To start, the museum is focusing on carbon reduction through infrastructure, aided by grants received from the Los Angeles Low Carbon Leaders Pilot Program (2021) to scope all reduction opportunities, and from the Frankenthaler Climate Initiative (2021) to support a shift to solar energy at The Geffen Contemporary at MOCA. The museum aims to draw down its historic carbon footprint, back to the museum’s founding in 1979, with the goal of negating historical carbon emissions by 2023. In 2021, MOCA made a net-zero carbon declaration and is proceeding with plans to cut its direct carbon emissions by more than 50% by 2030, in alignment with the Paris Agreement and with the Gallery Climate Coalition (GCC) and Partners for Arts Climate Targets (PACT) standards. The exhibition’s Climate Impact Report will be published on the sustainability platform Artists Commit. The Rist Studio offsets its studio practices and plans in a manner to lower air travel. What could not be reduced was assessed through a carbon audit and offset by the purchase of REDD+ carbon offsets targeting the protection of historic carbon stores. The museum collaborated with Rist to ensure an environmentally-responsible exhibition and achieve a low carbon footprint by sourcing local recycled material, shipping works by ocean containers, and serving a climate-conscious menu for the opening night dinner. The exhibition surveys more than thirty years of the Swiss artist’s work, encompassing early single-channel videos, large-scale installations, and a new audio-video installation made specifically for The Geffen Contemporary at MOCA. Pipilotti Rist: Big Heartedness, Be My Neighbor opened at MOCA on Septemas the museum’s first net-zero exhibition. Kim is Burton’s first major hire since her November 2021 arrival at LA MoCA.Pipilotti Rist: Big Heartendness, Be My Neighbor THE MUSEUM OF CONTEMPORARY ART, LOS ANGELES SeptemJIntroduction Biesenbach summarily quit, returning to his native Germany to helm Berlin’s Neue Nationalgalerie and the yet-to-open Museum of the 20th Century in the same city. Months later, Biesenbach was bumped from director to artistic director, with Johanna Burton arriving from the Wexner Center for the Arts at The Ohio State University in Columbus as executive director. Locks lasted less than two years in the position, chalking up her spring 2021 departure to an inability on the part of the museum’s leadership to embrace inclusion, diversity, equity, and access. Biesenbach in 2019 hired Mia Locks as senior curator and director of new initiatives. Vergne himself resigned shortly thereafter, with Klaus Biesenbach stepping into the role of director. Kim fills a position that has been vacant since 2018, when then director Philippe Vergne controversially dismissed chief curator Helen Molesworth. While at Tate, she cocurated the 2018 Gwangju Biennale and the 2017 exhibition “Condemned to be Modern,” the latter a part of the Getty Foundation’s Pacific Standard Time initiative. “As a diverse, multi-lingual, multi-ethnic city, Los Angeles is uniquely positioned to chart new paths and horizons for contemporary art and what museums should look like in the twenty-first century.”īefore coming to Tate, Kim, whose arrival at LA MoCA marks a return to her hometown, served a senior curator of visual arts at the Walker Art Center, Minneapolis, and as gallery director and curator at REDCAT, Los Angeles. “Throughout my career, I have championed art through exhibitions, residencies, and commissions, driven by the fundamental belief in the possibility of cultural dialogue and exchange to transform individuals and communities,” Kim said. Among the exhibitions she organized at the British institution are a widely praised 2020 exhibition of the work of Steve McQueen, and Kara Walker’s acclaimed 2019 Turbine Hall commission, Fons Americanus, a forty-three-foot high fountain bearing allegorical figures and scenes that has since been destroyed. Kim, who will assume her new role September 1, was instrumental in broadening Tate’s permanent collection to include works addressing postcolonial and transnational art histories. Tate Modern’s Clara Kim Heads to LA MoCA as Chief CuratorĬlara Kim is leaving London’s Tate Modern, where she has served as senior curator of international art since 2016, to become chief curator of the Museum of Contemporary Art, Los Angeles (LA MoCA).
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