We’re very excited that two heavyweight minds will be joining us at Beyond Repair’s Assembly space for an afternoon of readings and lectures on Money, Art, Activism, & Intentionality (& More!).
Please join us in welcoming Max Haiven and Cassie Thornton for the launch of Max’s new book from Pluto Press, Art After Money, Money After Art: Creative Strategies Against Financialization, and Cassie for Collective Psychic Architecture, an artist talk.
Glenn Jones is an instrumentalist of unparalleled skill and creativity. As a masterful raconteur Jones’ guitar work is both complex and sublime, intricate and emotional. His deep knowledge of the world of American Primitive music and his abilities on the fretboard have made Jones a pillar in his community. With each album Jones chronicles his experience, looking to the past or capturing the present with limber melodies that potently communicate the underlying emotions of the songs. Jones’ flair for storytelling shines in a live setting where origin stories are quite often the song’s introduction. It not only makes for an exceptional evening of listening, but one that draws on the deep traditions of country blues. The Giant Who Ate Himself and Other New Works for 6 & 12 String Guitar is Glenn Jones at his most vivid, exploring memories old and new through beautifully woven threads of melody.
Jones will be joined by Matt Sowell and John St. Pelvyn on the nights bill. A new chapbook will be available at the event on the life and influence of John Fahey. Edited by Sam Gould and Bradford Bailey (editor of The Hum), the booklet includes texts and interviews by Gould, Bailey, and Steve Lowenthal, author of the Fahey biography Dance of Death: The Life of John Fahey, American Guitarist
Another excursion behind the curtain to the other side of sound with the as-yet-to-be-named series.
Joining us at Assembly (2854 Columbus Ave S. MPLS, MN 55047) this evening will be long time friend and close collaborator, Gabriel Saloman. A Santa Cruz, California based musician and artist, Saloman has been performing experimental, conceptual and freely improvised music for over 15 years. He is best known for his work as half of Yellow Swans and currently composes and performs solo as GMS and Sade Sade. He also collaborates with Aja Rose Bond under the name Diadem and with MRed as Chambers.
https://gabrielsaloman.bandcamp.com/
PV Glob
PV Glob, aka Matt Wacker, will conjure wild exploration of off the map somethings are proven to be mind bending and cathartic.
https://soundcloud.com/born-pregnant/pv-glob-eagles
Jonathan Zorn
Jonathan Zorn is a composer, performer, and curator of experimental, electronic, and improvised music. His electronic music pairs improvising musicians with interactive computer systems to create hybrid, human-machine ensembles. Zorn’s interest in vocal utterance has resulted in a series of pieces in which spoken language is interrupted by electronic forces, drawing attention to the gap between speech and sound. He is currently working on a suite of electroacoustic sound/text/video performance pieces. Zorn has been active as an improvisor on bass and electronics for 15 years and has performed at Red Cat, the Walker Art Center, the Verona Jazz Festival, the Library of Congress, the Seattle Festival of Improvised Music, Line Space Line Festival, and the Chelsea Art Museum. He has performed under the direction of Anthony Braxton, Alvin Lucier, and Alison Knowles. His work has been published in Ord und Bild, the SEAMUS Journal, Notations 21, and UbuWeb.
Suggested Donations $10 – 20 (No one will be turned away for lack of funds)
When Larry Krasner ran to be District Attorney of Philadelphia his goal was to win a seat so that he might help transform a local justice system in favor of those at the bottom, those often overlooked, undervalued, and overcharged. His campaign was an attempt towards manifesting a fair and effective criminal justice system which makes us all safer. He won. And now the challenge is to continue that momentum and those desires. And so, it’s important to ask, what does a “from below” campaign to dismantle the entanglements of an unjust system look like, and if you win, how do you maintain the elements that got you into power so that the strength of the campaign – people’s power – doesn’t begin to emulate the same hierarchies that your campaign fought against to begin with? To do so takes an element of social craft. An artfulness in illustrating the lives of others, as well as maintaining social tools that amplify and authenticate those often unheard voices.
Polis is a new “expanded publication,” published by Tools in Common, that looks at just these types of actions and scenarios; where artfulness and political engagement coalesce into spaces of shared questioning. Actions that ask us to consider how we live with one another and how, through recognition and dialogue, we might live with one another moving forward into a cooperative future.
Please join us for a public conversation to be featured in the upcoming inaugural issue of Polis with Larry Krasner (District Attorney for the city of Philadelphia), Ryan Hancock (Raconteur and Surrogate on the Kranser campaign, Civil Rights and Labor Lawyer and co-founder of the Philadelphia Lawyers for Social Equity), and Sam Gould (artist, author, and co-editor of Polis).
How do we memorialize historical events, most especially when those events are not singular, linear, or even history for many, but continuous living arrangements that are yet to recognize any sense of finality or definitive social transformation? For the first workshop discussion in Fate is Kind: Abstraction & Patterning in a Life with Others Powderhorn neighbor and artist Xavier Tavera will join our discussion as we think through the role of monuments and memorials, the events of the MPLS Uprising, and the manner by which monuments as historical markers act as specific objects which can record, obscure, empower, and / or manipulate People’s History.
Each social landscape is embedded with its own unique, ever changing, psychological elements. The city, its dense and frenetic nature, creates a space of swirling social transformations where each day represents new possibilities of living in proximity. Time, as with everything, has its effects, and attitudes change. These changing attitudes find form in the urban landscape through our interactions as well as the structures we build and vice versa.
For our second workshop in the Mt. Analogue class Fate is Kind: Abstraction and Patterning in a Life with Others we will be joined in conversation by Jennifer Newsom, architect (Dream the Combine) and professor of architecture at the University of Minnesota to discuss the ways that artists can help illustrate these social flows and patterns, their forms and attitudes.
As always we will seed, as well as continue, our conversation through Social Margins, the Confluence social annotation platform; “an assembly in text.”
An excerpt from the Situationist International Reader
About Julia Bryan-Wilson
Julia Bryan-Wilson is Doris and Clarence Maro Professor of Modern and Contemporary Art at the University of California at Berkeley, where she also directs the university’s Art Research Center. Her research interests include theories of artistic labor, feminist and queer theory, critical race theory, performance and dance, production/fabrication, craft histories, photography, video, visual culture of the nuclear age, and collaborative practices. She is the author of Art Workers: Radical Practice in the Vietnam War Era (University of California, 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 (University of Chicago, 2017). She is the editor of OCTOBER Files: Robert Morris (MIT Press, 2013), and co-editor of three journal special issues (“Amateurism,” Third Text, 2020; “Visual Activism,” Journal of Visual Culture, 2016; and “Time Zones: Durational Art in its Contexts,” Representations, 2016).
Bryan–Wilson is an adjunct curator at the Museu de Arte de São Paulo, where in 2019 she co-curated the exhibit Women’s Histories: Artists before 1900; in 2020 at MASP she organized Histórias da Dança/Histories of Dance. With Andrea Andersson, she curated Cecilia Vicuña: About to Happen, which opened at the Contemporary Arts Center New Orleans in 2017 and traveled to the Berkeley Art Museum, the Henry Art Gallery, the ICA Philadelphia, and MOCA North Miami. She is currently writing a book about Louise Nevelson.
Looking towards aspects of the African diasporic tradition and its tools, such as cooperative creation, improvisation, and deep listening, we are provided both inside and outside of the context of musicianship, guides that can play significant and important roles in our lives as active neighbors in community. These are social tools to carry with us day-to-day.
For this third workshop for the class Fate is Kind, we will be joined by artist, musician, and 9th Ward elder Douglas Ewart. Centering our focus on the techniques and histories of so-called jazz, “social music” as it was described by Miles Davis, or simply, as described by the Art Ensemble of Chicago, Great Black Music we will, in general, think through how this traditions qualities play a role for non-musicians to be more attentive neighbors. And in specific, we’ll listen to how these attitudes and qualities have played out in Douglas’ life and work, and what his experiences in cooperative creation can teach us moving forward in common.
About Davu Seru
Davu is an improvising musician and composer. He’s worked with numerous improvising musicians and composers throughout the United States and France and is bandleader for the ensembles Motherless Dollar and No Territory Band. For the year 2017-2018 he served as the first-ever composer-in-residence at Studio Z in Saint Paul. He’s curated concert series for over the past 20 years and has received awards from McKnight Foundation (2020 Composer Fellowship), Jerome Foundation (2017-18 Composer/Sound Artist Fellow), American Composers Forum (Minnesota Emerging Composer Award), the Metropolitan Regional Arts Council (Next Step Fund) and has received commissions from the Zeitgeist Ensemble and Walker Art Center. In addition, Davu is a published author and is a visiting instructor in the Department of English at Hamline University.
He lives in Saint Paul, MN, with his partner Emily and son August.
About Patrick Shiroishi
Patrick Shiroishi is a Japanese-American multi-instrumentalist & composer based in Los Angeles.
Like much of the country in full, our neighborhood in particular has been deeply affected by the growing opioid crisis. Many of our neighbors, to varying degrees, need an open door to care, some more acutely than others. As our neighborhood asks vital questions of itself in the wake of the 2020 Uprising, and we collectively formulate shared agreements regarding what “safety for all” means moving forward, it is urgently important that we consider health and safety as synonymous.
If you are interested in joining a growing, organic network that’s aim is to provide access to tools for those experiencing an opioid overdose join Confluence Studio and a coalition of addiction and harm reduction groups on Saturday, August 28th for a Naloxone training workshop and info session.
A representative from Steve Rummler Hope Network will be present to provide training in how to recognize the signs of a person at risk of overdosing from opioid in-take and how to administer both Intramuscular (IM) and Nasal Naloxone as a life saving measure. As well, free IM and Narcan kits will be made available for those willing to carry and administer aid if ever the need arrives. Furthermore, we will take this time to discuss plans towards cultivating and maintaining an organic network of care for the Lake St. Corridor, a “design system as entryway” so that training in the administration of NARCAN and its availability is as commonplace as CPR training or a defibrillator kit for those in cardiac arrest.
R-A-M is a toolkit for recognizing others committed to constructing neighborhoods of care so that people may engage in conversations on street corners or host community forums to rebuild their neighborhoods, in our case, the 9th Ward enclaves of Powderhorn, Central, East Phillips, and Near Bryant. We’re gathering as creative folks, artists, organizers, and local troublemakers to experiment and collaboratively imagine with our neighbors to plan a different future for East Lake Street, one where a multitude of voices and visions lead.
East Lake Street is being rebuilt in ways that will continue to push out our neighbors, local businesses, and the communities we’ve formed here. Political Representatives, Property Developers, and other PIGs (Private Interest Groups) are hoarding the power to decide on what the future of our neighborhoods and city systems will be rather than creating forums and processes for us all to collectively decide through cooperation, care, and creativity. Our formation, Confluence, is an anarchic Community Design Studio for people to come together and redevelop Minneapolis’ 9th Ward from the grassroots. R-A-M, along with the AMMU, and other mechanisms in the works, are simple, open sourced tools for recognition and cooperative creation. They are free and available for all to use as they see fit.
We’re reaching out to invite you to be a co-inventor of tools that amplify our power as the people who give life to East Lake Street and the surrounding neighborhoods so that we might reimagine and rebuild this place we call home.
Please join us at the AMMU (in the courtyard adjacent to the 3rd Precinct at 3032 Minnehaha Ave.) at 5:30pm this Saturday, Sept. 25th. Duaba, Sam, and Vic will give a brief overview of R-A-M, it’s design and use. From there we’ll test out the tool with your help.
Snacks and good cheer on site!
