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Currently installed at Toby’s Plaza, in front of the Museum of Contemporary Art Cleveland, is one of the FRONT’s commissioned works: Tony Tasset’s Judy’s Hand Pavilion. The enormous sculpture is a silver-toned, blown-up version of Tasset’s wife’s hand.
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In the days leading up to its official opening on Saturday, the FRONT International: Cleveland Triennial for Contemporary Art has been compared to the Venice Biennale, Documenta, and other major biennial-style shows around the world. Whether those comparisons are merited as the exhibition reveals itself in full remains to be seen, but FRONT, under the artistic direction Michelle Grabner, is certainly expansive. After the first day of preview action, here’s a look what you can find at some of the show’s many venues in Ohio, including a Yinka Shonibare MBE installation at the Cleveland Public Library, an exhibition of Kerry James Marshall’s works on paper at the Cleveland Museum of Art, and much more. A full report on the first FRONT International will follow next week.
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A FRONT banner inside the Cleveland Museum of Art’s atrium.
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Work from the series “Then and Now” by Allen Ruppersberg, at the Cleveland Museum of Art. Ruppersberg was born in Cleveland, and these works are very much an homage to the landscape of his hometown. They feature backlighted pictures of Cleveland’s urban vistas as insets within sepia-toned pictures of billboards’ backsides.
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Marlon de Azambuja’s Brutalismo-Cleveland (2018), on view at the Cleveland Museum of Art, alludes to the history of modernist architecture in the Ohioan city through a series of cement blocks and clamps. Think Bodys Isek Kingelez by way of Marcel Breuer.
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De Azambuja’s installation is suggestively exhibited in the same gallery as Luisa Lambri’s abstract photographs of the Cleveland Museum of Art’s Breuer-designed exterior.
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Included in the Cleveland Museum of Art portion of the FRONT is a must-see mini-exhibition devoted to Kerry James Marshall’s works on paper. This work, Untitled (1999), measures more than 20 feet long and includes 12 woodblock prints. Marshall has called the work, which depicts six men in conversation, a “counter-archive.”
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Climb all the way to the top of the Cleveland Museum of Art’s stairs near the entrance, and you’ll find this Alex Jovanovich painting, titled Mother Spider (2018).
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In the museum’s library, Jovanovich is also showing Untitled I (2018), a work featuring 65 slides that slowly unfurl a mystical tale relating to the cosmos.
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Agnieszka Kurant’s neon work The End of Signature (2017–18) was made by collecting signatures from the Cleveland Museum of Art’s employees and trustees, and then combining them via computer software. The resulting squiggly form was made into a neon sculpture and is now exhibited on the institution’s facade.
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The late artist’s Allan Sekula’s nearly-three-hour film The Lottery of the Sea (2006) is being shown in its entirety as part of the FRONT. It’s exhibited in a setting befitting the film’s nautical subject: the steamship William G. Mather, near the Great Lakes Science Center.
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Sekula’s essay film braids together all kinds of oceanic events, ideas, and objects, including submarines in contemporary Japan, urban planning in Barcelona, classic American cinema, meditations on the differences between sound and image, and Spanish colonial painting. Pictured here is a still from a sequence about workers in Panama.
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Outside the steamship William G. Mather.
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Exhibited on a series of monitors arranged accordion-style, Philip Vanderheyden’s Volatility Smile 3 (2018), on view at the Federal Reserve Bank of Cleveland, takes its inspiration from a kind of data pattern that signals to economic analysts that a boom has ended. It features digitally rendered design elements from the room in which the piece appears; they seem to burst or warp under pressure.
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Another view of Vanderheyden’s Volatility Smile 3.
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A detail of Vanderheyden’s Volatility Smile 3.
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Yinka Shonibare MBE’s The American Library (2018), at the Cleveland Public Library, includes about 6,000 tomes arranged in a double-sided bookshelf. Each book has been covered vibrantly hued fabric and dedicated to someone related to immigration—either a migrant or a person who has spoken out against the movement of people across borders.
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A detail of The American Library. The piece may be heavy-handed, but in this political climate, and in a city that was at one point filled with immigrants, The American Library hits home.
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Visitors to The American Library are invited to share their own experiences with immigration.
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On a series of iPads nearby The American Library, viewers can watch YouTube videos of U.S. Presidents and other politicians talking about immigration.
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To fulfill one of the triennial’s titular cultural exercises, Grabner has curated this show of Great Lakes area–based artists, titled “The Great Lakes Research,” at the Cleveland Institute of Art. Pictured here is Pao Houa Her’s My grandmother’s favorite grandchild, Duachi, Goncoley, Lilian and Mai Youa (2017).
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Beverly Fishman, Untitled (Asthma and heartburn), 2018, at “The Great Lakes Research,” Cleveland Institute of Art.
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Works by Alan Belcher at “The Great Lakes Research,” Cleveland Institute of Art.
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Joe Smith, Air Freshener (2018) and untitled (2012–18), at “The Great Lakes Research, Cleveland Institute of Art.
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Currently installed at Toby’s Plaza, in front of the Museum of Contemporary Art Cleveland, is one of the triennial’s commissioned works: Tony Tasset’s Judy’s Hand Pavilion. The enormous sculpture is a silver-toned, blown-up version of Tasset’s wife’s hand.
ALEX GREENBERGER/ARTNEWS
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Though the Oberlin-based artist Johnny Coleman’s most noticeable piece at the triennial—a sound installation at a church in the city’s Glenville neighborhood featuring the voices of residents telling stories—is located outside an institution, viewers at MOCA will still find Upon Reflection (2), 2018, pictured here. The piece features a telescope with an iPhone attached; the phone plays a livestream of the church’s doors, making Glenville visible to people in University Circle.
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Part of Josh Kline’s “Civil War” series, which envisions a world after the fall of capitalism in 2030, is on view at MOCA. Included is Indifference (2017), a pile of what appears to be cement teddy bears (they’re actually made of gypsum, sand, gravel, and steel) more likely recall carnage than playtime.
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At MOCA, Martine Syms is showing her installation An Evening with Snow White (2017), a video work that features a woman offering etiquette lessons in a purple room and two wall prints.
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Another view of Syms’s An Evening with Snow White.
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It’s easy to miss Lin Ke’s Here and Now, which is presented at several places in MOCA, but keep an eye out for the piece—it’s a good one. Viewers are asked to download the app LayAr, and to then hold up their phone to see the augmented reality elements of Ke’s work. For this part, the app shows a video of a series of computer folders being opened.
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