Green will lead a tour of Contact from 12:15 to 1:30pm Friday, November 18 during a special edition of Lunch on Fridays on location at moCa Cleveland.

This tour is free and open to the public but limited spots are available. To secure your spot, please register in advance via Eventbrite.

This tour will move throughout the museum and may require walking and/or standing for extended periods of time. moCa provides gallery stools that attendees can use in the galleries. If you have additional questions or if there are access services or accommodations that can make your experience more inclusive, please contact lleving@mocacleveland.org. One- to two-weeks’ advance notice is recommended but not required.

Contact, presented in partnership with FRONT International, weaves together Green’s own works with a vast array of invited participants with whom she’s been in conversation through the years. Engaging with moCa Cleveland’s unique architecture, this exhibition establishes a spatial, sonic and cinematic conversation between multiple artworks and agents. Green’s pioneering aesthetic practice connects with two of the FRONT triennial’s key themes: a focus on the expanded role of artists as collaborative practitioners and the idea that the processes of art-making can create essential bridges between people.

In addition to Green, Contact features the art, thinking and voices of a diverse ensemble of artists and practitioners, including John Akomfrah, Marcel Broodthaers, Cinematic Migrations Workshop, Free Agent Media, Laura Serejo Genes, Lina Gopaul, Derrick Green Index Literacy Program, Gabriel Kahan, David Lawson, New Humans, Nolan Oswald Dennis, Suneil Sanzgiri, Sense LA, Smoking Dogs Films, Jessica Sarah Rinland, Ian Soroka, Mika Tajima and Pedro Zylbersztajn.

About the artist: Renée Green is an artist, filmmaker and writer. Via films, essays and writings, installations, digital media, architecture, sound-related works, film series and events, her work engages with investigations into circuits of relation and exchange over time, the gaps and shifts in what survives in public and private memories as well as what has been imagined and invented. She also focuses on the effects of a changing transcultural sphere on what can now be made and thought.

Her exhibitions, videos and films have been seen throughout the world in museums, biennales and festivals. In 2021, Inevitable Distances, a survey of four decades of Green’s work, was organized by KW Institute for Contemporary Art and daadgalerie in Berlin, traveling in 2022 to the Migros Museum for Gegenwartskunst in Zurich. In 2009, Ongoing Becomings, another extensive survey of her work, was organized by the Musée cantonal des Beaux-Arts in Lausanne, Switzerland.

Since her arrival at MIT in 2011, Green has had solo exhibitions at the Museum of Modern Art, New York; MAK Center for Art and Architecture at the Schindler House, Los Angeles; Lumiar Cité, Lisbon; Galerie Nagel Draxler, Berlin; Bortolami Gallery, New York; Fondazione Antonio Ratti, Como, Italy; Prefix Institute for Contemporary Art, Toronto; and the Carpenter Center for Visual Arts, Harvard University, Cambridge, Mass.

In addition, her work has been featured in group exhibitions at the following institutions: Whitney Museum, New Museum, and the Studio Museum in Harlem, New York; Hammer Museum, and Museum of Contemporary Art, both in Los Angeles; Walker Art Center, Minneapolis; Museum of Contemporary Art, Chicago; Institute of Contemporary Art, Philadelphia; Institute of Contemporary Art, Boston; Museum Moderner Kunst, Vienna; Centro Andaluz de Arte Contemporáneo, Seville; Museum der Moderner, Salzburg; and many others.

A prolific writer, Green has published essays and fictions in Transition, October, Frieze, Texte zur Kunst, Spex, Multitudes, Sarai Reader and Collapse, among other magazines and journals. Her essays have also appeared in an assortment of international cultural and scholarly books.

Image: Renée Green: “Contact.” Installation view at moCa Cleveland, presented in partnership with FRONT International’s 2022’s second iteration, “Oh, Gods of Dust and Rainbows.” Photo: Field Studio