99 Cents or Less

May 19–August 6, 2017

A major group exhibition of ninety nine artists based in the United States, 99 Cents or Less addresses Detroit’s ongoing economic crisis and its 2013 bankruptcy–the largest municipal bankruptcy filing in the history of the United States. Four years after a federal judge approved Detroit’s bankruptcy-exit plan the city’s financial present and future are still in flux. This exhibition is a reflection on the realities of a city that was once one of the country’s wealthiest and most diverse. Speaking to Detroit’s place as a global industrial powerhouse by using materials from 99 cent stores, 99 Cents or Less hopes to make the connection between past, present, and future centers of production, and point to ways that artists can address how mass production has changed and will continue to change and evolve. As the consumer’s relationship with their everyday items has changed, so has the application and approach that artists take when incorporating these items in their work.

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Bárbara Wagner, Estás Vendo Coisas (You Are Seeing Things), 2017, still from video, 42 minutes. Courtesy of the artist.

Bárbara Wagner: Aspirations

MAY 19 — AUGUST 20, 2017

MOCAD is proud to present the first-ever solo museum exhibition devoted to the Brazilian photographer and filmmaker Bárbara Wagner, based in Berlin, Germany and Recife, Brazil. MOCAD will present three video works by Wagner that examine performances— both formal and informal—to explore layers of identity created through symbolic gestures. Her work addresses the intersections of gender, class, race, and religion as expressed through movement, costume, dance, and worship. She captures shared cultural expressions—from music to dance, spiritual practice to urban nightlife—to interrogate the complexities of identity, the fantasies of our ideal selves, and the labor of moving between reality and an aspirational ideal.

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Dylan Miner: To Build Up Invincible

MAY 19 — AUGUST 20, 2017

Dylan Miner’s DEPE Space residency seeks to re-engage anti-capitalist histories in the city and examine their relationship to the present and future by drawing upon the radical and working class history of pennants, banners, community spaces. and ideas of the Industrial Workers of the World (IWW or Wobblies), a labor union and social movement whose hall was located just three blocks from MOCAD.

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Dylan Miner, installation detail. Courtesy of the artist.
Lisa Kereszi, Pop Pop's tow truck, 2001. Courtesy of the artist.

Mike Kelley’s Mobile Homestead Lisa Kereszi: Joe’s Junk Yard

MAY 19 — AUGUST 20, 2017

Through photographs and a collection of ephemera, Joe’s Junk Yard tells the story of an empire built on the steel of crashed El Caminos and used car parts, the effects of a changing economy and shifts in societal values, and the decades long struggle of a first generation immigrant family to maintain the American Dream.

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Detroit City: Alivia Zivich

MAY 19 — AUGUST 20, 2017

The multifaceted practice of Detroit-based artist Alivia Zivich ranges from art making, to co-founding the small independent music label AA Records, to running the gallery What Pipeline, which she established with artist Daniel Sperry in 2013. What stands out in Zivich’s work is a fascination with the popular versus the personal, the mass-produced versus the handmade. Zivich ’s artworks draw on these same ideas. By processing mass-media images through her own hands, channeling how these influences infiltrate and influence our personal lives, she interrogates the ways in which we use and are used by popular culture, the ways in which it is monetized, and the ways in which it aims to manipulate. This is Zivich’s first official museum exhibition.

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Alivia Zivich, Bottomless, installation detail, 2014. Courtesy of Night Club Gallery, Chicago, and the artist.