JUNE 4 – AUGUST 8, 2021


Brood  highlights the critical role of the artist as visionary in building more just and sustainable societies. In the science fiction anthology Octavia’s Brood  (2015), editors Walidah Imarisha and adrienne maree brown propose that, “Whenever we envision a world without war, without prisons, without capitalism, we are engaging in speculative fiction.”

Featuring works by Ash Arder, Bryce Detroit, Complex Movements, Aaron Jones, Mother Cyborg (Diana Nucera), and Reuben Telushkin, Brood  illustrates this theory through the lineage of regional artists working with innovative, interdisciplinary approaches to speculative storytelling and cultural organizing. The artworks presented in this exhibition vary widely incorporating sound, social practice, performance, projection, and textile. The exhibition will be activated by workshops and performances aimed at emboldening communities through reforming, radicalizing, and increasing access to education at the intersection of art, science, and technology.

The exhibiting visionaries are educators, activists, collaborators and cultural organizers who utilize trailblazing methods passed down by fiction writer, Octavia Butler. Each harness technology and science to create sensory experiences to embolden communities with a more empathetic understanding of the past, present and future. Brood  artists build, deconstruct, reframe, warn, prepare. They recognize technology’s role in our society and harness its power in order to forge a more empathetic understanding of our interconnected past, present, and future realities.

The exhibition points to the importance of built environment and architecture in imagining space for better futures. Brood  lives in Mike Kelley’s Mobile Homestead, a replica of the artist’s childhood home with the intent of serving as a community gallery and gathering space “created by and for a diverse public which reflect the cultural tastes and interests of the local community.” Although the idea of activism as speculative fiction is a universal concept, Brood  points out the characteristically Detroit tradition of working at the intersection of art, science, and community organizing.


ASH ARDER is a transdisciplinary artist whose research-based approach works to expose, deconstruct or reconfigure physical and conceptual systems – especially those relating to ecology. Arder’s highly flexible practice examines interspecies relations and natural phenomena primarily through historical and popular culture lenses.

BRYCE DETROIT is the Afrofuturist artist, griot, activist, and pioneer of Entertainment Justice. As a cultural designer, he is a national award-winning music producer, performer, and curator. Through his practice, Bryce Detroit demonstrates the power of using music entertainment arts and native legacies to design cultural infrastructure for preserving, producing, and promoting new Diasporic Afrikan narratives, cultural literacies, and cooperative neighborhood-based economies.

COMPLEX MOVEMENTS is a Detroit-based artist collective supporting the transformation of communities by exploring the connections of complex science and social justice movements through multimedia interactive performance work.

AARON JONES runs an experimental architecture studio concerned primarily with the research and development of media structures. This work often results in pop-up theaters, performance art installations, and entertainment portals which are in collaboration with leading creative professionals and organizations around the world. The studio looks at the opportunities between content and infrastructure especially as they reveal and expand audience types.

DIANA NUCERA, aka “Mother Cyborg,” is a multimedia artist who uses quilts, performance, music, DIY publishing, and popular education methods to elevate collective technological consciousness and agency. Diana realized the power of art, media and technology to facilitate collective emotional experiences and draws from thirteen years of community organizing and education work during which time she wrote guides and devised organizing models to fight digital redlining.

REUBEN TELUSHKIN is a multidisciplinary artist whose work is rooted at the intersection of sonic and sculptural arts. Telushkin’s work archives Black history through reimagining audio-visual devices and their function. His works are a pathway for participants to explore the dimensionality of time. Telushkin’s formal arts practice is informed by his experience as a radio DJ–using airwaves to connect communities across the globe. Telushkin builds opportunities for participants to engage with interactive electronic music environments through the production of soundscapes and pop-up community radio stations. Much of his work integrates sound installation with sensors, microprocessors, and performance. As a Detroit resident, Telushkin is influenced by the city’s history of innovation in music technology. For him, sound art is a means to explore the emergent properties in community networks as a pathway to Black liberation.

Brood is organized by the Museum of Contemporary Art Detroit and curated by M. Pofahl, MOCAD Curatorial Fellow. MOCAD’s curatorial fellowship program and related exhibitions and programs are supported by the Ford Foundation. Exhibitions and programs at Mike Kelley’s Mobile Homestead are funded by the Mike Kelley Foundation for the Arts.