8:00pm Doors / 8:30pm Sound
$15 Guests / Free for members
Reserve seats: member login or guest registration


Vienna is the home of Radian, Martin Brandlmayr (drums, electronics), John Norman (bass), and Martin Siewert (guitars, electronics), who have been influenced by and shaped the city’s vivid scene of electronica in the early 2000s. The title of their most recent album, On Dark Silent Off, is a nod to Ad Reinhardt, whose art and theory has been influential on the trio. The juxtaposition of extremes (on/off) is present in Radian’s work: the contrast between light and darkness; and in musical terms, sound and silence and brightness/darkness of timbre.

Radian creates a field of tension between extreme dynamics, freely improvised parts and meticulous construction, an inherent contrast between soft sounds and sharp edits. Radian’s recording/creative process takes a central role in shaping the pieces. It is a two-fold process of creating material through improvisation, sound experiments and processing on the one hand, and a routine of carefully selecting and editing this material on the other. It is often the case that mere snippets are used out of hours of sound material. The contrast between the magic of the moment, spontaneous live performance and its subsequent careful construction shape the quality of the pieces. 

8:30pm Doors / 9:00pm Sound
$20 Guests / $12 for Members
Tickets are SOLD OUT. A limited number of floor and standing room only tickets will be made available at 8:50pm.

Danielle de Picciotto and Alexander Hacke have been leading a nomadic life since 2010, with no permanent home and travelling from one city to the next. The reason for their restlessness is the overall gentrification, the annihilation of individualism, the rising costs of living and the relentless sellout by the mainstream entertainment industry. "Artists need to find new ways of working now-a-days in order to upkeep integrity and autonomy. The old patterns no longer function.” 

The uncompromising decision to abandon their home has since determined their work. Their search for external & internal clarity, researching archaic principles and philosophies has helped them master the rigors of the road. 

At The Lab they will be presenting their album "Perseverantia.” The album was recorded in the Californian Mojave desert and is mostly instrumental, with a few spoken-word lyrics by Danielle de Picciotto. Together with the throat-singing by Alexander Hacke, the purring and squeaking of the hurdy-gurdy and an ether-plucking harp, melancholic violin melodies and the hum and growl of bass and guitar, one is placed in an acoustic world of mysteries, which floats out of the loudspeakers like an epic movie, both disturbing and mesmerizing. 

Talk starts at 5:30pm
Free

Join Artadia, Helen Molesworth, Chief Curator at The Museum of Contemporary Art (MOCA), Los Angeles, and Julia Bryan-Wilson, Professor of Modern and Contemporary Art at the University of California, Berkeley, for a free public program at The Lab. Molesworth will visit San Francisco to participate in Art & Dialogue and visit with Artadia Awardees.

Helen Molesworth is the Chief Curator at The Museum of Contemporary Art (MOCA), Los Angeles, where she recently curated the first US retrospective of the Brazilian artist Anna Maria Maiolino and the monographic survey Kerry James Marshall: Mastry.  From 2010–2014 she was the Barbara Lee Chief Curator at the Institute of Contemporary Art (ICA) Boston, where she assembled one person exhibitions of artists Steve Locke, Catherine Opie, Josiah McElheny, and Amy Sillman, and the group exhibitions Leap Before You Look: Black Mountain College 1933–1957, Dance/Draw, and This Will Have Been: Art, Love & Politics in the 1980s.  As head of the Department of Modern and Contemporary Art at the Harvard Art Museum, she presented an exhibition of photographs by Moyra Davey and ACT UP NY: Activism, Art, and the AIDS Crisis 1987–1993.  From 2002–2007 she was the Chief Curator of Exhibitions at the Wexner Center for the Arts, where she organized the first US retrospectives of Louise Lawler and Luc Tuymans, as well as Part Object Part Sculpture, which examined the influence of Marcel Duchamp’s erotic objects. While Curator of Contemporary Art at The Baltimore Museum of Art from 2000–2002, she arranged Work Ethic, which traced the problem of artistic labor in post-1960s art.  She is the author of numerous catalogue essays and her writing has appeared in publications such as Artforum, Art Journal, Documents, and October.  The recipient of the 2011 Bard Center for Curatorial Studies Award for Curatorial Excellence, she is currently at work on an ambitious exhibition inspired by the American painter and film critic Manny Farber and his 1962 essay “White Elephant vs. Termite Art.”

Julia Bryan-Wilson is Professor of Modern and Contemporary Art at the University of California, Berkeley and Director of Berkeley's Arts Research Center. Her research interests include questions of artistic labor, feminism, queer theory, fabrication/production, performance, visual culture of the nuclear age, photography, and textile handicraft. She is the author of Art Workers: Radical Practice in the Vietnam War Era (U California Press, 2009), Art in the Making: Artists and their Materials from the Studio to Crowdsourcing (with Glenn Adamson, Thames & Hudson, 2016), and Fray: Art and Textile Politics (U Chicago, 2017).  She is the editor of Robert Morris: October Files (MIT, 2013), and she has co-edited two special issues of journals: “Visual Activism” for the Journal of Visual Culture (with Jennifer González and Dominic Willsdon) and “Time Zones: Durational Art and its Contexts” for Representations (with Shannon Jackson). With Andrea Andersson, Bryan-Wilson co-curated the exhibition Cecilia Vicuña: About to Happen, which travels to the Berkeley Art Museum in fall 2018.  She is currently writing a book about Louise Nevelson.

8:00pm Doors / 8:30pm Sound
$15 Guests / Free for members
Reserve seats: member login or guest registration
Phil Manley Life Coach will open for Man Forever

The music of drummer John Colpitts as Man Forever is explorative, innovative and fearless. A musician and composer equally versed in the disparate musical languages of DIY rock, improvisation, and contemporary classical, Colpitts (aka Kid Millions) has made an album that defies genre classification. Propulsive, elaborate drum arrangements (created with TIGUE Percussion) remain essential to Man Forever - on the songs of Play What They Want, they are augmented by voice and melody with contributions from Laurie Anderson, Yo La Tengo, and Mary Lattimore to name a few. Play What They Want represents the culmination of 25 years of musical engagement by one of New York’s most acclaimed percussionists.

The collaborative process, essential to Man Forever, requires the relinquishing of one’s ego for a greater purpose. In Play What They Want, Colpitts leverages a vast and talented stable of diverse collaborators to create a work that transcends the sum of its parts.

Photo by Landon Nordeman

Sunday, October 29, 2017
8:00pm Doors / 9:00pm Sound
$20 Guests / $12 Members
Reserve tickets: member login or guest registration

Jlin appeared first on Planet Mu's second volume of "Bangs & Works" compilation, which had a huge impact on electronic/club music, bringing footwork to a wider audience. A protegee of RP Boo, Jlin hails from Gary, Indiana, a place close yet distant enough from Chicago to allow her to develop a different perspective on the genre. Her debut album Dark Energy was named best album of 2015 by The Wire—and the new Black Origami is bursting with force, taking footwork to another level through dense rhythmic patterns and tension that overwhelm the listener. Jlin will premiere her live show at The Lab.

7-9pm, program starts promptly at 7:30pm
$8 entry (no one turned away for lack of funds), free for members
Reserve seats: member login or guest registration

DREAMSTATES (Film) with Saul Williams and Anisia Uzeyman in person
Equal parts love story, road movie, and Americana, DREAMSTATES tells the haunting tale of two wayward souls (Saul Williams and Anisia Uzeyman) discovering their love for one another in their dreams and reality while touring the United States with some of the most pivotal figures of the Afro-Punk movement – Sultry, sensual, and quixotic, an underground portrait of America: haunted and hollow.

Trailer: https://vimeo.com/168586478
http://www.dreamstatesfilm.com/#dreamstates

The Black Aesthetic is a creative organization whose mission is to curate and assemble both a collective and distinct understanding of Black visual culture. Part of our ongoing programing is a 6-week screening of emerging filmmakers/video artists with discussion and audience Q/A. theblkaesthetic.com

SEASON III     TBA

For us, The Black Aesthetic is TBA, meaning 'to be announced', 'to be assessed', and  'to be actualized'.

Thus, The Black Aesthetic (TBA) is a position of the yet to be announced. We eschew continuity in favor of exploration. In an interview for Film Quarterly, Michael Gillespie says, “I’m interested in the rendering of blackness or how black visual and expressive culture stages race not just asimpermeable fact, but as multidimensional and multidiscursive.” The Black Aesthetic is not interested in the already expressed face of the raced, but on the the multidimensional visual and expressive culture of blackness. This objective is not to clarify a theme as such, instead we are unambiguously creating a space where various distinct and dissonant black artistic expressions can live.

7-9pm, readings start promptly at 7:30pm
$8 entry (no one turned away for lack of funds), free for members
Reserve seats: member login or guest registration


Kit Robinson was born in Evanston, Illinois, grew up in Cincinnati, went to Yale, and has lived in the San Francisco Bay Area ever since. His new book Leaves of Class is just out from Chax Press. Other books include Marine Layer (BlazeVOX), Determination (Cuneiform), The Messianic Trees: Selected Poems, 1976-2003 (Adventures in Poetry), and two collaborations with Ted Greenwald, A Mammal of Style (Roof) and Takeaway (c_L Books).

Jean Day is a poet, union activist, and editor whose Daydream is just out from Litmus Press. Recent poems can also be seen in Chicago Review, The Delineator, Across the Margin, Open House, Breather, and Jongler (French)--as well as in her Triumph of Life, soon to appear from Insurance Editions. Earlier works include Early Bird (O’Clock, 2014) and Enthusiasm (Adventures in Poetry, 2006), among other books, and her work has also appeared in many anthologies, including, most recently, Out of Everywhere 2: Linguistically Innovative Poetry by Women in North America & the UK (Reality Street, 2015). She lives in Berkeley, where she works as managing editor of Representations, an interdisciplinary humanities journal published by UC Press.

Tonya M. Foster is the author of the bilingual chapbook La Grammaire des Os and the poetry collection A Swarm of Bees in High Court. A co-editor of Third Mind: Creative Writing through Visual Art, Foster has published poetry and essays in a range of publications. She is a poetry editor at Fence Magazine, and is an Assistant Professor of Writing & Literature and Creative Writing at California College of the Arts.

8:00pm Doors / 8:30pm Performance
$15 General / Free for members
Reserve seats: member login or guest registration

An evening of live film and music performances featuring eight Bay Area visual artists and musicians whose work ranges from experiments with light and film to algorithmic music composition. These energetic collaborations bring a dynamic array of sound and image to The Lab and feature Danny Paul Grody (music) + Bill Basquin (film), Steve Dye (film) + Dania Luck (Person L.) (music), John Davis (music/film) + Laurie Varga (music/film), Jorge Bachmann (ruidobello) (music) + Anna Geyer (film).  

8:30pm Doors / 9:00pm Performance
$15 General / Free for members
Reserve seats: member login or guest registration

Steven Warwick is an artist and musician and writer based in Berlin. His new audio-visual mixtape Nadir was released via the delinear platform on the acclaimed label PAN.

Nadir fuses reflective poetics with diaristic snapshots and fragmented melodies recorded during a residency in LA. The release captures the tensions, unease and uncertainty in a contemporary setting. Live, Warwick presents a new show with visuals in which he reworks the tracks in real time for a club setting, in a similar manner to his previous Heatsick project: loops and rhythms are stretched and worked out on the dancefloor with focus on the human voice to dizzying and psychedelic effect.

“Complex and enthralling, swallowing whole dancefloors of people into deep, hypnotic grooves for hours on end in a rich, multi-sensory overload” – FACT

“This is dance music through and through, albeit probably unlike any you’ve heard before” - The Quietus

To celebrate Stranded's 5th anniversary, we're excited to present two great artists Grouper and Sarah Davachi at The Lab, San Francisco. Each artist will perform individual sets for early and late shows.

Early show: Doors at 5pm / Music at 5:30
Late show: Doors at 8:30 / Music at 9pm

ickets: https://www.strandedrecords.com/tickets
There will be a limited amount of $12 tickets available for members of The Lab, but they must be reserved in advance. Please email thelabsf@thelab.org to have your name added to either show's member list. 
 

rouper, the moniker of Liz Harris, continues to bewilder with the most basic resources: a voice, one instrument and the ambience of her surroundings. Her sparse compositions occupy an intimate space between sound and song, with performances transcending the relationship between performer and listener, offering a meditative and restorative experience.

As a composer of electronic and electroacoustic music, Sarah Davachi's compositional projects are primarily concerned with disclosing the antiquated instruments and forgotten sonics of a bygone era in analog synthesis, with concurrent treatment of acoustic sources – particularly organ, piano, strings, and woodwinds – often involving de-familiarization through processing. Her work considers the experience of enveloped sonic dwelling, utilizing extended durations and simple harmonic structures that emphasize variations in overtone complexity and psychoacoustic artefacts.

7-9pm, readings start promptly at 7:30pm
$8 entry (no one turned away for lack of funds), free for members
Reserve seats: member login or guest registration

Aaron Shurin is the author of thirteen books of poetry and prose, most recently Flowers & Sky: Two Talks, just out from Entre Rios Books, and The Skin of Meaning: Collected Literary Essays and Talks (University of Michigan Press, 2016). His writing has appeared in over forty national and international anthologies, from the Norton Anthology of Postmodern American Poetry to Italy’s Nuova Poesia Americana: San Francisco. His work has been supported by grants and fellowships from the National Endowment for the Arts, the California Arts Council, the San Francisco Arts Commission, and the Gerbode Foundation. Shurin is the former Director of the MFA Writing Program at the University of San Francisco, where he is now Professor Emeritus.

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Allison Cobb is the author of After We All Died (Ahsahta Press); Green-Wood (Factory School); Plastic: an autobiography (Essay Press EP series); and Born2( Chax Press). The poet Carolyn Forché calls After We All Died “inventive, visionary, hard-thought, and impossible to put down.” Cobb works for the Environmental Defense Fund and lives in Portland, Oregon, where she co-curates The Switch reading, art, and performance series.
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Born in Subic Bay, Philippines, Mg Roberts is working hard on her bark. She is author of not so, sea (Durga Press, 2014) and Anemal Uter Meck (Black Radish, 2017). Her work has appeared in Anomaly, Web Conjunctions, Elderly and elsewhere. She co-edited the anthology Nests and Strangers: On Asian Women Poets (Kelsey Street Press) and is currently co-editing Responses, New Writing, Flesh; an anthology on the urgency of avant-garde writing written for and by writers of color. She lives in Oakland with her three daughters, two hens, one puppy, and very awesome cat.

Dicky Bahto, Tashi Wada, and Corey Fogel with Paul Clipson and Maggi Payne
8pm Doors / 8:30pm Performance
$15 General / Free for members
Reserve seats: member login or guest registration

The Lab hosts a new performance by artists Corey Fogel, Dicky Bahto, and Tashi Wada. Their structured improvisation will feature generative imagery on multiple slide projectors, pitched metal percussion, keyboard, bagpipe, electronics, and sirens.

Paul Clipson will collaborate with sonic artist Maggi Payne to project a multi-16mm anamorphic moving image and sound experience inside The Lab.

8:30pm Doors / 9pm Sound
$25 General / $15 for Members
Reserve seats: member login or guest registration

This concert promises to be an exquisite sound immersion of expansive dimensions. The world renowned innovative zither/harp master, composer, and sound healing presence of Laraaji is joined by collaborative partner sound healing musician Reiki Master Arji OceAnanda for an evening of celestial sound making.

8:00pm Doors / 8:30pm Music
$10 Guests / Free for Members
Reserve Seats: member login or guest registration

75 Dollar Bill was formed in 2012 by percussionist Rick Brown and guitarist Che Chen. Played on a deeply resonant plywood crate, Brown’s earthy, elemental rhythms are both the foundation and foil for Chen’s ecstatic, modal guitar style. The duo’s electric, richly patterned music can shape shift from joyful dance tunes to slowly changing trance minimalism, an uncategorizable hybrid which draws on early electric blues, the modal traditions of West Africa, India and the Middle East, Sun Ra’s space chords and the minimalist and No Wave histories of their home town. While Brown and Chen are always at the band’s core, the duo frequently expands into other configurations live and on record, from trio to 25-piece marching band. They have released a string of cassettes and two LPs, the most recent of which, Wood / Metal / Plastic / Pattern / Rhythm / Rock, met with wide critical acclaim and appeared on numerous "Best of" lists for 2016. It is now being released in Europe (on vinyl, digitally and, for the first time, on CD) by Glitterbeat Records, on its brand-new tak:til imprint.

8:30pm Doors / 9pm Music and Dancing
$15 Guests / $10 for SFABF Vendors / Free for members of The Lab
* SFABF Vendors can purchase tickets at the door
Member login or guest registration

Join us for a dance battle hosted by Johnny Lopez of TURFinc with DJ Epic. Oakland-based group Unity will perform their upbeat garage punk following the dance performance.

Friday, July 14, 2017
8:00pm Doors / 8:30pm Sound
$25 Guests / $15 Members
Reserve Seats: member login or guest registration

Camille Norment (b. 1970, Silver Spring, Maryland, USA lives and works in Oslo, Norway) works as an artist, musician and composer. Norment’s practice includes performance, installation, drawing, writing and sound, and draws from the artist’s training in music, dance, the visual arts and literature. Norment is concerned with investigating the relationships between sound, music and the visual arts and questioning the meanings of harmony and dissonance. Her art explores the socio-political encoding of sound historically and in the present, reflecting upon the power of dissonance to carve out a space for dissent and creative thinking.

In addition to her work as an artist, Norment performs as a soloist and with other musicians in selected projects. At The Lab she will play with an ensemble consisting of John McCowen (clarinet), Håvard Skaset (electric guitar), and Camille Norment (glass armonica).

Leila Bordreuil is a Brooklyn-based cellist and composer working in the realm of improvisation, noise music, and sound art. The New York Times has described her work as “steadily scathing music, favoring long and corrosive atonalities”. Bordreuil’s cello playing focuses on the inherent sonic qualities of her instrument, paying careful attention to timbre and texture. She challenges conventional cello practice through extreme extended techniques and imaginative amplification methods, compelling us to question what is valued in instrumental performance and why. Her composed works frequently incorporate sound-spatialization by way of site-specific pieces and multi-channel installations.

At The Lab, Leila Bordreuil will be performing a solo amplified cello set, using a multichannel set-up of different types of speakers and guitar amplifiers. An assemblage of microphones placed on various parts of the cello will create unique sound distortion possibilities that transform the cello into a polyphonic instrument, enhancing the instrument’s diversity of timbres. 

Special preview on Friday, March 31, 2017
Final cut on Wednesday, May 31, 2017
8pm Doors / 8:30pm Film
$7 donation, no one turned away for lack of funds

During his residency at The Lab, artist Brontez Purnell created a documentary film and archive exploring the late San Francisco postmodern choreographer Ed Mock. 
 
Ed Mock died in 1986 at the height of the AIDS epidemic; his story continues to engage contemporary conversations. Purnell states, “I believe Ed Mock is the missing choreographic link between Alvin Ailey, Anna Halprin, and Bill T. Jones.  He is my direct predecessor, creatively. We – artists, black queers, Bay Area dancers, gay men - have to extract our collective past and create the historical record.” 

1-4pm Workshop
$40 Guests / $30 Members
Guest Registration
Member Login

During the Writing for a Performance Persona workshop we will explore various exercises designed to help you access deep crevasses of your personal experience that can become the driving desire behind a performance persona. The goal is not to leave the workshop with a developed piece of work, but rather to learn some new ways of accessing material within yourself. Writers, performers, dancers, drag showgirls, thinkers, visual artists all welcome!

8pm Doors / 8:30pm Show
SOLD OUT, but a few discounted standing room only tickets will be released at 8:20pm, pending space and availability. First come first serve – please form a queue at the door next to the will-call line to claim.

Dynasty Handbag's new falling-apart stand-up show is a current events review of her privates and her publics, covering topics such as white women having babies and how this makes her feel enraged/grossedout/inadequate, a cover of Rihanna’s well-known blue-collar anthem celebrating the proletariat, why lesbians drink things out of jars, and an analysis of coyote discrimination in relationship to the Hollywood desert nightmare that is now a metaphor for complete global destruction. Show is updated to include horrible jokes about current events, sometimes day-of-show events.

7-9pm, readings start promptly at 7:30pm
$8 entry (no one turned away for lack of funds), free for members
Reserve seats: member login or guest registration

David Abel is the proprietor of Passages Bookshop & Gallery in Portland, Oregon, and the author of Float (Chax Press), Tether (Barebone Books), and Carrier (c_L Books), among other titles. Three books are forthcoming in 2017: Selected Durations (Black Rock Press), XIV Eclipses (Couch Press), and sequitur her (press-press-pull). With Sam Lohmann, he publishes the Airfoil chapbook series.

Brent Cunningham is a writer, publisher and visual artist living in Oakland.  He has published two books of poetry, Bird & Forest (Ugly Duckling Presse, 2005) and Journey to the Sun (Atelos, 2012), and has a chapbook of fake Arthur Rimbaud translations, The Sad Songs of Hell, forthcoming this summer from Ugly Duckling.  He works as the Operations Director at Small Press Distribution in Berkeley.  In 2005 he and Neil Alger founded Hooke Press, a chapbook press dedicated to publishing short runs of poetry, criticism, theory, writing and ephemera. He has been working on a novel for a disconcertingly long time.

Trisha Low is the author of The Compleat Purge (Kenning Edition, 2013). She lives in Oakland and is currently working on a book entitled SOCIALIST REALISM.

8:00pm Doors / 8:30pm Music
$15 Guests / Free for Members
Reserve Seats: member login or guest registration

DEGRADIENT
Kyle Bruckmann – oboe/English horn, electronics, composition
Aram Shelton – alto saxophone, clarinet, bass clarinet
Jason Hoopes – electric bass
Jordan Glenn – percussion

with guest vocalists DANISHTA RIVERO and EUGENE S. ROBINSON

DEGRADIENT is Oakland-based oboist and composer/performer Kyle Bruckmann’s long overdue first venture as bandleader of a Bay Area ensemble. Gleefully colliding elements of free jazz, fried electroacoustic noise and dark prog within a Creative Music framework, DEGRADIENT adds a significant chunk of heavy to Bruckmann’s signature gimmicks of jittery polyrhythmic clatter, formal complexity, slapstick humor, and all-around sensory overload.

8:00pm Doors / 8:30pm Music
$15 Guests / Free for Members
Reserve Seats: member login or guest registration
 
Thollem McDonas brings together two unique memorial projects for prominent members of the musical community: Pauline Oliveros and Stefano Scodanibbio.
 
Trio Music Minus One is a duo project between Thollem (Keyboard/Analog Effects) and Gino Robair (Drum Set/Electronics) that creates the contours of a sonic space for a third person in memoriam. This will be the first live performance - in memory of Pauline Oliveros. In 2013, the duo released an album on Setola di Maiale for their mutual friend/colleague/collaborator, Dennis Palmer.
 
Evolutions For Stefano will be performed for the first time on this continent as a trio with Lisa Mezzacappa (Bass) and Christina Stanley (Violin/Voice). 

7:30pm Doors / 8pm Film / 9pm Conversation
$8 entry / Free for members
Reserve seats: member login or guest registration

No Trace of Accelerator (2017), takes as its starting point the mysterious incident of a series of apparently spontaneous fires that broke out in an isolated French town in the mid-1990s. The cause of the fires remained unexplained for some months, a period when all kinds of fear, panic and superstition gripped the small community. The fires were eventually explained, but the reaction of the towns-people became the subject of a case study into the social amplification of risk, written by anthropologists Marc Poumadere and Claire Mays.

Drawing on her own research into the events—Wardill uses the figure of fire itself as a way to explore the physical, psychological and narrative implications of trying to "model" entities, energies or objects that are in constant flux. Filmed on a series of constructed, stylised sets with a cast of archetypal characters loosely based on the real protagonists, Wardill introduces the idea of fire as a chaotic and unpredictable object—a metaphor for various conditions of fear, instability, uncertainty, and horror.

Emily Wardill will join The Lab's Executive Director Dena Beard in conversation following the film. 
 

7:00pm Doors / 7:30pm Presentation
$12 Guests / Free for Members of The Lab and Headlands
Login for members of The Lab or guest registration
Headlands members can reserve seats by emailing programmanager@headlands.org

Headlands Center for the Arts and The Lab host an evening of presentations that ask: how do we know what we know? The relationship between information and interpretation feels shaky when we are reminded daily that we are living in a moment of post-truths, contested realities, and alternative facts. During this evening, we will meet artists and researchers who explicitly address the production of knowledge as contingent, charged, and often charming. Lera Boroditsky, a cognitive scientist and professor at University of California, San Diego, will show how language and metaphor affect the way we think about everything from fundamentals like time and space, to complex social issues. Artist and anthropologist Adrian Van Allen (Headlands Affiliate Artist ’11) will present her research of scientists at the Smithsonian National Museum of Natural History, where they are building different versions of the future through their collections of bird skins, frozen tissue samples, and genomic data. Performance artist Xandra Ibarra (Headlands Affiliate Artist ’14) will detail her latest forays, including the work-in-progress practice she describes as “alternative embodiment.”

Image by Adrian Van Allen: Crafting Nature, 2016

8:00pm Doors / 8:30pm Music
$15 Guests / Free for Members
Reserve Seats: member login or guest registration

One of the world’s premiere exponents of her instrument, Susan Alcorn has taken the pedal steel guitar far beyond its traditional role in country and western swing music. Well-known among steel players for her virtuosity and authenticity in a traditional context, Susan Alcorn first paid her dues in Texas country & western bands. Soon she began to expand the vocabulary of her instrument through her study of modern classical music (Olivier Messiaen, Edgard Varèse, Krzysztof Penderecki, Pauline Oliveros), visionary jazz (John Coltrane and Ornette Coleman), and world musics (Indian ragas, South American songs, and gamelan orchestra).