Feb 16-Jun 10, 2018 C. Spencer Yeh Mei-Jia & Ting-Ting & Chih-Fu & Sin-Ji Feb 16-Jun 10, 2018 ∆ C. Spencer Yeh, Mei-Jia & Ting-Ting & Chih-Fu & Sin-Ji , 2018, two-channel sound installation, duration variable. Courtesy of the artist. ∆ C. Spencer Yeh, Mei-Jia & Ting-Ting & Chih-Fu & Sin-Ji , 2018, two-channel sound installation, duration variable. Courtesy of the artist. ∆ C. Spencer Yeh, Mei-Jia & Ting-Ting & Chih-Fu & Sin-Ji , 2018, two-channel sound installation, duration variable. Courtesy of the artist. Feb 16-Jun 10, 2018 C. Spencer Yeh Mei-Jia & Ting-Ting & Chih-Fu & Sin-Ji Mei-Jia & Ting-Ting & Chih-Fu & Sin-Ji (2018) is a new two-channel sound work by artist and experimental composer C. Spencer Yeh (1975, Taipei, Taiwan). This experimental composition presents four resonant singing voices that are named in the work’s title. Mei-Jia, Ting-Ting, and Sin-Ji are female text-to-speech computer voices created to portray spoken Chinese language from Taiwan, Mainland China, and Hong Kong. For each voice, the artist wrote a score resembling concrete poetry. Yeh’s scores were composed to generate unconventional vocalizations made by the computer voices. The final voice, Chih-Fu, is sung by Yeh in the same unconventional style, mirroring the computer voices. The work is inspired by the traditional Chinese performance form of Kouji, which emphasizes vocal mimicry. By attempting to imitate the glitchy and machine-like text-to-speech voices, Yeh creates his own form of Kouji to explore their capabilities and limitations. Mei-Jia & Ting-Ting & Chih-Fu & Sin-Ji questions the processes that are used by composers and engineers to represent specific identities and social conditions by fabricating human speech patterns. All current exhibitions are funded by The Andy Warhol Foundation for the Visual Arts and Leadership Circle gifts from anonymous donors, Yuval Brisker, Joanne Cohen and Morris Wheeler, Margaret Cohen and Kevin Rahilly, Becky Dunn, Harriet Goldberg, Agnes Gund, Michelle and Richard Jeschelnig, Donna and Stewart Kohl, Jan Lewis, Toby Devan Lewis, and Scott Mueller. All MOCA Cleveland exhibitions are supported in part by the residents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture, the Cleveland Foundation, the George Gund Foundation, and the continuing support of the Museum’s Board of Directors, patrons, and members. About the Artist C. Spencer Yeh C. Spencer Yeh (1975, Taipei, Taiwan) lives and works in Brooklyn, NY and is recognized for his interdisciplinary activities and collaborations as an artist, improviser, and composer, as well his music project Burning Star Core. His video works are distributed by Electronic Arts Intermix and he is a contributing editor to Triple Canopy and BOMB magazine. Yeh also volunteers as a programmer and trailer editor for Spectacle Theater, a microcinema in Brooklyn, NY. Recent exhibitions and presentations of Yeh’s work include, Shocking Asia , Empty Gallery, Hong Kong (2017); Two Workaround Works Around Calder , Whitney Museum of American Art, New York, NY (2017); Sound Horizon , Walker Art Center, Minneapolis, MN (2016); Tony Conrad Tribute , Atelier Nord/Ultima Festival, Oslo, Norway (2016); Great Tricks From Your Future , D-CAF, Cairo, Egypt (2015); LAMPO , Renaissance Society, Chicago, IL (2015); Modern Mondays , MoMA, NY (2014); and The Companion , Liverpool Biennial, Liverpool, England (2014). In 2015 he was an Artist-in-Residence at ISSUE Project Room in New York City, and was included in the performance program for Greater New York at MoMA PS1. A new project on vinyl record, "The RCA Mark II," was recently published by Primary Information.

Title Round Billy Ritter Moon Jar , 2025 Stoneware, woodfired in Marshall, NC with Josh Copus and company 12 x 13 x 13 inches Courtesy of the artist Estimated Retail Value: $5,000 Starting Bid: $2,500 Artist Billy Ritter creates functional and conceptual ceramics that explore spirituality, create community, and share personal and universal stories. Ritter focuses strongly on atmospheric firing–hardening ceramics in a wood-fired, brick kiln–an intrinsically collaborative process with nature. He also integrates drawing and hand-built sculpture into his works, connecting to his teacher, celebrated ceramist Kirk Mangus about whom moCa did a posthumous 2014 retrospective. After Ritter built this vessel, he deliberately placed Moon Jar on its side in the “kiln chamber,” the hottest part of the kiln that reaches a white-hot state (2400 degrees+). This intensely reactive zone near the firebrick entrance creates nearly intolerable conditions for most vessels. But rather than breaking into pieces, Moon Jar opened up to let energy out (or in). Eschewing a Western obsession with perfection, Ritter aligns Moon Jar ’s physical shift with an Eastern ethos that embraces the value of deviation. Further, Ritter applied no glaze to this vessel. Instead, Moon Jar’s surface marks the vessel’s intense journey through the fire, and the important changes it created. As such, Moon Jar is an apt metaphor for moCa’s benefit and the transformations it celebrates. +sign up to proxy bid return to auction menu More: Billy Ritter Billy Ritter (b. Ellwood City, PA; lives and works in Cleveland) earned his BFA from Slippery Rock University, his MFA from Kent State University, and also studied at The Academy of Fine Art and Design (VŠVU Výročie) in Bratislava, Slovakia. His limited editioned vessels, installations, and functional heirloom pottery are loved and used by chefs, restaurateurs, architects, designers, photo studios, and collectors nationally and internationally. He has served as an adjunct professor for Tri-C and taught ceramics classes and workshops throughout the region for over a decade. Ritter exhibits and sells his work at his studio shop in Cleveland’s Hildebrandt Building and at fairs and markets throughout the area. He is represented by Cohab Space in North Carolina.

Oct 7, 2017-Jan 28, 2018 Phil Collins my heart's in my hand, and my hand is pierced, and my hand's in the bag, and the bag is shut, and my heart is caught Oct 7, 2017-Jan 28, 2018 ∆ Installation view, Phil Collins: my heart’s in my hand, and my hand is pierced, and my hand’s in the bag, and the bag is shut, and my heart is caught. Photo: Jerry Birchfield. ©moCa Cleveland 2017. ∆ Installation view, Phil Collins: my heart’s in my hand, and my hand is pierced, and my hand’s in the bag, and the bag is shut, and my heart is caught. Photo: Jerry Birchfield. ©moCa Cleveland 2017. ∆ Installation view, Phil Collins: my heart’s in my hand, and my hand is pierced, and my hand’s in the bag, and the bag is shut, and my heart is caught. Photo: Jerry Birchfield. ©moCa Cleveland 2017. Oct 7, 2017-Jan 28, 2018 Phil Collins my heart's in my hand, and my hand is pierced, and my hand's in the bag, and the bag is shut, and my heart is caught moCa will present the first US museum exhibition of this intimate collaborative installation by British artist Phil Collins (b. 1970, Runcorn, UK). The work features six listening booths housing 7” vinyl recordings of original songs that the artist created in collaboration with guests of a homeless shelter in Cologne, Germany, as well as with Collins’ vast network of musicians. To make this work, Collins installed a phone booth with a free line at the shelter, available to all for unlimited local and international calls, with the agreement that the conversations would be recorded and made anonymous. The selected recordings were shared with a group of musicians, including David Sylvian, Scritti Politti, Lætitia Sadier, Maria Minerva and Damon & Naomi, Planningtorock, and others, who used the telephone booth audio to create new songs played on record players in the listening booths. This installation evokes the universal transformative potential of music. It resonates with Cleveland’s stellar music scene, as well as the city’s deep struggle with poverty and the prevalence of homelessness. Collins states that “art has an imperative to address important issues... and... in places and times of increasing division, it's crucial that it becomes a prism for reflection in order to create, or ballast, the bridges between us.” All current exhibitions are funded by The Andy Warhol Foundation for the Visual Arts and Leadership Circle gifts from anonymous donors, Yuval Brisker, Joanne Cohen and Morris Wheeler, Margaret Cohen and Kevin Rahilly, Becky Dunn, Harriet Goldberg, Agnes Gund, Richard and Michelle Jeschelnig, Donna and Stewart Kohl, Jan Lewis, Toby Devan Lewis, and Scott Mueller. All moCa Cleveland exhibitions are supported in part by the residents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture, the Cleveland Foundation, the George Gund Foundation, and the continuing support of the Museum’s Board of Directors, patrons, and members. Installation Images

Title Round Nina Chanel Abney Magic , 2024 Edition 22/30 Relief print 59 ½ x 39 ¼ inches Courtesy of Nina Chanel Abney & Pace Prints Estimated Retail Value: $15,000 Starting Bid: $7,500 Nina Chanel Abney is one of the most prominent, multifaceted artists working today. In addition to collaborations with brands like Nike, Timberland, and Mattel, Abney creates paintings, works on paper, and large-scale murals that combine representation and abstraction to explore a broad range of topics such as pop culture, celebrity, religion, politics, race, sex, and art history. Using bold color and scale, Abney simplifies forms and combines them with text and shapes to create stirring portraits like the haloed figure in Magic. moCa mounted her recent solo show, Big Butch Synergy in 2023 and published a related catalog with ICA Miami, which premiered the series’ first half, Big Butch Energy , in 2022. +sign up to proxy bid return to auction menu More: Nina Chanel Abney Abney (b.1982, Harvey, IL; lives and works in New York) has held major solo exhibitions at the Savannah College of Art and Design, Georgia, moCa Cleveland, ICA Boston, ICA Miami, Palais de Tokyo, Paris, and The School by Jack Shainman Gallery, among others. Her latest solo exhibition, The Pursuit of Happiness , will inaugurate the new Virginia MOCA building from April 18–August 16, 2026. Recent commissions include transforming Lincoln Center’s David Geffen Hall façade in New York and creating a public mural at Miami World Center; she also has a mural at Rocket Arena. Her work is represented in the collections of the Whitney Museum of American Art, the Museum of Modern Art, the Brooklyn Museum, Rubell Family Collection, the Dallas Museum of Art, and numerous other institutions.

Jan 27-May 14, 2017 Adam Pendleton Becoming Imperceptible Jan 27-May 14, 2017 ∆ Installation view, Adam Pendleton: Becoming Imperceptible . Photo: Jerry Birchfield. ©MOCA Cleveland 2017. ∆ Installation view, Adam Pendleton: Becoming Imperceptible . Photo: Jerry Birchfield. ©MOCA Cleveland 2017. ∆ Installation view, Adam Pendleton: Becoming Imperceptible . Photo: Jerry Birchfield. ©MOCA Cleveland 2017. Jan 27-May 14, 2017 Adam Pendleton Becoming Imperceptible Adam Pendleton: Becoming Imperceptible is the largest solo presentation of the artist’s work to date. The title of the exhibition is derived from the writings of Gilles Deleuze and Felix Guattari, who assert that “to go unnoticed, is by no means easy,” and positions Pendleton’s practice as a form of counter-portraiture. The works on view explore visual and cultural framing practices to re-contextualize European, African, and American aesthetic and cultural movements from Minimalism and Dada to Black Lives Matter. The exhibition brings together works that exemplify the artist's diverse practice, including a large-scale vinyl wall work, Black Lives Matter #3 (wall work) (2015), two films, the 3-channel installation My Education: A Portrait of David Hilliard (2011–14) and a newly finished single-channel film JUST BACK FROM LOS ANGELES: A PORTRAIT OF YVONNE RAINER (2016), as well as floor-based abstract ceramic sculptures Code Poems (2016), and works from Pendleton's ongoing series of Black Dada paintings. Narrating the soundscape of the gallery, the 3-screen film installation My Education: A Portrait of David Hilliard offers an intimate depiction of Hilliard, an educator and the former founding Chief of Staff of the Black Panther Party. The film was shot in Oakland, CA as Pendleton accompanied Hilliard through neighborhoods that were once home to the Black Panther Movement during the 1960s. Hilliard is presented from multiple perspectives, creating an abstract narrative that challenges assumptions about history as a series of singular events built on objective truths. Central to the exhibition are works that rearticulate Conceptual and Minimalist art practices. Pendleton’s Black Dada paintings, an ongoing body of work the artist began in 2008, recontextualize the phrase “Black Dada” by reframing the letters of each word with cropped images of Sol Lewitt’s Incomplete Open Cube sculptures (1974). Another series, Untitled (water) (2014) appropriates photographs of water surfaces taken by Josef Albers in 1929 to explore ideas about order and disorder. These two bodies of work, like many in Pendleton’s oeuvre, bring together historic forms of avant-garde discourse to prompt reconsiderations of familiar cultural referents. Alongside these works, MOCA is pleased to present Pendleton’s newest work, a third film portrait, JUST BACK FROM LOS ANGELES: A PORTRAIT OF YVONNE RAINER (2016), in the Cohen Gallery. In the film, choreographer, filmmaker, and writer, Yvonne Rainer is in conversation with Pendleton at a diner in Chelsea, New York. At Pendleton’s request she reads a script derived from a wide range of fragmented historic and personal sources, including Rainer’s own writings, a text by Stokely Carmichael, a 1964 Malcolm X speech, and segments from Keeanga-Yamahtta Taylor’s book, From #BlackLivesMatter to Black Liberation (2016). As she reads, contemporary scenes are juxtaposed with an earlier film of Rainer performing her choreographic work, Trio A (1966). Reflecting the sociopolitical imperatives in the work of both artists, this new portrait offers a way to deconstruct the past with the present, blending form with language to articulate ideas about inequality, racism, and violence. Becoming Imperceptible is curated by Andrea Andersson Ph. D., the Helis Foundation Chief Curator of Visual Arts at the Contemporary Arts Center (CAC) New Orleans, and was originated by the CAC. MOCA Cleveland’s presentation of Becoming Imperceptible is organized by Senior Curator Andria Hickey. Generous support for MOCA Cleveland’s presentation of Adam Pendleton: Becoming Imperceptible is provided by Toby Devan Lewis, and The City of Cleveland Cable Television Minority Arts & Education Fund of the Cleveland Foundation. Additional support provided by Pace Gallery. In kind support for the production of Black Lives Matter #3 (wall work) , 2015 is provided by Astek, Inc. All 2017 exhibitions are funded by Leadership Circle gifts from an anonymous donor, Yuval Brisker, Joanne Cohen and Morris Wheeler, Margaret Cohen and Kevin Rahilly, Becky Dunn, Harriet Goldberg, Agnes Gund, Michelle Shan-Jeschelnig and Richard Jeschelnig, Donna and Stewart Kohl, Toby Devan Lewis, and Scott Mueller. All MOCA Cleveland exhibitions are supported in part by the residents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture, the Cleveland Foundation, the George Gund Foundation, and the continuing support of the Museum’s Board of Directors, patrons, and members. About the Artist Adam Pendleton Adam Pendleton (1984, Richmond, CA) lives and works in New York. Pendleton attended the Artspace Independent Study Program in Pietrasanta, Italy (2000-2002). Solo exhibitions include Contemporary Art Center, New Orleans (2016), Museum of Contemporary Art Denver, Colorado (2016), Pace Gallery, New York, New York (2014), Shane Campbell Gallery, Chicago, Illinois (2014), Indianapolis Museum of Contemporary Art, Indiana (2008). Group exhibitions including The Revolution Will Not Be Grey, Aspen Art Museum, Colorado (2016), The Language of Things, Public Art Fund New York, New York (2016), Young, Gifted and Black, Goodman Gallery, Johannesburg, South Africa (2015), Personne et les autres, Belgian Pavilion, 56 th International Art Exhibition, La Biennale di Venizia, Venice, Italy (2015), Radical Presence: Black Performance in Contemporary Art, Walker Art Center, Minneapolis, Minnesota (2014). His work is held in the permanent collections of the Museum of Modern Art, New York; Museum of Contemporary Art, Chicago, IL; The Carnegie Museum of Art, Pittsburgh, PA; and the Studio Museum in Harlem, New York, NY. Installation Images

News + Read more at CAN Journal Saturday, February 1, 2025 by Kisha Nicole Foster Photograph by Emmanuel Wallace I recently went to moCa Cleveland for the opening of an exhibit of photos provided by Birthing Beautiful Communities: Dear. Dear is a tribute to the strength, resilience, and beauty of Black motherhood and the community that supports it. Birthing Beautiful Communities is an organization in Northeast Ohio that holistically supports pregnant women from the time they find out they are with child to the birth and beyond. Their goal is to support equitable birth outcomes in communities that have socio-economic disparities. They also have a book, Born to Be: A Tribute to Black Motherhood . This book can be purchased on the Birthing Beautiful Communities website. I have a connection to this organization as they assisted me in my birth with my daughter seven years ago. My doula is Verna Darby, and she was there from my knowing I was pregnant to the delivery room, when I gave birth to Love Jones in 2017. She was at the opening on January 24, 2025. We got to reconnect and it was a joy for her to see Love Jones at age 7, knowing she was the one holding my hand and supporting me as I pushed my baby girl out. Without her, I don’t know if I would have been confident in this journey that is learned while doing the work. ( Read the full article at CAN Journal ) Previous Next

Jan 24-Jun 1, 2025 Harminder Judge Bootstrap Paradox Jan 24-Jun 1, 2025 ∆ Harminder Judge, Untitled (crept upon leg) (detail) 2024. Plaster, polymer, pigment, scrim, oil, 203 x 198 x 4 cm. Photo: Blythe Thea Williams ∆ Harminder Judge, Untitled (crept upon leg) (detail) 2024. Plaster, polymer, pigment, scrim, oil, 203 x 198 x 4 cm. Photo: Blythe Thea Williams ∆ Harminder Judge, Untitled (crept upon leg) (detail) 2024. Plaster, polymer, pigment, scrim, oil, 203 x 198 x 4 cm. Photo: Blythe Thea Williams Jan 24-Jun 1, 2025 Harminder Judge Bootstrap Paradox Harminder Judge’s first museum exhibition in the U.S. presented at moCa Cleveland, opening January 24, explores themes of alchemy, spiritual processions, and the body’s transformation through death. Judge’s vibrant plaster and pigment works emerge from energetic lines and intuitive processes, where color is embedded into the material, merging sculpture and painting. Influenced by funeral rites and ceremonial burning, his large, dynamic pieces provide a space for powerful emotional responses while exploring the embodied connection between the physical and the spiritual. The exhibition invites viewers to engage with the power of form, color, and abstraction, prompting personal reflection and connection. Major support provided by The Sunday Painter. Generous support provided by Yuval Brisker. About the Artist ∆ Harminder Judge. Photo: Sorina Reiber. Harminder Judge Harminder Judge (b.1982 Rotherham, UK) lives and works in London. He graduated from the Royal Academy Schools, London in 2021. Selected recent solo exhibitions include: Cliff and Cleft, Gathering, Ibiza, Spain, 2024; A Ghost Dance , Matt’s Gallery & The Sunday Painter, London, UK, 2024; Sea and Stone and Rib and Bone , Jhaveri Contemporary, Mumbai, India, 2023; Frieze London with The Sunday Painter, London, UK 2022; Rising Skin from Rock and Chin , The Sunday Painter, London, UK 2022; Ankles Absorbing Ash , Humber Street Gallery, Hull, UK 2022; Mountains and Mercies , galeriepcp, Paris, France 2021. Selected recent group exhibitions include: It Never Entered My Mind , Curated by Michael Sherman, Sean Kelly Gallery, LA, USA 2024; Picnic at Hanging Rock Chapter I , Sargent’s Daughters, LA, USA 2024; Curated By: Glossary , Galerie Kandlhofer, Vienna, Austria 2023; The Reason for Painting , Mead Gallery, Warwick, UK 2023; Love Letter, Pace Gallery, New York City, USA 2023; And this skin of mine , Guts Gallery, London, UK 2022; New Beginnings , Blindspot Gallery, Hong Kong, 2022; The Horror Show! , Somerset House, London, UK 2022; A Grain of Sand , The Sunday Painter, London, UK 2021; Am I Human To You? , Jugendstilsenteret & Kube Museum, Ålesund, Norway 2021; Tomorrow: London , White Cube, London, UK 2020; Our Ashes Make Great Fertilizer , Public Gallery, London, UK 2020; At Home In The Universe, Jhaveri Contemporary, Mumbai, India 2019 and A Plot For The Multiverse , Indigo + Madder, London, UK 2019. Installation Images

Apr 28-Aug 11, 2019 Sondra Perry A Terrible Thing Apr 28-Aug 11, 2019 ∆ Installation view: Sondra Perry: A Terrible Thing , moCa Cleveland, April 27–August 11, 2019. Photo: Field Studio. © moCa Cleveland 2019. ∆ Installation view: Sondra Perry: A Terrible Thing , moCa Cleveland, April 27–August 11, 2019. Photo: Field Studio. © moCa Cleveland 2019. ∆ Installation view: Sondra Perry: A Terrible Thing , moCa Cleveland, April 27–August 11, 2019. Photo: Field Studio. © moCa Cleveland 2019. Apr 28-Aug 11, 2019 Sondra Perry A Terrible Thing As the inaugural recipient of Toby’s Prize—a biennial award made possible by Toby Devan Lewis, philanthropist and a founding board member of moCa Cleveland—Sondra Perry (1986, Perth Amboy, NJ) presents A Terrible Thing , a new video and installation-based work. A Terrible Thing offers new ways of experiencing the often-invisible yet ever-present architecture, labor, and infrastructure of institutions, and in this case moCa Cleveland itself. Perry’s engagement with digital tools, software, images and videos found online, and post-production technical motifs, reflects on the use of digital technology as an expression of power and a tool for building collectivity. A Terrible Thing stems in part from Perry’s research into the history of blacksmithing as a form of highly skilled labor that, like other trades, creates the building blocks of infrastructure and architecture. Her interest in blacksmithing extends to the nature of the chemical reaction that occurs when human skin touches metal; a small layer of skin dies when contact is made, and a particular odor is released into the air. This transformation mirrors her interest in exploring the interplay between how people make spaces, and how spaces and materials shape people. Perry also weaves moments from the history of Cleveland’s once bustling Euclid Avenue corridor and the past life of what is now called the Uptown district into this new body of work. In the context of the museum, Perry’s A Terrible Thing offers a detailed narrative description of the labor and environment behind the production of exhibitions, and the circumstances and changes that surround urban development projects. This, and all forthcoming Toby’s Prize exhibitions, will include a body of new work made for presentation at moCa Cleveland and a corresponding catalogue. About the Artist Sondra Perry Sondra Perry earned her MFA from Columbia University (2015) and a BFA from Alfred University (2012). In 2017, she was awarded the Gwendolyn Knight and Jacob Lawrence Prize from the Seattle Art Museum, which culminated in the exhibition, Eclogue for[in]HABITABILITY. Perry’s solo exhibitions include, Typhoon coming on, Serpentine Sackler Gallery, London, UK (2018); Chromatic Saturation, Disjecta, Portland, OR (2018); Sondra Perry: flesh out, Squeaky Wheel, Buffalo, NY (2017); and Resident Evil, The Kitchen, New York (2016). Selected group exhibitions include, The Body Electric, Walker Art Center, Minneapolis, MN (2018); Family Pictures, Columbus Museum of Art, Columbus, OH (2018); Art in the Age of the Internet, 1989 to Today, Institute of Contemporary Art Boston, Boston, MA (2018); We Just Fit, You and I, Carpenter Center for the Visual Arts, Cambridge, MA (2017); Disguise: Masks and Global African Art, Brooklyn Museum, Brooklyn (2016); and Greater New York, MoMA PS1, Long Island City (2015). Spanning the last five years, Perry has screened her videos and presented talks at institutions including the Vera List Center at The New School, The Museum of Contemporary Art, Los Angeles, and The Artists’s Institute, New York, among others. Installation Images

Jan 30-Aug 2, 2026 Homing Instinct Letting Go of the Shore Jan 30-Aug 2, 2026 Jan 30-Aug 2, 2026 Homing Instinct Letting Go of the Shore Homing Instinct: Letting Go of The Shore is a 26-minute multi-screen film installation by New York-based filmmaker Lydia Dean Pilcher. It is based on a short story of the same name by Cincinnati-based author Dani McClain, published in the anthology Octavia’s Brood: Science Fiction Stories from Social Justice Movements . Presented on a continuous loop, this immersive story focuses on human resilience in the face of climate crises. Set in a near-future world of rising sea levels, it follows two friends, Raven and Paloma, as they decide how to respond to a federal order to evacuate coastal regions within 30 days and permanently relocate elsewhere. For Pilcher and McClain, confronting fossil-fuel dependence and resource depletion requires not just policy change, but new narrative approaches to inspire connection and transformation. Weaving together reality, dreams, and the metaphysical, Homing Instinct draws upon science fiction and Afrofuturist concepts and integrates dance, poetry, and striking visual design (shaped by art director Syou Nam Thai) to convey the emotional weight of facing change and trusting the unknown. It also reminds us that we are not part of nature, but nature itself. Lead support provided by Dick & Doreen Cahoon Community partner: ThirdSpace Reading Room About the Artists Dani McClain DANI McCLAIN McClain reports on race, parenting and reproductive health. Her writing has appeared in outlets including "The New York Times," "TIME," "The Atlantic" and "Harper's Bazaar." Her work has been recognized by the National Lesbian and Gay Journalists Association, the National Association of Black Journalists and Planned Parenthood Federation of America, and she has received a James Aronson Award for Social Justice Journalism. McClain is a contributing writer at "The Nation." She was a staff reporter at the "Milwaukee Journal Sentinel" and has worked as a strategist with organizations including Color of Change and the Drug Policy Alliance. Her book, "We Live for the We: The Political Power of Black Motherhood," was published in 2019 by Bold Type Books and was shortlisted in 2020 for a Hurston/Wright Legacy Award. She was the Cincinnati Public Library's writer-in-residence in 2020 and 2021. Lydia Dean Pilcher LYDIA DEAN PILCHER Pilcher is a two-time Emmy-winning and Academy Award-nominated producer. She is founder of the New York-based production company Cine Mosaic, working in the international landscape of cinema and multicultural storytelling. Before transitioning to writing and directing, she produced more than 40 feature films and series working with directors including Mira Nair, Gina Prince-Bythewood, Wes Anderson, Barry Levinson, George C. Wolfe and Kathryn Bigelow. Her director credits include the World War II female spy thriller "A Call to Spy" and the climate narratives "Radium Girls" and "Homing Instinct." She works with the UNFCCC initiative Entertainment and Culture for Climate Action and is a leader in the film and television industry promoting climate storytelling in entertainment and media. Pilcher teaches Climatic Change: Storytelling Arts, Zeitgeist and Our Future as an interdisciplinary course at the Columbia University Climate School in collaboration with the School of the Arts. Installation Images

Jul 14-Sep 30, 2018 Cyprien Gaillard Nightlife Jul 14-Sep 30, 2018 ∆ Cyprien Gaillard, Nightlife (Film Still), 2015, 3D motion picture, DCI DCP, 14:56 min. Copyright Cyprien Gaillard. Courtesy the artist and Sprüth Magers. Soundtrack © BLACK MAN’S WORLD Performed by Alton Ellis, (P) 1970 Sanctuary Records Ltd., a BMG Company, Courtesy of BMG Rights Management GmbH. Written and composed by Alton N. Ellis, published by Haka Taka Music. Courtesy of Melodie der Welt GmbH & Co. KG © BLACK MAN’S PRIDE featuring the performance of Alton Ellis is licensed by Jamaica Recording and Publishing Studio Limited,. 13 Studio One Boulevard, Kingston 5, Jamaica. Written and composed by Alton Ellis, published by Third Side Music o/b/o Jamrec. Music,, Courtesy of Rückbank Musikverlag Mark Chung. ∆ Cyprien Gaillard, Nightlife (Film Still), 2015, 3D motion picture, DCI DCP, 14:56 min. Copyright Cyprien Gaillard. Courtesy the artist and Sprüth Magers. Soundtrack © BLACK MAN’S WORLD Performed by Alton Ellis, (P) 1970 Sanctuary Records Ltd., a BMG Company, Courtesy of BMG Rights Management GmbH. Written and composed by Alton N. Ellis, published by Haka Taka Music. Courtesy of Melodie der Welt GmbH & Co. KG © BLACK MAN’S PRIDE featuring the performance of Alton Ellis is licensed by Jamaica Recording and Publishing Studio Limited,. 13 Studio One Boulevard, Kingston 5, Jamaica. Written and composed by Alton Ellis, published by Third Side Music o/b/o Jamrec. Music,, Courtesy of Rückbank Musikverlag Mark Chung. ∆ Cyprien Gaillard, Nightlife (Film Still), 2015, 3D motion picture, DCI DCP, 14:56 min. Copyright Cyprien Gaillard. Courtesy the artist and Sprüth Magers. Soundtrack © BLACK MAN’S WORLD Performed by Alton Ellis, (P) 1970 Sanctuary Records Ltd., a BMG Company, Courtesy of BMG Rights Management GmbH. Written and composed by Alton N. Ellis, published by Haka Taka Music. Courtesy of Melodie der Welt GmbH & Co. KG © BLACK MAN’S PRIDE featuring the performance of Alton Ellis is licensed by Jamaica Recording and Publishing Studio Limited,. 13 Studio One Boulevard, Kingston 5, Jamaica. Written and composed by Alton Ellis, published by Third Side Music o/b/o Jamrec. Music,, Courtesy of Rückbank Musikverlag Mark Chung. Jul 14-Sep 30, 2018 Cyprien Gaillard Nightlife Much of Cyprien Gaillard’s work investigates the eccentricities, buried histories, and inherent cycles of renewal and decay in the urban environment. Through film, video, sculpture, photography, and various interventions in public space, Gaillard presents narratives and forms that reflect upon the often unacknowledged histories of monuments, cities, and landscapes. Shot entirely at night over the course of two years, Nightlife (2015) connects a series of seemingly unrelated natural and cultural phenomena throughout Cleveland, Los Angeles and Berlin. Organized into distinct chapters, the three-dimensional film brings together an obscure yet significant mix of historical monuments and occurrences to form a hyper psychedelic experience. Support for MOCA Cleveland’s presentation of Cyprien Gaillard: Nightlife is provided by Étant donnés Contemporary Art, a program of the French American Cultural Exchange (FACE) Foundation . Étant donnés is developed in partnership with the Cultural Services of the French Embassy in the United States, with lead funding from the Florence Gould Foundation, the Helen Frankenthaler Foundation, Chanel USA, the ADAGP, the French Ministry of Culture, and Institut Français. Generous support also provided by Gladstone Gallery, New York and Brussels and Sprüth Magers . Sherwin-Williams is the official paint of moCa Cleveland. All current exhibitions are funded by The Andy Warhol Foundation for the Visual Arts and Leadership Circle gifts from anonymous donors, Yuval Brisker, Joanne Cohen and Morris Wheeler, Margaret Cohen and Kevin Rahilly, Becky Dunn, Harriet Goldberg, Agnes Gund, Michelle and Richard Jeschelnig, Donna and Stewart Kohl, Jan Lewis, Toby Devan Lewis, and Scott Mueller. All moCa Cleveland exhibitions are supported in part by the residents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture, the Cleveland Foundation, the George Gund Foundation, and the continuing support of the Museum’s Board of Directors, patrons, and members. Presented as a part of FRONT Internatinal Cleveland Triennial for Contemporary Art. About FRONT International FRONT International: Cleveland Triennial for Contemporary Art is an exhibition comprised of artist commissions, performances, films, and public programs that will launch its inaugural edition in July of 2018. An American City: Eleven Cultural Exercises, in collaboration with museums, civic institutions, and alternative spaces across Cleveland, Akron and Oberlin, will showcase an ambitious roster of projects, including performance and theater throughout the landscape and built environment. With a roster of national, international and area-based artists at all points in their career, FRONT will examine the ever-changing and politically urgent conditions of an American city.

Aug 28, 2026-Mar 7, 2027 Tishan Hsu permeable surface Aug 28, 2026-Mar 7, 2027 ∆ Tishan Hsu, Emergent Mesh , 2025 (still). Real-time Video. © 2025 North First Studio / Artists Rights Society (ARS), New York. Courtesy Lisson Gallery. ∆ Tishan Hsu, Emergent Mesh , 2025 (still). Real-time Video. © 2025 North First Studio / Artists Rights Society (ARS), New York. Courtesy Lisson Gallery. ∆ Tishan Hsu, Emergent Mesh , 2025 (still). Real-time Video. © 2025 North First Studio / Artists Rights Society (ARS), New York. Courtesy Lisson Gallery. Aug 28, 2026-Mar 7, 2027 Tishan Hsu permeable surface For over forty years, Tishan Hsu has explored the increasing interconnectedness of the human body with technology, resulting in a visual language that merges digital imagery, industrial materials, and biomorphic forms to create uncanny works. Trained in both classical fine art and architectural design, Hsu’s work bridges Renaissance technique with futuristic sensibilities. He traces our deepening entanglement with screens and systems and how they mediate our experience of the world. This exhibition presents a career-spanning selection of works, including Hsu’s first and most recent video works: Folds of Oil, 2005 and emergent mesh, 2025. permeable surface , demonstrates Hsu’s consistent inquiry into perception, the body, and how technology is transforming our sense of reality, revealing the tactile and psychological impacts of our digital age. All exhibitions at moCa supported by About the Artist ∆ Tishan Hsu Tishan Hsu Tishan Hsu (b. 1951, Boston, MA) lives and works in New York, NY. Recent solo exhibitions include Tishan Hsu at MAMCO, Geneva, Switzerland (2024); Secession, Vienna, Austria (2023–24); and Liquid Circuit at SculptureCenter, New York, NY (2020), which traveled to the Hammer Museum, Los Angeles, CA (2021). Hsu's work has been featured in major international exhibitions including The Milk of Dreams, the 59th Venice Biennale (2022), the Carnegie International (2022), and the Gwangju Biennale (2021), and it is included in the New Museum's large group exhibition New Humans: Memories of the Future that inaugurated their expanded building in 2026. Hsu’s work is held in the collections of The Metropolitan Museum of Art and the Whitney Museum of American Art, both in New York, NY; the Museum of Contemporary Art, Los Angeles, CA; Centre Pompidou, Paris, France; Tate Modern, London, UK; M+, Hong Kong; and numerous other international institutions. Hsu received a B.S. in Architecture and Environmental Design (1973) and a Master of Architecture (1975) from the Massachusetts Institute of Technology, where he also studied film at Harvard University’s Carpenter Center. He has taught at Sarah Lawrence College, Pratt Institute, and Harvard University . Selected Works

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