Join us for this powerful performance that explores the unpredictable nature of life and the strength it takes to move forward in the face of adversity. A seemingly perfect picnic on a sunny day turns to chaos, reminding us that faith is a choice, and joy is a decision: even in the most unpredictable of circumstances. But as the storm rages on, so does our resilience.
Read MoreThis truly unique single tree grows 40 different types of stone fruit — including peaches, plums, apricots, nectarines, cherries, and almonds. Our tree is titled 126 Tube Factory because it is artist Sam Van Aken’s 126 tree he created for this site through the process of grafting branches into the tree. The Tree of 40 Fruit blossoms in varied tones of pink, crimson, and white each spring. And, in the summer, it bears various fruits. This is one of 20 trees like this around the world. These trees are not only creative endeavors but also serve as conservation efforts, preserving heirloom and antique fruit varieties not commonly found in commercial agriculture.
Read MoreTrunk Rattle Sound Bath merges ongoing areas of Ben Hall’s research into polyrhythm (the simultaneous use of two or more contrasting rhythms), sonic immersion, and ancestral resonance through the lens of embodied listening. The title draws from the cultural experience of low-end frequencies booming from car trunks — windows shaking with no discernible rhythm, the body absorbing it all. “Vibrational frequencies are in everything,” Hall says. “Our bodies. We are observing by vibration even when we shut down. Our nervous system is still there, thrumming.”
Read MoreEach performance is a chance to step into a world where music and nature intertwine—a rare and intimate experience.
Flore Laurentienne is an open window to the technicolor soundscapes of Mathieu David Gagnon – the Canadian composer, producer and multi-instrumentalist who shapes vast orchestral sound to interpret the rugged wilderness and waters of his native Québec. The namesake of an inventory documenting St. Lawrence Valley flora, Flore Laurentienne illumes the science and spirit of his surrounds through expansive string orchestrations melded with the textures and experimentation of early analogue synths.
Read More“My Child, I will feed you, give you good health, and I will give you strength and courage.”
These are the opening words of Steven J. Yazzie’s 2015 video, Mountain Song, which appear scrawled across the inky blank screen in white letters. The work evokes that of an epic poem akin to Homer or Virgil, signifying a journey that lies before the one who watches and listens to it.
Read More“BODEWADMI NDAW is a documentary about the efforts of my people to revitalize our language, Bodwéwadmimwen,” filmmaker Davis Henderson said. “The title is a declaration. It means ‘I am Potawatomi.’”
Read MoreThe Guichelaar Gallery and Residency House, located next door to Tube Factory at 1135 Cruft Street, is a contemporary art space operated by Big Car Collaborative APLR artists. It also serves as a home for visiting artists.
Read MoreTerri Sisson Park, designed by Rundell Ernstberger’s Daniel Liggett in close collaboration with Big Car Collaborative staff artists, features many ways for visitors to experience and enjoy art and nature while also socializing with others. It’s open to the public during daylight hours.
The park greenspace borders and connects the two contemporary art museum buildings on our campus, nature, and local waterways. And these welcoming and restorative spaces have really helped establish our block as a campus. They directly tie in with the idea that the museum serves as a center for peace and restoration in the community.
The Efroymson Family Fund made the naming of Terri Sisson Park possible. Terri Sisson is the mother of Big Car co-founder and Tube Factory curator, Shauta Marsh. Dedicating the park to Terri, who passed away in 2022, is especially fitting because the park is a shrine to motherhood.
“Otherhood and Motherhood are two main themes that thread through this greenspace,” Marsh says. “It’s a place for people who have no one. It’s a space for people who have more people in their life than they know what to do with.”
“My mother was a bottomless ocean of love and patience,” Marsh says. “She saw the best in people. And that’s the spirit the world really needs. That’s why we will celebrate her with the naming of this park. It was the meaning of her to hold a space for everyone, for total strangers, for friends, for family.”
Read MorePotawatomi (Turtle Clan) artist Jason Wesaw’s exhibit consisting of sculpture, drawings, prints, and installation is linked to the beliefs of his culture related to land, specifically the ground where Tube Factory now sits. This land has been part of Potawatomi lands at different times in history before the United States existed. For this reason, Wesaw used earth and materials from Terri Sisson Park on the Tube Factory campus to create some of the works in this fully commissioned show.
Read MoreComputers do whatever you tell them to, even if you tell them to make a mistake.
There are some seemingly bad ideas behind Benjamin Berg's exhibition I Can See the Pixels. For starters, everything is created using the 1980s-era GIF image format, which is hated by today's computer programmers for its limited color palette and inefficient storage. Also, the source images are small and low-resolution. Worst of all, he forces his computer to use colors that are totally wrong, nowhere close to the ones it needs. What's wrong with this picture?
Read MoreThirty-foot-long scrolls telling a story of self acceptance and belonging will fill the Main Gallery of Tube Factory artspace starting November 1. The “Jellyfish Person” is the central character in Indianapolis-based artist Julie Xiao’s large-scale ink and gouache works. In Xiao’s immersive exhibit, the audience will follow — and may identify with Jellyfish’s pursuit of finding a place to feel welcomed at, to fit in, and to feel at home.
Read MoreWith this exhibit, Harkins looks at land in two different ways: a path toward healing due to the desecration of burial mounds in New Harmony, Indiana and how the Land Back movement addresses climate change. Harkins, a multi-disciplinary artist based in Tulsa, Oklahoma, and Tube Factory curator Shauta Marsh, researched and worked on this exhibit for five years as part of Big Car Collaborative’s decade-long research project, Social Alchemy, that explores utopia and dystopia with an emphasis on the southern Indiana town of New Harmony that was twice the site of utopian experiments.
“Words cannot describe everything we feel. How can one accurately verbalise the sensation we feel when we’re a newborn and our mother holds us in her arms, and we feel her skin on our cheek. We clearly feel her warmth and humidity, some feeling of love from her, but it’s tough to verbalise it perfectly. Music is a language that can translate that sensation, feeling, the memory of love.” — Hatis Noit
Read MoreOcean resembles a soap opera, but with the eerily calm, disembodied voice-over of a guided meditation: “If you don’t want to drown, be an ocean.” The video begins by instructing the viewer to adjust her posture in relation to the screen and finishes by likening the viewer’s smile at her reflection to “the embarrassment of a blind date”—a playful take on Brechtian Verfremdung.
Read MoreMost of us live in a world of constant noise and overstimulation, fragmenting our own perception and memory. Information (and misinformation) overload has forever changed the human experience thanks to constant access to the Internet. Instead of living in the moment, we are constantly challenged by the temptation of filling the void with seconds-long dopamine boosts reinforced by our personal algorithms in our artificial digital worlds.
Read MoreTo walk through the installation, Mem, is to enter a myth. A kaleidoscope of the divine feminine, there are fountains of light centering the space on the painting of Miriam– one of the seven major prophetesses of Israel. Miriam carried a rock from which flowed an abundant amount of water during the 40 years Jewish people searched for a place to live in the desert. Access to this water made survival of her people possible.
Read MoreThe abstract textiles and works on paper by Julian Jamaal Jones for his exhibit Take Me Back glean fragments from the songs, poetry, sounds, and his feelings for the Black church experience of the 1990s. The exhibit opens Jan. 5 and runs through March 24 at Tube Factory artspace. Chief curator, Shauta Marsh, was instantly drawn to the works, seeing an element of emotive storytelling in the abstract pieces — something that is quite unique.
Read MoreMeggan Gould’s Sorry, No Pictures examines photographic tools and technologies and their constant teeter on the edge of obsolescence. Gould takes apart and re-contextualizes the smallest aspects of the medium, including the iconography of camera dials, the design of viewfinder patterns, and the ubiquitous Epson inkjet printer test pattern. Intertwined with personal narrative, the artist uses “playful resistance” in her work to question the role of corporations and manufacturers of photographic technologies — from Kodak to Flickr — in shaping photography, image-making, vision, and the language surrounding the medium.
Read MoreMany have experienced grief with the loss of someone close to them, but what if that someone was yourself?
Transgender people have lived and existed in many forms for many centuries. Today, there are many possible (physical, emotional, and mental) changes made by Trans people to feel affirmed in their own body. To “come out” or “transition” has required some Trans people to abandon a self they do not recognize. This act of abandonment and process of grieving one’s self is common for many Queer and Trans people who were not raised in affirming environments.
Read MoreArte Mexicano en Indiana and Big Car Collaborative are partnering to present the works by Mexican Daniela Martín del Campo & and Colombian Artist Gloomy Zauros. GOLDEN MYST represents a unique visual and spiritual experience, where chromatic limitation becomes a window to reflection and contemplation: the deep black of the ink, the shimmering gold and the immaculate white of the paper.
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