The Interjection Calendar is a project devised and hosted by Montez Press. Each month an artist or writer is commissioned to produce a new piece of work for release on our website. At the end of the year the collection is published, demonstrating a diverse range of collaborations and experimental works, mapping the year in contemporary art writing, with equal space held for the emerging and the established. The Calendar reflects the current importance of online content media, pushing the relationship between image and text in this domain.From the Editor’s Note by Racheal Crowther:‘Scent cannot be mediated through digital platforms or photographic documentation. It relies on physical presence to inhale air and to internally process ingested molecules. Odour perception begins only after molecules have entered the body and altered it. The vibration theory of olfaction describes how scent molecules interlock with receptors and vibrate at specific frequencies, triggering quantum tunnelling and distinct neural responses. These processes alert the body ~ consciously or unconsciously ~ to the presence of molecules. This information is sent directly to the limbic system, specifically the amygdala and hippocampus. This is the part of the brain that regulates emotions, memory, behaviour and motivation.Scent, so often treated as peripheral, emerged as fundamental to orientation, safety, appetite, pleasure, intimacy, and presence.’To represent the immaterial quality of scent, The Interjection Calendar 011 features a transparent cover.Contributors:Solomon Garçon, Ariana Reines, Eilidh Duffy, Elida Silvey, Shanzhai Lyric, Ella Fleck, Ethan O’Connor, R.I.P Germain, Raheel Khan, Bishwadhan Rai, Eileen Myles, Perfume AreaGuest edited by Racheal CrowtherRacheal Crowther is a London-based artist whose practice examines governance, surveillance, and institutional power, tracing their entanglement with systems of care. Her work repurposes technical apparatus and industrial objects charged with memory to reveal failures in bureaucracy and the persistent grip of institutional structures on daily life. Her current line of enquiry investigates the politics of scent as a tool of influence and social control. Tracing the many roles of sensory manipulation across time and space—from the imperceptible conditioning of commercial environments to its deployment within military and policing apparatuses—her practice conceptualises olfactory manufacturing as a medium through which atmospheres are engineered and behaviours directed.Forthcoming presentations include a solo exhibition at Chisenhale Gallery, London, and participation in the group exhibition Flare-Up at Goldsmiths CCA, London (both 2026).Crowther has developed solo exhibitions including Gebrauchsmusik at Galerie Noah Klink, Berlin (2025); Managed Decline at 243 Luz, Margate (2023); Qualified to Care at Ginny on Frederick, London (2022–23); and Hard Shoulder at Peak Gallery, London (2019). Her work has also been presented in numerous group exhibitions such as Concilium at Palazzo Grasselli, Cremona, Italy (2025); Royal Academy Schools Show at the Royal Academy of Arts, London (2024); and Devotional Cache at House of Seiko, San Francisco, USA.Her publishing projects include The Interjection Calendar 011 (guest edited by Crowther, Montez Press, London/New York, 2025); The Eternal Pursuit of the Unattainable in Interjection Calendar 009 (Montez Press, 2023); and Qualified to Care (self-published, London, 2022).She studied at the Royal Academy Schools, Royal Academy of Arts (Postgraduate Programme in Fine Art, 2021–2024), following a BA (Hons) in Fine Art & Critical Thinking from Goldsmiths, University of London (2010–2013).