif discuss Jones’s oeuvre, the importance of independent publishing, and celebrate sexual transgression while lamenting that writing can often feel, like Jones’s description of fisting, “a cork popping in reverse.”

Tausif Noor on “Hand in Glove” – Season 4, Episode 3

Momus: The Podcast is a monthly arts and culture program hosted by Sky Goodden and Lauren Wetmore. Bringing Momus's unique insistence on criticality into a more conversational register, the podcast is dedicated to transparent conversations with an international cohort of artists, curators, critics, and art writers. Momus is in its 5th season and was named one of the top ten art podcasts by The New York Times in March 2020. Subscribe on Google Podcasts, Stitcher, iTunes, and wherever you get your podcasts. If you would like to advertise on Momus: The Podcast, please contact Chris Andrews at chrisandrews@momus.ca.

Momus: The Podcast

Margaux Williamson

As we continue to circle the question “what makes great art?”, Sky Goodden spoke with Margaux Williamson, a slow painter who gives the greatest primacy to the work of her work, and to the thinking-through that the work requires. Based in Toronto, and known for both her intense focus in the studio and her community-building in Toronto's art scene, Williamson speaks with humor and heart about where her  friends show up in her art, and the soft focus that painting requires. 'People can be easily impressed by skill, and I know that’s not what art is.'Momus: The Podcast is edited by Jacob Irish, features original music by Kyle McCrea, and assistant production from Mitra Shreeram. Our many thanks to Williamson for her reflective contribution to this episode. Our thanks as well to the Banff Centre for their support.If you would like to inquire about advertising opportunities or other forms of support, please contact Sky Goodden at skygoodden@momus.ca.

As we continue to circle the question “what makes great art?”, Sky Goodden spoke with Margaux Williamson, a slow painter who gives the greatest primacy to the work of her work, and to the thinking-through that the work requires. Based in Toronto, and known for both her intense focus in the studio and her community-building in Toronto's art scene, Williamson speaks with humor and heart about where her  friends show up in her art, and the soft focus that painting requires. 'People can be easily impressed by skill, and I know that’s not what art is.' Momus: The Podcast is edited by Jacob Irish, features original music by Kyle McCrea, and assistant production from Mitra Shreeram. Our many thanks to Williamson for her reflective contribution to this episode. Our thanks as well to the Banff Centre for their support. If you would like to inquire about advertising opportunities or other forms of support, please contact Sky Goodden at skygoodden@momus.ca.

“What Makes Great Art?” with Margaux Williamson – Ep. 16

Daniel Blanga Gubbay

For this episode, still circling the question "what's changed, and what should?", Lauren Wetmore spoke with Brussels-based curator Daniel Blanga Gubbay, the artistic co-director of the historic Kunstenfestivaldesarts. Gubbay has worked as an educator and an independent curator for public programs including Manifesta, Palermo (2018); and was head of the Department of Arts and Choreography (ISAC) of the Royal Academy of Fine Arts of Brussels. He holds a PhD in Cultural Studies from Palermo and Berlin. Reflecting on the material consequences of halting a massive festival like his, and fighting to keep artists paid and visa applications underway, Gubbay warns that “when you reduce the whole artistic process to the event, if the event disappears, you risk making that process invisible."Momus: The Podcast – recently named one of The New York Times‘ top-ten art podcasts – is issuing new podcast episodes every two weeks. Look for us on Google Podcasts, Stitcher, iTunes, and other podcast apps.Momus: The Podcast is edited by Jacob Irish, features original music by Kyle McCrea, and assistant production from Mitra Shreeram. If you would like to inquire about advertising opportunities or other forms of support, please contact Sky Goodden at skygoodden@momus.ca.

For this episode, still circling the question "what's changed, and what should?", Lauren Wetmore spoke with Brussels-based curator Daniel Blanga Gubbay, the artistic co-director of the historic Kunstenfestivaldesarts. Gubbay has worked as an educator and an independent curator for public programs including Manifesta, Palermo (2018); and was head of the Department of Arts and Choreography (ISAC) of the Royal Academy of Fine Arts of Brussels. He holds a PhD in Cultural Studies from Palermo and Berlin. Reflecting on the material consequences of halting a massive festival like his, and fighting to keep artists paid and visa applications underway, Gubbay warns that “when you reduce the whole artistic process to the event, if the event disappears, you risk making that process invisible." Momus: The Podcast – recently named one of The New York Times‘ top-ten art podcasts – is issuing new podcast episodes every two weeks. Look for us on Google Podcasts, Stitcher, iTunes, and other podcast apps. Momus: The Podcast is edited by Jacob Irish, features original music by Kyle McCrea, and assistant production from Mitra Shreeram. If you would like to inquire about advertising opportunities or other forms of support, please contact Sky Goodden at skygoodden@momus.ca.

Daniel Blanga Gubbay on “What’s Changed, and What Should?” – Ep. 20

Eleanor Nairne

Momus: The Podcast launches Season 3 with the question “what's changed – and what should?” with curator and art historian Eleanor Nairne. This prompt was already set, but with the emerging pandemic and its irreversible effects on our economy, cultural metabolism, relationship to art, sense of agency, and connection to one other, there has never been a better time to ask it. This conversation also allows us an opportunity to reflect on past seismic shifts in history, and the equally loud cracks that can occur within an artist's practice. How do we seize this historical moment, and what do we wish to see change?Eleanor Nairne is Curator at the Barbican Art Gallery, London, where her exhibitions include Lee Krasner: Living Colour (2019-20) and Basquiat: Boom for Real (2017-18). She is a regular catalogue writer, a contributor to publications including The London Review of Books and frieze and is a former Jerwood Writer in Residence. Prior to the Barbican she was curator of the Artangel Collection at the Tate. In speaking with Lauren Wetmore for the season's inaugural episode, she reflects, "Has this been a time of reflection? No. It’s been a time of faulty connections and stumbling video calls. [But] I don’t want to go back to business as usual. I want to go back with a memory of this time imprinted in a valuable way."Momus: The Podcast - recently named one of The New York Times' top-ten art podcasts - is doubling down and scaling up in Season 3, issuing new podcasts every two weeks and staring directly at our present crisis, with an eye to both history and potential. Look for us on Google Podcasts, Stitcher, iTunes, and other popular podcast apps.Momus: The Podcast is edited by Jacob Irish, features original music by Kyle McCrea, and assistant production from Mitra Shreeram. If you would like to inquire about advertising opportunities or other forms of support, please contact Sky Goodden at skygoodden@momus.ca.

Momus: The Podcast launches Season 3 with the question “what's changed – and what should?” with curator and art historian Eleanor Nairne. This prompt was already set, but with the emerging pandemic and its irreversible effects on our economy, cultural metabolism, relationship to art, sense of agency, and connection to one other, there has never been a better time to ask it. This conversation also allows us an opportunity to reflect on past seismic shifts in history, and the equally loud cracks that can occur within an artist's practice. How do we seize this historical moment, and what do we wish to see change? Eleanor Nairne is Curator at the Barbican Art Gallery, London, where her exhibitions include Lee Krasner: Living Colour (2019-20) and Basquiat: Boom for Real (2017-18). She is a regular catalogue writer, a contributor to publications including The London Review of Books and frieze and is a former Jerwood Writer in Residence. Prior to the Barbican she was curator of the Artangel Collection at the Tate. In speaking with Lauren Wetmore for the season's inaugural episode, she reflects, "Has this been a time of reflection? No. It’s been a time of faulty connections and stumbling video calls. [But] I don’t want to go back to business as usual. I want to go back with a memory of this time imprinted in a valuable way." Momus: The Podcast - recently named one of The New York Times' top-ten art podcasts - is doubling down and scaling up in Season 3, issuing new podcasts every two weeks and staring directly at our present crisis, with an eye to both history and potential. Look for us on Google Podcasts, Stitcher, iTunes, and other popular podcast apps. Momus: The Podcast is edited by Jacob Irish, features original music by Kyle McCrea, and assistant production from Mitra Shreeram. If you would like to inquire about advertising opportunities or other forms of support, please contact Sky Goodden at skygoodden@momus.ca.

Eleanor Nairne on “What’s Changed, and What Should?” – Ep. 17

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