Big Car

Big Car Collaborative Fundraiser Dinner at Punch Burger
2016-06-20 17:00 - 21:00 (America/Indiana/Indianapolis) | Punch Burger, 137 E. Ohio Street, Indianapolis, IN, 46204, United States
Please join us for a fundraiser dinner on June 20th from 5- 9 p.m. at the downtown Indianapolis Punch Burger located on 137 E. Ohio Street. Your food and beverage purchases will help fund programming through our mobile art gallery Wagon of Wonders https://vimeo.com/bigcar/wow . With your help we can continue to provide educational and cultural programming to families all around the great city of Indianapolis. Thank you for supporting Big Car’s mission to bring art to people and people to art.
Gratefully,
Big Car Collaborative Staff

Julianna Barwick and Mas Ysa
2016-06-22 20:00 - 22:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
May 6th sees the release of Will, the revelatory third full-length album by Brooklyn experimental artist Julianna Barwick. Conceived and self-produced over the past year in a variety of locations, the ominous, compelling Will is a departure from 2013’s Alex Somers-produced Nepenthe. If that last record conjured images of gentle, thick fog rolling over desolate mountains, then Will is a late afternoon thunderstorm, a cathartic collision of sharp and soft textures that sounds looming and restorative all at once.

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Barwick’s life over the past several years has largely been lived in transit, and as such the genesis of Will was not beholden to location; Barwick worked on the album in a variety of locales, from a desolate house in upstate New York to the Moog Factory in Asheville, North Carolina to Lisbon, Portugal.
“I love touring, but it can be a wild ride,” Barwick reflects on this cycle of constant motion. “You’re constantly adjusting, assimilating, and finding yourself in life-changing situations.” Those experiences played into and helped shape Will’s charged, unstable atmosphere: “I knew I’d be playing these songs live, so I wanted some movement,” she explains. “Something that had rhythm and low-end.”
That sense of forward propulsion is largely owed to Will’s synth-heavy textures. The electric current that runs through the album takes on various shapes of intoxicating instability. Featuring contributions from Thomas Arsenault (Mas Ysa), Dutch cellist Maarten Vos and percussionist, Jamie Ingalls (Chairlift, Tanlines, Beverly), Will is largely a product of ups and downs, a reflection of a life lived somewhere in between transience and standing still. “While making this record, there were moments of isolation and dark currents,” Barwick admits. “I like exploring that, and I love when I come across songs that sound scary or ominous. I’ve always been curious about what goes into making a song that way.” The beguiling, beautifully complicated Will is the result of that curiosity, and proof of Barwick’s irresistibly engaging talent as a composer and vocalist.
Will comes off of Barwick’s busiest period in her career, following the release of Nepenthe—a spate of activity that included playing piano for Yoko Ono, performing at Carnegie Hall at the annual Tibet House concert with the Flaming Lips and Philip Glass, The Rosabi EP and beer created in conjunction with brewing company Dogfish Head, and a re-imagining of Bach’s “Adagio” from Concerto In D Minor.
Watch the Derrick Belcham-directed video for debut single, “Nebula” which was filmed in the Philip Johnson Glass House and presents the essence of Will and Julianna Barwick’s richly complex musical fabric.
Julianna Barwick’s music has been reviewed in Time Out New York, Time Out Lisbon, The New York Times, and The Village Voice, among other publications. Her music has also been featured as “Best New Music” on Pitchfork, which also gave, 2009’s “Florine” EP an honorable mention for an album of the year.
Mas Ysa
“Thomas Arsenault, the person who records as Mas Ysa, is difficult to pin down, and that’s probably the best thing about him. He’s lived in Montreal and San Francisco and Sao Paolo and New York and wherever Oberlin is. He’s scored modern dance productions and remixed synthpop groups. He sometimes sings in an angelic, reverby tenor and sometimes in a full, throat-wracked howl. He makes mostly electronic records, and he does it by itself, but “producer” somehow doesn’t seem like the right job title for him. (I’ve also seen people describe him as a “composer,” and that seems even more wrong.) Listening to his records, it’s hard to tell which sounds are electronic and which are made by actual physical instruments. His music drifts freely between ambient and synthpop and oblique dance and good old-fashioned indie rock. And he’s conclusively proven that you don’t need a full band to sound vaguely like Arcade Fire.
Mas Ysa made his name on last year’s Worth EP, which alternated between drifting, pretty synth-drone and big, chest-thumping psychedelic laptop-rock howlers. On Seraph, his first proper album, Arsenault pretty much smushes those two things together until they’re one thing, and the result is a pleasant drift that never settles on one genre for more than a few seconds and stays appealing and interesting throughout. All the individual sounds, like the glassy walls of keyboard on “Sick” or the happy-sigh New Order beeps of “Look Up,” have an impressive widescreen gloss to them. Arsenault’s voice has that quavery tone that was so popular among mid-’00s indie-dude singers, in which every word means so much that he just can’t choke it out without his throat catching. Some tracks play around with Euro-club house-thumps, which sounds shockingly good with this sort of singing and this sort of production. Nicole Miglis from Hundred Waters shows up on “Gun,” and her airy coo works as an absolutely lovely complement to Arsenault’s emotive gurgle. “Service” has some seriously badass Moroder-style Italo pulsing. There’s a lot to like here.
And maybe, for you, there will be a lot to love. Arsenault’s closest peer might be Youth Lagoon’s Trevor Powers, another indie auteur who pulls inspiration from wherever and whose songs seem to project meaning, even if you don’t necessarily know what that meaning is. Youth Lagoon has never really gotten past the “pleasant background music” stage for me, but that dude’s music means a lot to a lot of people. I suspect that the same will be true here. And even if you don’t end up loving this thing, it’s still an impressive piece of work, one that you should hear — if you can carve out the time. After all, there is a truly unprecedented amount of great music out there. If something is merely good, you can be forgiven for skipping it.”–Tom Breihan of Sterogum
This concert is made possible by The Andy Warhol Foundation for the Visual Arts. About The Andy Warhol Foundation for the Visual Arts: The Andy Warhol Foundation for the Visual Arts was established in 1987. In accordance with Andy Warhol’s will, its mission is the advancement of the visual arts. The Foundation’s objective is to foster innovative artistic expression and the creative process by encouraging and supporting cultural organizations that in turn, directly or indirectly, support artists and their work. The Foundation values the contribution these organizations make to artists and audiences and to society as a whole by supporting, exhibiting and interpreting a broad spectrum of contemporary artistic practice.

Latino Americans:The New Latinos (1946-1965)
2016-06-23 18:00 - 20:00 | IN
Until World War II, Latino immigration to the United States was overwhelmingly Mexican-American. Now three new waves bring large-scale immigration from Puerto Rico, Cuba, and the Dominican Republic. As the Puerto Rican government implements a historic overhaul over a million Puerto Ricans are encouraged to leave for the US mainland, to alleviate the economic pressure. A young Juanita Sanabria arrives in New York, works hard in the garment district, but encounters hostility and discrimination. Ethnic tensions explode in youth gang warfare depicted in films like West Side Story, etching the stereotype of the knife wielding Puerto Rican in the American consciousness.
In the film, Rita Moreno plays the role of Anita and wins an Oscar. But for most Puerto Ricans empowerment remains elusive. A young Puerto Rican lawyer, Herman Badillo, takes on the political establishment, opening the door for unprecedented Puerto Rican participation in electoral politics. In the early 60s, the first Cubans flee the left-wing Castro regime, a relatively white, middle-class flight that soon forms a refugee enclave in Miami. A child of 11 at the time, Gustavo Perez Firmat believes like most refugees, that it is only a matter of weeks before the American government will wrest Cuba from the Communist regime. But Castro survives. Maria de los Angeles Torres is only six years old when she leaves Havana without her parents, one of 14,000 children are smuggled out through an underground network. Unable to leave legally, Manuel Capo and his two military age sons – make a dramatic journey to the US. With skills honed in the family furniture business in Cuba and support from the federal government, the Capos build thriving business marketing to the growing Cuban population.
In 1965, fearing another Communist takeover in the Caribbean, President Johnson sends Marines to the Dominican Republic, triggering a third wave of immigration. With a US visa in hand, 20 year-old university student, Eligio Peña, flees to New York. Eventually he brings his family to New York as Dominicans build a new home in Washington Heights. Julia Alvarez would take the immigrant experience – her own and that of her fellow Dominicans – to unprecedented literary heights in How the Garcia Girls Lost Their Accents. In her work, she explores the hybrid identity taking shape in a new generation of Latinos, who are now demanding their place in America.
Latino Americans: 5oo Years of History, a public programming initiative produced by the National Endowment for the Arts (NEH) and the American Library Association (ALA), is part of the NEH initiative, The Common Good: Humanities in the Public Square.

Latino Americans: Peril and Promise (1980-2000)
2016-06-23 18:00 - 20:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
In the 80s the nature of the Latino Diaspora changes again. From Cuba a second wave of refugees to United States – the Mariel exodus – floods Miami . The same decade sees the sudden arrival of hundreds of thousands of Central Americans (Salvadorans, Guatemalans, and Nicaraguans) fleeing death squads and mass murders at home like activist, Carlos Vaquerano. By the early 1990s, a political debate over illegal immigration – has begun. Globalization, empowered by NAFTA, means that as U.S. manufacturers move south, Mexican workers head north in record numbers. A backlash ensues: tightened borders, anti-bilingualism, state laws to declare all illegal immigrants felons. But a sea change is underway: the coalescence of a new phenomenon called Latino American culture-as Latinos spread geographically and make their mark in music, sports, politics, business, and education. Gloria Estefan leads the Miami Sound Machine creating cross over hits in Spanish and English. Oscar de la Hoya, a Mexican-American boxer from L.A., becomes an Olympic gold medalist and the nation’s Golden Boy. Is a new Latino world being created here as the Latino population and influence continues to grow? Alternatively, will Latinos in America eventually assimilate into invisibility, as other groups have done so many times? Latinos present a challenge and an opportunity for the United States. America’s largest and youngest growing sector of the population presents what project advisor Professor Marta Tienda calls, The Hispanic Moment.Their success could determine the growth of the United States in the twenty-first century; however their failure, contributing to an underclass, could also pull this country down. The key, according to Tienda and Eduardo J. Padron, Ph.D., President of Miami Dade Community College, is education.
Latino Americans: 5oo Years of History, a public programming initiative produced by the National Endowment for the Arts (NEH) and the American Library Association (ALA), is part of the NEH initiative, The Common Good: Humanities in the Public Square.

McCormick's Creek Centennial Celebration - Wagon of Wonders
2016-06-25 09:30 - 17:00 | IN
Our beloved Wagon of Wonders will be visiting McCormick’s Creek State Park to join the Centennial Celebration! Learn about the White River watershed and participate in some fun art! Enjoy an awesome day and celebrate a wonderful, historic moment for Indiana’s first state park!

Surprise Cinema-Lost and Found
2016-07-07 18:00 - 20:30 | IN
Like surprises? Like cinema? With this series, you will know the theme but won’t know what the movie we will show is until you get here. There are a few clues in the description to what the movie is. Otherwise, we will surprise you with themed cinema! Made in 1990, this film features a Norman Bates style character and a knife thrower. Described by one notable reviewer as a ‘horror film that does not celebrate evil.” Free and discussion will follow the conclusion of the film. Rated R and not recommended for children under 17.

Surprise Cinema-Pilgramage
2016-07-07 18:00 - 21:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Like surprises? Like cinema? With this series we will surprise you with themed cinema! Made in 1973, this film was commissioned by a very famous musician. It features immortal gods and a pilgramage to meet them. Free and discussion will follow the conclusion of the film. Rated R and not recommended for children under 17.

The Tiny Book Show!
2016-07-10 11:00 - 15:00 | Guichelaar Gallery, 1125 Cruft Street, Indianapolis, IN, 46203, United States
A FREE, ALL-AGES EVENT
Get creative on a Sunday afternoon with itty bitty books during their roadtrip stop in the beautiful Garfield Park neighborhood!
The Tiny Book Show is a cross-country mobile exhibition in a 1965 Covered Wagon travel trailer (photos below). Hundreds of teensy handmade books are inside—all under 3 inches in size! Poets and educators Maya Stein and Amy Tingle, founders of The Creativity Caravan, will also share a unique, hands-on bookmaking workshop with all ages, for free.
Tube Factory artspace will have outdoor picnic tables and indoor (air-conditioned) work spaces, art supplies and mini snacks to share from 11am to 3pm. Everyone is welcome. No registration or experience necessary.
While you’re here and in bookworm mode:
Check out 28 years worth of tiny diary entries of local poet Anne Laker. Her project, “10000 Whens,” is a charming, absurdist collection of her own diaries, reaching back to 1985. See more by finding @10000whens on Instagram or www.10000whens.net

Meet our Garfield Park neighbor Laura McPhee, owner of the unique new book shop, Pen and Pink. Enjoy collections of handmade, vintage and upcycled books, and learn about the processes. Pen and Pink is located at 2435 S. Shelby, with a grand opening on First Friday, July 1st.
. . .
Learn more about The Tiny Book Show, including online classes, school programs and special events focused on creativity, collaboration and community at www.thecreativitycaravan.com/tinybookshow

The Creativity Caravan is coming to Indy!

Hundreds of handmade books from around the world

Detail of a tiny book

Free all-ages bookmaking workshop

10000 Whens diaries

10000 Whens, since 1985

Pen and Pink upcycled notebooks

Pen and Pink vintage books

Placemaking Day
2016-07-13 09:00 - 23:00 | City Market, 222 E. Market St., Indianapolis, IN, 46204, United States
Big Car Collaborative and City Market are working with Southwest Airlines, Project for Public Spaces, Downtown Indy, and the City of Indianapolis to celebrate placemaking and the role of art and culture in activating great places for people.
Join us for a day of food, games, art making and fun — while also sharing your ideas for City Market’s outdoor plazas. The free activities start at 9 am with Mayor Hogsett’s welcome, continues with a group workout, the farmer’s market at 9:30 am, a community picnic lunch, afternoon games, an evening beer garden and (at dark) a screening of Midnight in Paris — a film about place and culture and dreams. Also, the Wagon of Wonders will be on site as well as games and activites from the Bike Hub YMCA.
With Placemaking Day, we’re launching the second phase of the Spark initiative that uses place-based programming to help activate wonderful public spaces in the heart of our city — this time City Market and Monument Circle. We kick off the 2016 round of Spark — supported with the help of a major grant from the Southwest Airlines Heart of the Community program — on July 13.
VISIT FACEBOOK FOR DETAILS: https://www.facebook.com/events/147842148953036/

Outdoor Film Screening: MIDNIGHT IN PARIS
2016-07-13 21:00 - 23:00 | IN
This Outdoors Screening of Midnight in Paris is the final event for our Placemaking Day activities (Placemaking Day details here)! The film screening starts roughly at 9:00 p.m. or sundown.
About Midnight in Paris (rated PG13, director- Woody Allen):
While on a trip to Paris with his fiancée’s family, a nostalgic screenwriter finds himself mysteriously going back to the 1920s everyday at midnight.

Big Car Collaborative and City Market are working with Southwest Airlines, Project for Public Spaces, Downtown Indy, and the City of Indianapolis to celebrate placemaking and the role of art and culture in activating great places for people.

The Forbidden Room-Guy Maddin
2016-07-14 18:00 - 20:30 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
“We talk about movies being dreamlike, but this is ridiculous. The Forbidden Room is often maddening, occasionally beautiful, and ultimately unforgettable,” says Bilge Ebiri of Vulture Magazine.
Join us for a screening of THE FORBIDDEN ROOM, Guy Maddin’s ultimate epic phantasmagoria. Honoring classic cinema while electrocuting it with energy, this Russian nesting doll of a film begins (after a prologue on how to take a bath) with the crew of a doomed submarine chewing flapjacks in a desperate attempt to breathe the oxygen within. Suddenly, impossibly, a lost woodsman wanders into their company and tells his tale of escaping from a fearsome clan of cave dwellers. From here, Maddin and co-director Evan Johnson take us high into the air, around the world, and into dreamscapes, spinning tales of amnesia, captivity, deception and murder, skeleton women and vampire bananas. Playing like some glorious meeting between Italo Calvino, Sergei Eisenstein and a perverted six year-old child, THE FORBIDDEN ROOM is Maddin’s grand ode to lost cinema. Created with the help of master poet John Ashbery, the film features Mathieu Amalric, Udo Kier, Charlotte Rampling, Geraldine Chaplin, Roy Dupuis, Clara Furey, Louis Negin, Maria de Medeiros, Jacques Nolot, Adele Haenel, Amira Casar and Elina Lowensohn as a cavalcade of misfits, thieves and lovers, all joined in the joyful delirium of the kaleidoscopic viewing experience.

Nelson Mandela International Day Celebration
2016-07-18 18:30 - 20:00 | Guichelaar Gallery, 1125 Cruft Street, Indianapolis, IN, 46203, United States
IU has been selected to participate in President Obama’s Young African Leaders Initiative (YALI) Mandela Washington Fellows Program https://yali.state.gov/washington-fellowship/ . 25 civic leaders will be selected from across Sub-Saharan Africa to spend 6 weeks in Indiana (4 in IU Bloomington, 2 in IUPUI).
In celebration of Nelson Mandela International Day http://www.un.org/en/events/mandeladay/ Big Car Collaborative will be hosting a storytelling event on July 18th from 6:30- 8 p.m. including an African catered dinner. During this storytelling event four of the Mandela Washington Fellows and 5 Indianapolis locals will share stories of folklore, myth and tradition as it pertains to their heritage. Come join in the celebration! RSVP on our Facebook event page https://www.facebook.com/events/289650421424755/

EsemBle Babel/Music for Gas Station
2016-07-24 19:00 - 20:45 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Music For Gas Stations, ensemBle baBel embarked on a drifting road trip in one van to visit gas stations. Responding and interacting with each gas station, they create compositions, recordings, video works, road journals, radio broadcasts and more.
In reference to Ed Ruscha’s 26 gasoline stations, they will stop in Indianapolis as part of their tour to visit 26 gas stations. The Swiss musicians will complete an additional tour of Europe in 2017 with a final performance in their city, Lausanne, Switzerland, 2018.
This project was brought to the United States by artist/curator Lee Walton.

Writing Indianapolis: A Streamlines Poetry Workshop
2016-07-30 11:30 - 13:30 | Guichelaar Gallery, 1125 Cruft Street, Indianapolis, IN, 46203, United States
StreamLines collaborator Adrian Matejka will lead a poetry workshop that will follow the extensive and diverse poetry history of Indianapolis. This workshop is for those who want to practice their craft, deepen their creativity and relationship to place. All skill-levels are welcome. Participants must be 18 and older. To participate in this workshop, please register at http://writingindyworkshop.eventbrite.com/ Space is limited!
Starting with James Whitcomb Riley and continuing through poets such as Etheridge Knight, Mari Evans — and more recently Mitchell L.H. Douglas and Karen Kovacik, and Norbert Krapf — writers have been reimagining the various geographies of Indianapolis as poems. This workshop will look at poets – past and present – who have used Indianapolis as a catalyst for their work. Participants will then generate their own poems that address the city in all of its different curiosities.
This workshop is are part of StreamLines, an interactive, place-based project that merges the sciences and the arts to advance the community’s understanding and appreciation of Indianapolis waterways. These free workshops are part of a National Science Foundation grant administered by the Center for Urban Ecology at Butler University. Visit StreamLines.org for more information.

Ubu The King
2016-08-03 19:30 - 21:45 | Guichelaar Gallery, 1125 Cruft Street, Indianapolis, IN, 46203, United States
About the show:
Rough House Theater Company is touring to eight cities across the Midwest and East Coast with their production of Ubu the King, Alfred Jarry’s 1896 masterpiece of absurdo-surrealism, elaborately retold with original music and over 60 stunning hand-crafted puppets.
In a new adaptation by artistic director Mike Oleon, Rough House’s Ubu the King brings Jarry’s seminal satire to life in all its absurd, grotesque glory. In the hands of five power hungry puppeteer-performers, Pa Ubu murders, lies, and farts his way up to the Polish throne – and back down again. Beautifully designed and meticulously realized by designer Grace Needlman, Rough House’s Ubu is ridiculous, heartbreaking, and spectacular.
About Rough House:

Rough House Theater Company is committed to connecting individuals and communities through art that celebrates the weird things that make us unique, and the weirder things that bring us together.
Rough House creates theater that captures the heart through the eye. Rough House shows use puppetry, music, and human performance to tell stories that are intimate, strange, and sincere. The company aims to invigorate audiences and inspire fellow artists through work that is rigorous, adventurous, and jubilantly weird.
Through educational programming, cultivation of work by emerging and established artists, and broadly accessible performances, Rough House seeks to bring new life to puppet theater in Chicago, and to invigorate a spirit of cross-disciplinary artistic experimentation within an ever-growing, diverse community of artists.

RCA: Scott Hocking
2016-08-05 18:00 - 2016-10-16 22:00 | Guichelaar Gallery, 1125 Cruft Street, Indianapolis, IN, 46203, United States
Detroit-based Scott Hocking visited Indianapolis in January and selected the former RCA Factory at Michigan and LaSalle as fodder for his installation in the main gallery. “It immediately grabbed me,” Hocking explained of the experience. “The RCA history was interesting enough. But the building was last used as a recycling plant, and was filled with now abandoned, un-recycled waste: plastic, paper, foam — thousands of objects. The irony of these mountains of recyclables is that they would never be recycled. A huge pile of military grade plastic cases, with ominous stencils: ‘laser firing simulator system,’ ‘interrogation kit,’ ‘casualty evacuation kit,’ ‘tank weapon gunnery simulation system.’ Pallets of clothes and books, including dozens of old hymnals. Plastic pill and dish soap bottles strewn everywhere. Giant fragments of fast food and gas station signage: McDonald’s, Steel City, Family Dollar, Wendy’s. And a monster stack of Styrofoam slabs and wedges — melted and distorted from failed arson attempts. The whole place was crazy and great.”
Hocking spent three weeks in Indianapolis gathering materials from the site, documenting, researching, and creating his installation. He hauled over 100 massive hunks of burned Styrofoam, multiple plastic blobs melted by fires, fragmented fast food signage, nifty anthropomorphic food-character murals, and dozens of other artifacts. He brought this all to Tube Factory. And he worked onsite while living in Big Car’s neighboring artist residency home. The resulting installation uses the main gallery as a kind of ceremonial site — the burned Styrofoam mountain could be a dystopian temple or future glacier.
Also featured — in the eastside space adjacent to the cartoon food doodz from the old RCA building — is a sampling of Hocking’s Bad Graffiti series. These are photographs he takes of the work of renegade painters. The series, featuring photos taken most often in Detroit, now includes discoveries from his Indianapolis visits.
In the video room, Hocking blends images from projects he’s competed in Detroit and rural Michigan with footage from his recent work in Indianapolis — offering a look at his often solitary and meditative process. The videos also highlight Hocking’s love of nature and ways the natural and man-made worlds are really one.
Hocking’s artwork has been exhibited internationally, including the Detroit Institute of Arts, Cranbrook Art Museum, the Museum of Contemporary Art Detroit, the University of Michigan, the Smart Museum of Art, the School of the Art Institute Chicago, Contemporary Art Museum St. Louis, the Pennsylvania Academy of Fine Arts Museum, the Mattress Factory Art Museum, the Museum of Contemporary Art Chicago, the Kunst-Werke Institute, the Van Abbemuseum, and Kunsthalle Wien. He was recently awarded a Kresge Artist Fellowship, and is represented by Susanne Hilberry Gallery.
“The coyotes roaming Detroit fascinate artist Scott Hocking. It is an animal that is adaptable and gregarious, yet also solitary and rejects human domestication. Hocking encounters them on his sojourns through the parts of the city where post-industrial urban landscape is in the process of being reclaimed by nature. He creates photographs, sculpture, and assemblages in these places of transition. Likewise, he is a coyote-like roamer in pursuit of evidence and archeological specimens created by the modern human species. The coyote is a frequent character in the folklore of the Western World going back to Mesoamerican cosmology—a picaresque figure that has the ability to assume both human and animal form. It is easy to conjure such a fantastical character around Hocking, because he is more of a scavenger than flâneur, and his work is more mythology than documentary.”
— Laura Mott, Curator of Contemporary Art and Design, Cranbrook Art Museum
The exhibit, curated by Shauta Marsh, is made possible by The Andy Warhol Foundation for the Visual Arts.
The exhibit is open Monday through Friday, 9 am – 6 pm and Saturdays 11 am-3pm.
Photo: RCA, installation of found materials, Scott Hocking

Librería Donceles
2016-08-05 18:00 - 2016-10-22 22:00 | Listen Hear, 2620 Shelby St, , Indianapolis, IN, 46203, United States
Librería Donceles is an itinerant, Spanish-language second-hand bookstore, created by Pablo Helguera in 2013 out of a desire to address the lack of outlets that serve the growing Hispanic and Latino communities in the United States. Since it was first installed in New York City, has traveled to Phoenix, San Francisco, Brooklyn, Seatle, Chicago and now Indianapolis. Each time that it has been presented, it has constituted the sole Spanish-language used bookstore within that city. This is the same night as the opening night of the Scott Hocking exhibit at Tube Factory artspace.
Agosto 5-Octubre 22
Librería Donceles es una en librería itinerante de libros en español de segunda mano, creada por Pablo Helguera en 2013 por el deseo de hacer frente a la falta de salidas que sirven a las comunidades hispanas y latinas que crecen en los Estados Unidos. Desde que se instaló por primera vez en la ciudad de Nueva York, ha viajado a Phoenix, San Francisco, Brooklyn, Seatle, Chicago, y ahora Indianapolis. Cada vez que se ha presentado, ha constituido en ser la única librería de libros en español dentro de esa ciudad.
Part functioning bookstore and part participatory installation, it confronts the very tangible implications of particular social dynamics, revealing social structures that exist within plain sight, while powerfully advocating for equity through the physical presence of a bookstore. It asserts the materiality of books, at a time when digital platforms for reading have fundamentally shifted the economics of book production, distribution, and consumption.
Parte librería funcional y parte instalación participativa, enfrenta a las consecuencias muy tangibles de determinadas dinámicas sociales, revelando estructuras sociales que existen dentro de la vista, mientras que poderosamente la defensa de la equidad a través de la presencia física de una librería. Afirma la materialidad de los libros, en un momento en que las plataformas digitales para la lectura han cambiado fundamentalmente la economía de la producción de libros, distribución y consumo.
Comprising over 6,500 volumes on topics ranging from biology to architecture, the books in were all donated in exchange for artworks created by Helguera. Each book bears the name of its donor on a plate inside its front cover, pointing to the social history retained within that book. Each visitor to the bookstore is allowed to purchase one book, at a price that they set, substituting the terms of a market economy with those of a gift economy.
Consiste de 6.500 volúmenes sobre temas que van desde la biología a la arquitectura, los libros fueron donados a cambio de obras de arte creadas por Helguera. Cada libro lleva el nombre de su donante en una placa dentro de su portada, que apunta a la historia social retenido dentro de ese libro. Se permite que cada visitante a la librería para comprar un libro, a un precio puesto por el visitante, la sustitución de los términos de una economía de mercado con los de una economía del regalo.
The project takes its name from the historic street, Calle Donceles, in Mexico City that is lined with used bookstores.
El proyecto toma su nombre de la histórica calle, la calle de Donceles, en la Ciudad de México que está llena de tiendas de libros usados.
Pablo Helguera is a New York-based artist whose practice has addressed issues of memory, ethnography, pedagogy, and the absurd through installation, socially engaged art, sculpture, and performance. Helguera is the recipient of a Creative Capital Grant (2005), a Guggenheim Fellowship (2008), as well as the first International Award for Participatory Art (2011).
Pablo Helguera es un artista con sede en Nueva York, cuya práctica ha abordado cuestiones de la memoria, la etnografía, la pedagogía, y el absurdo a través de la instalación, el arte socialmente comprometido, la escultura y el rendimiento. Helguera es el destinatario de un Capital Creativo Grant (2005), una beca Guggenheim (2008), así como el primer Premio Internacional de Arte Participativo (2011).

Creative Writing Workshop
2016-08-13 11:00 - 12:30 | Guichelaar Gallery, 1125 Cruft Street, Indianapolis, IN, 46203, United States
This monthly Creative Writing Workshop, led by Amy Sawyer, is a great opportunity for writers of all skill levels to connect. Come work the creative subconscious through group writing activities! A fun, high-energy and supportive atmosphere, we will endeavor to release creative blockages and find, foster, and nurture our writing flow.
This event is free and open to the public every second Saturday of the month. All ages are welcome to join.
To RSVP or if you have any further questions about the writing workshop please contact Amy Sawyer at email hidden; JavaScript is required

Night of the Hunter Film Screening and Discussion
2016-08-18 19:00 - 21:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Selected by Cranbrook Art Museum curator Laura Mott to facilitate her interview with artist Scott Hocking, who is currently exhibiting at Tube Factory artspace, we will screen The Night of the Hunter then reference the interview between her and Hocking.
The Night of the Hunter is a 1955 American film noir directed by Charles Laughton and starring Robert Mitchum, Shelley Winters and Lillian Gish. Based on the 1953 novel of the same name by Davis Grubb, it was adapted for the screen by James Agee and Laughton. The plot focuses on a corrupt reverend-turned-serial killer who attempts to charm an unsuspecting widow and steal $10,000 hidden by her executed husband.
The novel and film draw on the true story of Harry Powers, hanged in 1932 for the murder of two widows and three children in Clarksburg, West Virginia. The film’s lyrical and expressionistic style with its leaning on the silent era sets it apart from other Hollywood films of the 1940s and 1950s, and it has influenced later directors such as David Lynch, Martin Scorsese, Terrence Malick, Jim Jarmusch, Spike Lee, and the Coen brothers.
In 1992, The Night of the Hunter was deemed “culturally, historically, or aesthetically significant” by the United States Library of Congress and was selected for preservation in the National Film Registry. The influential film magazine Cahiers du cinéma selected The Night of the Hunter in 2008 as the second-best film of all time, behind Citizen Kane.

Inaugural Big Car Chubby Bunny Challenge
2016-08-20 12:00 - 13:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Come meet our new Big Car Reconnecting our Waterways staff member, Drew Ballengee, at the highly-anticipated inaugural Big Car Chubby Bunny Challenge aka marshallow face stuffing.
Come test your luck to become the reigning champion this Saturday at The Tube Factory from 12- 1 PM!
If you have any further questions about the Chubby Bunny Contest or about Reconnecting Our Waterways please contact email hidden; JavaScript is required.

El Estudiante- film screening sponsored by Consulado de Mexico en Indianapolis
2016-08-20 13:00 - 15:00 | Listen Hear, 2620 Shelby St, Indianapolis, IN, 46203, United States
Libreria Donceles’s weekend programming and the Consulado de Mexico en Indianpolis
presenta:
El Estudiante
After retiring to the beautiful Mexican town of Guanajuato, a 70 year old decides to follow his dreams and enroll at the university where he stumbles upon a new generation and they are bound together by the novel Don Quijote de la Mancha.
Spanish with English Subtitles.

Weekend at Bernie's Film Night & Beach Party
2016-08-20 18:00 - 23:00 | Flat 12 Bierwerks, 414 Dorman Street, Indianapolis, IN, 46202, United States
Big Car & Reconnecting to Our Waterways present another Flat12 Twilight Film Night featuring Weekend at Bernie’s! In addition to the movie, we will be kicking off the 80s beach-themed party with our Beers of Summer, $5 Cucumber Kolsch and Upside Down Blonde cans, free-play lawn games all day, and a cornhole tournament. AND what’s a beach party without baby pools, beach decor, & sweet Flat12 summer swag? We will have all that and more. Plus, $1 from each of the beers of summer sold will go back to our friends at Reconnecting Our Waterways and Big Car!
Throw on your hottest 80s summer gear and join us in the Flat12 Biergarten to watch this 1989 summer classic outdoors on the giant blowup screen courtesy of Big Car and ROW. Grab your camp chair, blanket and head on down to Flat12 for a gorgeous summer night movie screening.

Facebook event: https://www.facebook.com/events/769680549840361/

Paddlit -- Part of the In Light In Festival
2016-08-26 20:00 - 2016-08-27 01:00 | Government Center Basin, 429 W. Ohio St., Firehouse #13, Indianapolis, IN, 46204, United States
Selected to be part of the In Light In festival that celebrates the 100th anniversary of Central Indiana Community Foundation, Big Car lights up the paddle boats that, using human power to chug through the canal. The Paddlit (paddle it) project involves the people on the boats working as paddlers — maybe better called petalers — who’ll be able to alter the cadence of waterproof LED lights glowing on and off colorfully just above the water. In this way, everybody who rents a paddle boat is a collaborator and performer.

Wagon of Wonders @ CHREECE
2016-08-27 14:00 - 20:00 | IN
The Wagon of Wonders will be set up behind Pioneer Indy in their parking lot to celebrate CHREECE 2: a hip hop festival presented by No Bad Ideas.
CHREECE celebrates hip hop culture once again this summer in the beautiful neighborhood of Fountain Square. Tune in to the sound of your evolving neighborhood in support of our comrades at Musical Family Tree and General Public Collective.
It takes place at nine different indoor and outdoor venues, bringing together 60+ artists for an all-day, all-ages celebration of Indiana hip-hop culture. Welcoming everyone from the trappers to the backpackers to the art rappers, Dj’s, Producers, B boys and girls. The festival will showcase Indiana’s diverse array of hip-hop sights and sounds, ultimately giving audiences new and old an all-encompassing taste of what the Midwest has to offer.
VENUES
The White Rabbit Cabaret
The Hi-Fi
Hoosier Dome
Joyful Noise Recordings
Fountain Square Plaza
General Public Collective
Pioneer Indy
Fountain Square Brewing Co.
State Street Pub
ARTIST LINE UP AND PRE-SALE UP —> http://chreece.do317.com/

Quality of Life Social
2016-08-30 17:30 - 19:30 | Guichelaar Gallery, 1125 Cruft Street, Indianapolis, IN, 46203, United States
Join us for an evening of socializing with fellow Southsiders and sharing successes and challenges of the Quality of Life planning process. We’ll be gathering at the Tube Artspace (1125 Cruft Street) where we’ll enjoy snacks and beverages.
This will be a break from our summer of planning and a chance to bring in new neighbors. So grab your friend or neighbor because we’ll have an opportunity to reflect, share our progress so far, and talk about the future of the South Indy Quality of Life Plan!

Lunch Hour Yoga @ Tube
2016-08-31 12:00 - 12:45 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Take a hump day midday yoga break! Come stretch and relax with Big Car staff member and yoga teacher Jordan Thomas.
Donation based 45 minute class – pay what you wish.
This is the perfect class for you if you are new to yoga, already practice yoga and want a moderately paced class that won’t get you too sweaty during your lunch break, or simply want to take a break and move. Style will be a moderately paced hatha vinyasa. We’ll move with our breath to warm up and then stretch to release and expand any tight spaces in the body.
tip: It is suggested to avoid eating for -/+ 1 hour before the class, so you can move comfortably!
See you Wednesday!

Lush
2016-09-02 18:00 - 22:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Nine artists explore subjects that terrify and fascinate them using the artist residency house next to the Tube Factory artspace. Installations, sculpture, and photography transfigure the space into a series of visionary experiences.
Eric Broz
I want everyone to like me. I just want to be famous and for everyone to like me and to be happy. I really just want to be rich and famous and for everyone to like me. The only thing I want is to be rich and famous and for everyone to like me. And maybe a Coke. If I’m rich and I’m famous and everyone likes me and I have a Coke, I’d be happy.
A Pepsi would be ok too.
Emily Freese
Clothing relates to the body without the body needing to be there. It is a second skin to the human. I manipulate this second skin, creating objects from what were once personal belongings. I am examining clothing, through the absence of the body, as a metaphor for the human. The clothing is subject to forms of deterioration to destroy, as well as further, its history. Creating my own forms of stains and wear on the fabric reflect a narrative of the human, of the clothing. The stains are intimate and revealing. They show the presence of human touch, and reflect a sense of control. While stains are present, there is still a sense of sterility and stillness. Thus, these forms of wear present an alteration to something once new. I pair clothing with familiar objects of the domestic household. I use acrylic, steel, rust, bleach, and plastic as mediums to create and contain the representational figure and transforming the narrative of the clothes.
Clare Gatto
Second Skins utilizes tropes and archetypes of femininity to point to larger social constructs. While my studio practice is rooted in photography, it has expanded to encompass the use of new media, including 3D scanning and modeling. This new form of representation enables a re-imagining of the way we view, treat, and understand ideas of the feminine. By using photographs combined with 3D Scanning technology, I welcome the viewer into a world that attempts to challenge the notion of constructed norms. The work depicts a seductive environment without a horizon where fluidity is welcomed.
Philip Košćak
I manipulate and multiply self-created and borrowed characters, objects, images, text, and dialogue. These fragmented text and images combined with personal memories reveal a stream of consciousness made up of double entendres and metaphors of identity that urge the viewer to reconsider what they already know, and what they think they know.
Brent Lehker
Lehker is an artist, maker and designer. He holds a BFA from Herron School of Art. Brent works in multiple mediums, but when asked he will say he “builds things.” When Brent says “builds things,” he means the objects he builds with his hands along with the relationships he builds in his world.
Dipstick is a collaborative, visual measurement of public participants’ perceptions. People are asked to dip a prearranged, hang-able stick into a colored pigment to measure their feelings about questions posed to them. The sticks are then collected and hung on wire to form a visual display.
Dipstick is an ongoing series.
Steve Moore
The porch has an abandoned mount for a swing that once allowed a position for a spectator. The remaining mounts provide a position to imagine a static plumb line exemplifying gravity’s effect while also acknowledging the potential forces being exerted in opposition.
We could image this idealized perspective as a prime site for hanging in fluid suspension, similar to a womb or being rocked to sleep in a mother’s arms. From this imagined location, a point in space at the confluence of Cartesian planes, emits an eye
Monica Sandoval
Born and raised in Los Angeles, CA. Monica Sandoval received her MA from the California State University, Northridge, and is currently pursuing an MFA at Cranbrook Academy of Art.
Through video performance, installation, and object making Sandoval examines themes of identity, self-preservation, and ultimately futility. Her work is defiant, amplifying the body as a means to protest any general notions attached to it. As a starting point, Sandoval is currently investigating how she can distance herself from her own body (objectifying it in the process). All in order to link body image with the social construct surrounding desire.
Katie Shroeder
My work uses material exploration and performance to discuss a variety of social concerns. By using building materials to create performances and sculptures, I am able to explore the futility of physical consumption, human communication, and the roles we play within our own bodies. I use bricks, clay, plaster, and wood to express cultural standards and challenge the importance of these social norms.
I exploit societal roles through examination of self and culture. These examinations tend to be performances or sculptural objects that involve raw materials encountered every day. I strive to challenge the American standard involving mentalities of home owning, debt, labor,
beauty standards, and lavish spending. Post-performance, what is left is an object or artifact. This creates an opportunity to challenge the viewer as they consider the tension caused between the perceived past (my performance) and the potentially contradictory atmosphere created by the presence of the physical relic.
In my most recent work, I use found materials, raw and fired clay, and photography to position my audience as both an active participant and as a viewer. This dual role encourages the audience to question the truth behind the ideas presented in the work and to evaluate their relevance within contemporary culture. The potential distress between what is possible and what is impossible becomes a key function of the work. It allows for a reflective moment between object and interpretation; between my audiences body and my own.
Nick Witten
Witten is obsessed with figuring it out. What is it? It is him, his art, you, us, how he interacts with you, how he interacts with people, how you interact with people, how people interact with people, what’s funny, what’s sad, what’s funny and sad, who is in control, who is out of control, what is control, what’s performing, what’s genuine, what’s smart, what’s dumb, what is the grey space between and whether or not he is rambling on right now (also if that was a good joke or not).
Through video based performances, found and manipulated objects Witten creates work that unfolds into different avenues of conversation only to fold back in on itself. This möbius strip, paired with formalist qualities, invokes a feeling in the viewer that is hard to pin down. In this strange area humor becomes a lifeline. The work strives to understand how humor helps to build the social world around us, how to utilize this tool, and what it means to function in society today.
Image: Second Skin, Clare Gatto, 2016

Masks of Mexico-Mascaras Mexicanas
2016-09-03 13:00 - 14:00 | Listen Hear, 2620 Shelby St, , Indianapolis, IN, 46203, United States
Libreria Donceles weekend programming.
Indianapolis’ masked man-Don Electronico will lead a small presentation about Mexican Masks-From Pre-hispanics masks to Luchador masks and in between.
Masks of Mexico-Mascaras Mexicanas.
Come to Libreria Donceles, we will give a small slice show and presentation about a wide variety of masks that are important throughout different regions and time period in Mexican history.

Close Encounters of the Third Kind Film Screening and Discussion
2016-09-07 19:00 - 21:00 | Tube Factory artspace, 1125 Cruft St., Indianapolis, IN, 46203, United States
Selected by Cranbrook Art Museum curator Laura Mott to facilitate her interview with artist Scott Hocking, who is currently exhibiting at Tube Factory artspace, we will screen Close Encounters of the Third Kind then reference the interview between her and Hocking.
Close Encounters of the Third Kind is a 1977 American science fiction film, written and directed by Steven Spielberg and starring Richard Dreyfuss, François Truffaut, Melinda Dillon, Teri Garr, Bob Balaban, and Cary Guffey. It tells the story of Roy Neary, an everyday blue collar worker in Indiana, whose life changes after an encounter with an unidentified flying object (UFO).
In Partnership with Public House Cinema:
Website: publichousecinema.com
Twitter: @PHCinemaIndy
Instagram: @publichousecinema
Facebook: facebook.com/phcinemaindy
Email: email hidden; JavaScript is required

AIGA Indianapolis 25 Year Anniversary Design Show
2016-09-09 18:00 - 21:00 | Guichelaar Gallery, 1125 Cruft Street, Indianapolis, IN, 46203, United States
Over the last 25 years, Indianapolis has developed, changed and grown with exciting momentum. A large part of that growth is due to our local design community. The collective work of artists, designers, and entrepreneurs have positively impacted how this city looks, feels and thinks.
Through this progression, AIGA Indy has been there every step of the way. We have molded leaders, facilitated connectivity, and inspired creatives to make meaningful differences. This is something to celebrate! Therefore, this September, AIGA Indy is turning 25 and will be hosting a design show in collaboration with Big Car Collaborative.The entries will be selected, curated, and displayed in chronological order showing how Indianapolis has evolved over the years. Please RSVP for the September 9th event on Eventbrite link https://www.eventbrite.com/e/aiga-indianapolis-25-year-anniversary-design-show-tickets-26090841409
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OPENING EVENT AGENDA
Septemeber 9th
6:00 – Gallery Opens, Food Trucks, Drinks & Music
7:00 – Guest Speakers begin
9:30 – Music and Food close
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GALLERY WEEK HOURS
Saturday, September, 10th 11 AM- 3 PM
September 12- 16th
9:00 AM – 6:00 PM
Saturday, September 17th 11:00 AM- 3:00 PM
