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Feb 2-May 26, 2024 Manabu Ikeda Flowers from the Wreckage Feb 2-May 26, 2024 ∆ Manabu Ikeda, Rebirth , 2013-16 pen, acrylic ink and transparent watercolour on paper, mounted on board, 118.11 x 157.48 in, collection of Saga Prefectural Art Museum. Digital Archive: TOPPAN PRINTING CO., LTD. ©️IKEDA Manabu, Courtesy Mizuma Art Gallery, Tokyo / Singapore ∆ Manabu Ikeda, Rebirth , 2013-16 pen, acrylic ink and transparent watercolour on paper, mounted on board, 118.11 x 157.48 in, collection of Saga Prefectural Art Museum. Digital Archive: TOPPAN PRINTING CO., LTD. ©️IKEDA Manabu, Courtesy Mizuma Art Gallery, Tokyo / Singapore Manabu Ikeda Flowers from the Wreckage Feb 2-May 26, 2024 ∆ Manabu Ikeda, Rebirth , 2013-16 pen, acrylic ink and transparent watercolour on paper, mounted on board, 118.11 x 157.48 in, collection of Saga Prefectural Art Museum. Digital Archive: TOPPAN PRINTING CO., LTD. ©️IKEDA Manabu, Courtesy Mizuma Art Gallery, Tokyo / Singapore Organized and circulated by the Audain Art Museum, Whistler, BC, Canada, with the generous support from the Audain Foundation. This exhibition is curated by Kiriko Watanabe, Gail & Stephen A. Jarislowsky Curator, Audain Art Museum. About the Exhibition The first North American retrospective of its kind, Manabu Ikeda: Flowers from the Wreckage presents over 50 works from the past 25 years. Seeking inspiration from his surroundings, Ikeda (born 1973, Saga, Japan; lives and works in Madison, WI) brings attention and inspiration to viewers while sending warnings about the painful reality of environmental disasters. Central to his practice are metaphors of grief and the undeniable aspects of life, including the fundamental forces of Mother Nature. Ikeda’s drawings also reveal human resilience and the ability to rise above devastating situations when it appears impossible. Organized by the Audain Art Musuem (Whistler, Canada) and curated by Kiriko Watanabe, Gail & Stephen A. Jarislowsky Curator, the show includes several of Ikeda’s renowned monumental works including Foretoken (2008), Meltdown (2013), and Rebirth (2013-16). In each of his works, Ikeda painstakingly constructs worlds that are both profoundly familiar and yet beyond comprehension, inspiring and awe-inspiring in equal measure. The artist created Meltdown and Rebirth as a response to the 2011 Great East Japan Earthquake, the most devastating earthquake, tsunami, and nuclear power disaster in the country’s recorded history. moCa Cleveland's presentation of this exhibtion marks its United States debut. Presenting sponsor Lead support from Lead support for Manabu Ikeda's Artist Residency and related programming Artist Residency Manabu Ikeda Manabu Ikeda will be in residence at moCa multiple times during the exhibition, working on a new, monumental drawing in a temporary studio within moCa's Mueller Family Gallery. For a full list of dates, visit moCa's Events page. About the Audain Art Museum Established in 2016, the Audain Art Museum (AAM) is a leading arts organization founded upon the major philanthropic gift of Michael Audain and Yoshiko Karasawa. Located in Whistler, British Columbia and designed by the internationally-renowned firm Patkau Architects, the AAM boasts a comprehensive Permanent Collection of the province's most celebrated artists. Exemplifying the richness of cultural difference in Canada, the collection takes visitors on a transformative visual journey form the late 18th century to present. Highlights include hereditary Haida Chief James Hart's The Dance Screen (The Scream Too), an exceptional collection of historical and contemporary Indigenous masks, the largest permanent display of paintings by Emily Carr, and key examples of the Vancouver photo conceptualism movement. In addition, the Museum hosts dynamic exhibitions from around the world. Installation Images Manabu Ikeda: Flowers from the Wreckage . Installation views at moCa Cleveland, 2024. Photos: Jacob Koestler

Title Round Teun Hocks Untitled (Man Playing with Train) , 1996 Color silkscreen 30 x 40 inches Estimated Value Range: $1,800 - $2,400 Starting Bid: $900 Bidding increments: $100 Teun Hocks (b. 1947, Leiden – d. 2022, Rotterdam) was internationally celebrated for his tragicomic photo-paintings—works that combined photography, performance, and painting into richly staged tableaux. A pioneer of staged photography, Hocks became known for portraying himself as the resigned, endearing anti-hero in meticulously crafted theatrical scenes. His dreamlike, slightly absurd environments often placed an ordinary man—himself—amid surreal tasks or ambiguous predicaments. These worlds, rendered in black-and-white photography and hand-colored with oil paint (or digitally in later works), toe the line between humor and melancholy, clarity and mystery. Hocks’ works emerged from carefully developed drawings that explored visually interesting, surreal, or droll situations. These sketches served as blueprints for the elaborate sets he built in his studio. Once constructed, Hocks photographed himself within the scene using analogue black-and-white photography, then hand-painted the resulting prints in delicate layers of oil. In later years, he began digitally coloring his photos to create editioned works while preserving the painterly aesthetic of his practice. More: Teun Hocks Artist Statement & Approach Hocks never saw himself as a traditional storyteller. “Because the basis of my work is a staged scene, the image suggests that it involves an event that actually happened in reality,” he explained. But rather than offer a clear narrative, Hocks aimed to create open-ended situations, seldom titling his works to encourage individual interpretation. Each image feels like a moment suspended in time—something is about to go wrong, or perhaps has just gone awry. The result is work that is at once deeply human, oddly comic, and subtly unsettling. Critic Ken Johnson, writing in The New York Times , captured the poetic tension in Hocks’ work: “Teun Hocks’ works are truly profound, like the one of an artist who, unaware of the sun burning on the horizon behind him, focuses on the candle light in his hand—a metaphor, perhaps, about the human limits of spiritual perception.” About the Artist Hocks studied at the St. Joost Academy in Breda from 1966 to 1970, and was active early on in performance and collaborative art projects. While many artists in the Netherlands during the 1970s leaned into conceptualism, Hocks pursued a more accessible, visual storytelling approach. His early photo-performances eventually led to the hybrid photo-paintings that defined his mature work. Over his career, Hocks exhibited internationally and became an icon of Dutch staged photography. His work appeared in solo and group exhibitions throughout Europe and the United States, and he earned cult status for his unique ability to bridge photography and painting with narrative poignancy. Legacy & Final Years In the spring of 2021, Hocks held his final exhibition, Drawings , at TORCH Gallery. It featured works made during his period of isolation at home in central France—testament to his lifelong commitment to drawing, a practice that often remained in the background of his more well-known photographic works. Hocks also contributed as an educator, teaching drawing at the Gerrit Rietveld Academy and the Design Academy Eindhoven. Teun Hocks leaves behind a legacy of work that defies easy categorization—simultaneously staged and spontaneous, humorous and haunting. His images invite us to pause, reflect, and imagine the stories unfolding within.

Clotilde Jiménez LISTEN ON APPLE LISTEN ON SPOTIFY LISTEN ON I HEART + more Born in 1990 in Honolulu, Hawaii, Clotilde Jiménez now lives and works in Mexico City. He earned his MFA from The Slade School of Fine Art and his BFA from the Cleveland Institute of Art. Add a Title Add a Title Title + more Talks ↓ All Events moCa NOW moCa Saturday Parties Talks This episode is hosted by DJ Hellerman. Produced by DJ Hellerman and Tom Poole. Edited by Tom Poole. Consulting Producer and Audio Engineering by Adam Zucarro. +more on the exhibition Clotilde Jiménez: Shapeshift 62 min. Episode Guest: Clotilde Jiménez Born in 1990 in Honolulu, Hawaii, Clotilde Jiménez now lives and works in Mexico City. He earned his MFA from The Slade School of Fine Art and his BFA from the Cleveland Institute of Art. Episode Host: DJ Hellerman DJ Hellerman is the Deputy Director & Senior Curator at moCa Cleveland. A Northeast Ohio native, Hellerman holds an M.A. in Art History from Case Western Reserve University and began his career at the Progressive Art Collection. Prior to his work at moCa, he held the positions of Chief Curator & Director of Curatorial Affairs at The Fabric Workshop and Museum in Philadelphia, PA, Curator at the SCAD Museum of Art in Savannah, Georgia, Curator of Arts & Programs at the Everson Museum in Syracuse, New York, and Chief Curator and Director of Exhibitions at Burlington City Arts in Burlington, Vermont. This episode is hosted by DJ Hellerman. Produced by DJ Hellerman and Tom Poole. Edited by Tom Poole. Consulting Producer and Audio Engineering by Adam Zucarro. +more on the exhibition Clotilde Jiménez: Shapeshift This episode is hosted by DJ Hellerman. Produced by DJ Hellerman and Tom Poole. Edited by Tom Poole. Consulting Producer and Audio Engineering by Adam Zucarro. +more on the exhibition Clotilde Jiménez: Shapeshift Artist Clotilde Jiménez’s exhibition Shapeshift is at moCa Cleveland through January 4, 2026. In this podcast, Jiménez talks about the evolution of his work, the use of color in his collages (and on the set of Seinfeld ), the legacies impacting him, and the ones he wants to create moving forward. LISTEN ON APPLE LISTEN ON SPOTIFY LISTEN ON I HEART WATCH ON YOUTUBE LISTEN ON AMAZON

Date Title One sentence desciption + more Add a Title Add a Title Title + more Add a Title Add a Title Title + more 12-2:30PM Sat. November 1, 2025 moCa Saturday: FAM Day (Family, Art & Movement) SIGN UP at moCa Cleveland Free with admission Move with meaning in this transformative experience where visual art meets street dance. Join the acclaimed 10K Movement to reconnect with your body, creativity, and expression—through moves inspired by the current exhibitions of Clotilde Jiménez and Maggie Menghan Chen. All ages and levels welcome—no experience needed. Presented in partnership w/

News + Read more at Art in America Monday, November 7, 2022 Finnegan Shannon’s Exhibition on a Conveyor Belt Alleviates Museum Fatigue by Emily Watlington Art museums have developed a reputation for inducing a particular kind of exhaustion. Navigating crowds in order to get a glimpse at masterpieces, feeling overstimulated in blockbuster shows, and standing on hard concrete floors leads to what is commonly called “museum fatigue.” Exacerbating matters is the fact that museums just don’t have enough comfortable seating. For an exhibition at moCa Cleveland, Brooklyn-based artist Finnegan Shannon has taken matters into their own hands, with a show that requires no walking and offers ample seating. After arriving via elevator, visitors are invited to sit on couches and chairs while a conveyor belt parades by them a rolling display of artworks by Shannon’s artist peers. The setup’s closest proxy is conveyor belt sushi—but this is a feast for the eyes, rather than the taste buds. The soft seating feels decidedly more domestic than institutional; Shannon sourced the chairs and couches from local thrift stores. (They even found a small stool with a puzzle spelling out the first name of the show’s curator, Lauren Leving.) And Shannon tied it all together with some of their own homey touches, like embroidered pillows bearing fluorescent conveyor belts and cut-out cardboard letters on the wall spelling out phrases like DON’T MIND IF WE DO and WE BEING SILLY AND SERIOUS . Shannon further tends to their viewers’ bodies with DIY air purifiers made of duct tape and box fans that help alleviate Covid’s ongoing risk. The show encouraged visitors to slow down. On the wall, custom clocks told the day of the week rather than the hour of the day, as if asking, what’s the rush? It’s a show about promoting rest and alleviating museum fatigue, but more specifically, it is born of the disability justice movement. It’s aimed explicitly at questioning the ableist valuing of bodily exertion, as well as at the exclusionary assumptions museums make about bodies. Shannon considers the exhibition a fulfillment of their long-held “access fantasy.” Among the most charming pieces making the rounds are Emilie L. Gossiaux’s 3D-printed sculptures depicting various body parts of her guide dog, London—including a paw and a tongue. Also from Gossiaux is a journal full of hand-drawn illustrations of the color-identification system she created for herself after going blind, in which she associates colors with memories and feelings: a crayon that Crayola calls “purple mountains’ majesty,” for instance, is renamed “homecoming dress purple 2003.” Other pieces on the belt are interactive: visitors can lift them off and return them at their leisure. A card game by Jeffrey Kasper offers prompts for two players to engage in exercises promoting risk and intimacy. A Selection of Snapshots Taken by Felix Felix Gonzalez-Torres reproduces endearing correspondences, cat photos, and figurines that the late artist arranged lovingly on his pillows. For some photographs in the Gonzalez-Torres book, we see not the picture, but the description he wrote on the back: like HOME or MIAMI LANDSCAPE, 1995, SUMMER OF LOVE. These image descriptions are echoed in the audio description track Finnegan made for the show, accommodating blind and low-vision visitors. For Shannon, the access itself is often the artwork, and items like tissues and ear plugs (for those seeking a low-stimulus environment) both circulate on the conveyor belt and appear on the show’s checklist. As ever, Shannon takes great care with the details: the tissue box is in a fabric cozy in the shape of a house, the artist having removed the stairs that made its entrance inaccessible, and lovingly added lavender to the bushes. Here as elsewhere, Shannon approaches access, to quote organizer Kevin Gotkin, as “radical hospitality.” Implied in all this is the unseen effort that disabled artists often exert when working on an exhibition to make it accessible to our communities. Instead of keeping that work behind the scenes, Shannon compellingly makes it the subject of their debut museum solo. Shannon is best known for their benches and cushions that appear in group exhibitions, bearing statements like THIS EXHIBITION HAS ASKED ME TO STAND FOR TOO LONG. SIT IF YOU AGREE., written out in the artist’s signature script. The bold capital letters are polished off with soft edges and a lighthearted informality that mirrors their twinned playfulness and criticality. Shannon’s work is always participatory: their “Anti-Stairs Club Lounge” comprised a series of interventions, including a protest at the opening of architect Thomas Heatherwick’s gargantuan Vessel in New York, a 150-foot-tall structure made of interlocking staircases. Before it closed, it glorified 154 flights while promising a premier view. My own most memorable encounter with a Shannon intervention was at the Museum für Moderne Kunst (MMK) in Frankfurt, where I lay back in a cushioned chaise lounge to watch a gut-wrenching Nan Goldin slideshow, in which she relates how her sister’s institutionalization—and later, suicide—altered the course of her life. I became utterly engulfed, and started to wonder how many other treasures I’d skipped over because I hadn’t wanted to stand around, or squat on the floor, or sit on a hard, backless bench. That work induced in me a longing to lounge in museums. It also underscored a key contribution of Shannon’s work: the artist doesn’t just point out the absences and assumptions normalized in museums, they also dream up solutions. Rather than institutional critique, you might call it institutional repair. —Emily Watlington This article appears in the Winter 2023 issue. Previous Next

Studio Access w/ Manabu Ikeda Feb 18, 2024 Experience the artist create onsite at moCa as he develops a new monumental artwork over the course of the Winter/Spring season. Generous support for Manabu Ikeda's artist residency and programming by Flagstar Foundation. RELATED EXHIBITION: Manabu Ikeda: Flowers from the Wreckage About Experience the artist create onsite at moCa as he develops a new monumental artwork over the course of the Winter/Spring season. Generous support for Manabu Ikeda's artist residency and programming by Flagstar Foundation. RELATED EXHIBITION: Manabu Ikeda: Flowers from the Wreckage Experience the artist create onsite at moCa as he develops a new monumental artwork over the course of the Winter/Spring season. Generous support for Manabu Ikeda's artist residency and programming by Flagstar Foundation. RELATED EXHIBITION: Manabu Ikeda: Flowers from the Wreckage

News + Read more at Crain's Cleveland Business Monday, November 6, 2023 Immersive Exhibits are Leading a Transformation in Cleveland Museums by Paige Bennett Previous Next

Date Title One sentence desciption + more Add a Title Add a Title Title + more Add a Title Add a Title Title + more Sat. December 6, 2025 moCa Saturday: FAM Day (Family, Art & Movement) 12-2:30PM at moCa Cleveland Free with admission SIGN UP Move with meaning in this transformative experience where visual art meets street dance. Join the acclaimed 10K Movement to reconnect with your body, creativity, and expression—through moves inspired by the current exhibitions of Clotilde Jiménez and Maggie Menghan Chen. All ages and levels welcome—no experience needed. Presented in partnership w/

Studio Access w/ Manabu Ikeda Apr 20, 2024 Experience the artist create onsite at moCa as he develops a new monumental artwork over the course of the Winter/Spring season. About Experience the artist create onsite at moCa as he develops a new monumental artwork over the course of the Winter/Spring season. Experience the artist create onsite at moCa as he develops a new monumental artwork over the course of the Winter/Spring season.

Date Title One sentence desciption + more Add a Title Add a Title Title + more Add a Title Add a Title Title + more 12-2:30PM Sat. September 6, 2025 moCa Saturday: Dance as Contemporary Art — The 10K Challenge SIGN UP at moCa Cleveland Free to watch $15/individual; $30/duo to battle Join moCa Cleveland and 10K Movement for an afternoon of street dance, creativity, and family fun inspired by moCa’s current exhibitions. Experience live performances, learn about the cultural roots of hip hop styles, and take part in the energy, whether you dance in the circle, cheer from the sidelines, or join in simple movement prompts. Each round’s challenge, inspired by moCa’s current exhibitions, pushes dancers to explore ideas like footwork only , lines and shapes , or level changes . As partners respond and feed off each other’s energy, audiences get a front-row, intimate look at the creativity, improvisation, and community spirit that define battle culture. Alongside the battles, audiences will learn about the history and significance of street dance, cheer for their favorites, and even have a chance to step into the circle themselves. The afternoon closes with an open freestyle jam where everyone is invited to move together. Whether you’re a dancer or just curious, come discover how battle culture transforms improvisation into contemporary art. Presented in partnership w/

Forming Fearless Faces: A Free Mask-Making Family Workshop Nov 8, 2024 REGISTER TODAY! OFFSITE at Julia de Burgos Cultural Arts Center, 2800 Archwood Ave, Cleveland, OH 44109 5:30PM – Meet & Greet with light refreshments 6PM – Mask-making begins Explore a variety of materials—from man-made and recycled to natural elements—as you create a mask that tells a story all your own. No experience is necessary. The workshop is led by native Mexican artist, Ruben Ulises Rodriguez Montoya. Afterward, make sure to check out Ruben's first solo U.S. exhibition which is on view at moCa Cleveland through December 29, 2024. ✨ Presented by moCa Cleveland & Julia de Burgos Cultural Arts Center About REGISTER TODAY! OFFSITE at Julia de Burgos Cultural Arts Center, 2800 Archwood Ave, Cleveland, OH 44109 5:30PM – Meet & Greet with light refreshments 6PM – Mask-making begins Explore a variety of materials—from man-made and recycled to natural elements—as you create a mask that tells a story all your own. No experience is necessary. The workshop is led by native Mexican artist, Ruben Ulises Rodriguez Montoya. Afterward, make sure to check out Ruben's first solo U.S. exhibition which is on view at moCa Cleveland through December 29, 2024. ✨ Presented by moCa Cleveland & Julia de Burgos Cultural Arts Center REGISTER TODAY! OFFSITE at Julia de Burgos Cultural Arts Center, 2800 Archwood Ave, Cleveland, OH 44109 5:30PM – Meet & Greet with light refreshments 6PM – Mask-making begins Explore a variety of materials—from man-made and recycled to natural elements—as you create a mask that tells a story all your own. No experience is necessary. The workshop is led by native Mexican artist, Ruben Ulises Rodriguez Montoya. Afterward, make sure to check out Ruben's first solo U.S. exhibition which is on view at moCa Cleveland through December 29, 2024. ✨ Presented by moCa Cleveland & Julia de Burgos Cultural Arts Center

moCa Cleveland Job Application Application for Employment Please answer each question fully and accurately. No action will be taken on this application until all questions have been answered. In reading and answering the following questions, be aware that none of the questions are intended to imply illegal preferences or discrimination based upon non-job-related information. Position you are applying for:* Date submitted* First name* Last name* Email* Daytime phone* When are you available to begin working? Have you worked for moCa in the past?* No Yes If yes, when? I am seeking: Full-time (30+ hours) Part-time (1-29 hours) Volunteer Work (unpaid) Resume/Cover Letter Upload Upload File If applicable, link to professional website or portfolio. APPLY NOW An Equal Opportunity Employer moCa Cleveland provides equal employment opportunities to all employees and applicants for employment without regard to race, color, ancestry, national origin, gender, sexual orientation, marital status, religion, age, disability, gender identity, results of genetic testing, or service in the military. Equal employment opportunity applies to all terms and conditions of employment, including hiring, placement, promotion, termination, leave of absence, compensation, and training. Certification & Attestation I certify that all information provided in this employment application is true and complete. I understand that any false information or omission may disqualify me from consideration for employment and may result in my dismissal if discovered at a later date. If hired, I understand that I will need to provide proof of my eligibility to work in the United States. I authorize the investigation of any or all statements contained in this application. I also authorize, whether listed or not, any person, school, current employer, past employers and organizations to provide relevant information and opinions that may be useful in making a hiring decision. I release such persons and organizations from any legal liability in making such statements. I understand that this application, verbal statements by management, or subsequent employment does not create an express or implied contract of employment nor guarantee employment for any definite period of time. Only moCa’s Executive Director has the authority to enter into an agreement of employment for any specified period and such agreement must be in writing, signed by the Executive Director If employed, I understand that I have been hired at the will of the employer and my employment may be terminated at any time, with or without reason and with or without notice. I have read, understand, and by applying, consent to these statements. Engagement Guide Open Jobs