Established in 2006, Machines with Magnets hosts experimental music performances, sound and art exhibitions and installations, performance art, film and video screenings, cultural and community events, private events, and fundraisers. Past performances include The Body, Dan Deacon, Mirah, Etran de l'Aïr, Braveyoung, Lydia Lunch, Lightning Bolt, Brown Bird, Container, and Mdou Moctar.
Upcoming Events + Tickets
All ages unless otherwise noted, 21+ with valid ID to drink
Lea Jaffe, Kira McSpice, Luci Dead Limb + Bedspring
Afterlife is a testament to the love that resides within grief. Megan Bent and Maya Stern archive memories and connections through a continued collaboration with loved ones that have passed. In honoring the lives and loss of their ancestors, their work simultaneously challenges the systems that enact trauma and deny the fullness of a person's humanity.
Afterlife is a testament to the love that resides within grief. Megan Bent and Maya Stern archive memories and connections through a continued collaboration with loved ones that have passed. In honoring the lives and loss of their ancestors, their work simultaneously challenges the systems that enact trauma and deny the fullness of a person's humanity.
‘Never Exhale’ is the sound of a band that hasn’t stopped for a breath. DITZ have toured relentlessly since the release of their first album ‘The Great Regression’ and even before that, travelling at least 100 days a year since COVID. The songs that form their newest offering were written across Europe, often on off days and in borrowed rehearsal rooms just to break up the long drives.
‘Never Exhale’ is the sound of a band that hasn’t stopped for a breath. DITZ have toured relentlessly since the release of their first album ‘The Great Regression’ and even before that, travelling at least 100 days a year since COVID. The songs that form their newest offering were written across Europe, often on off days and in borrowed rehearsal rooms just to break up the long drives.
Drawing from Huabi, a tale in the Chinese literary classic Liaozhai Zhiyi, Self-Haunted explores the shifting boundaries between image, desire, and surveillance. In the story a man is drawn into a celestial paradise painted on a wall. What first unfolds as a realm of desire slowly darkens into fear, as an armored official appears in search of an intruder. The painted world shifts with the movements of the mind, where desire and dread give shape to what seems real. Self-Haunted revisits the painted wall as both an image and a boundary, inviting entry while holding the power to expel. Across the exhibition, images beckon, linger, and quietly return our gaze. As enchantment gives way to scrutiny, the worlds we conjure begin to haunt us, shaping how we see and are seen.
Drawing from Huabi, a tale in the Chinese literary classic Liaozhai Zhiyi, Self-Haunted explores the shifting boundaries between image, desire, and surveillance. In the story a man is drawn into a celestial paradise painted on a wall. What first unfolds as a realm of desire slowly darkens into fear, as an armored official appears in search of an intruder. The painted world shifts with the movements of the mind, where desire and dread give shape to what seems real. Self-Haunted revisits the painted wall as both an image and a boundary, inviting entry while holding the power to expel. Across the exhibition, images beckon, linger, and quietly return our gaze. As enchantment gives way to scrutiny, the worlds we conjure begin to haunt us, shaping how we see and are seen.
