Drums & Drones + Ursula Scherrer

Drums & Drones is a sound and light performative installation featuring drummer Brian Chase (Yeah Yeah Yeahs) and video artist Ursula Scherrer.

Sonically, the aim of the project is to investigate the subtle acoustic properties of drum resonance. From these subtleties, expansive meditative soundscapes are created. Similarly, the visual component examines elements of found forms, whether in filmed objects or light itself. This sense of architectural abstraction functions to liberate natural aesthetic beauty from associative identity.


Brian Chase is a drummer and composer living in Brooklyn. His diverse range of work/play includes that with rock band Yeah Yeah Yeahs, the community of the New York improvised/experimental music scene, and Drums & Drones, an electro-acoustic project focusing on the application of just intonation to drums and percussion. Performances have taken him across the world, and he appears on many recordings spanning a broad spectrum of styles. In addition to the drums, Brian is a regular practitioner of Ashtanga yoga. chasebrian.com and chaikinrecords.com 

The poetic quality of Ursula Scherrer’s work reminds one of moving paintings, drawing the viewer into the images, leaving them with their own stories. She transforms spaces and landscapes into serene, abstract portraits of rhythm, color and light – inner landscapes in the outside world where the images and actions have less to do with what we see then with the feeling they leave behind. Scherrer is a Swiss artist living in New York. Her work and collaboration with composers, choreographers, stage directors, light artists and poets has been shown in festivals, galleries and museums internationally.

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Woodworking I-Dimensioning Lumber

Woodworking I-Dimensioning Lumber

Woodworking I is an introduction to dimensioning wood- how to take rough sawn lumber and turn them into usable boards.

This 3-hour class will include demonstrations and discussion on wood selection, local suppliers, as well as limited hands-on practice with sample material at the end of class.

A few things to note:

*Pre-requisites: Shop Safety and Orientation I.
*Woodworking I covers these machines more in depth and includes more hands-on practice than Shop Safety and Orientation II. If you are totally new to the table saw, planer, and jointer, this class is for you. 

*Open to ages 16+. For those 16-18, plan to have a parent/guardian on-site for waiver signatures.


For more information or inquiries, please contact Brent at email hidden; JavaScript is required or Brittany at email hidden; JavaScript is required

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Librería Donceles

Librería Donceles

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).

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RCA: Scott Hocking

RCA: Scott Hocking

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