Upcoming events calendar, ticket information, studio, gallery, and venue news, special offers, and more. We don't send too many; we promise!
Thank you! We'll be in touch!
Oops! Something went wrong while submitting the form.
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
Light as a Feather, Stiff as a Board Opening Reception
Thursday, April 30, 2026
6:00 pm
to
9:00 pm
“Light as a Feather ,Stiff as a Board” asks whether you are the invisible onlooker or an active participant. Eli Kaufman and Michael Gunn harness painting’s voyeuristic nature to complicate interpersonal relationships. The paintings exist at a threshold where our internal world is acted upon, through collaboration and intimacy. Tangled foliage, Twisting cables, A cast shadow—Reach, hold, repair, tend. How do we balance relying on one another while channeling the power of that which goes unseen? This exhibition shares its title with a game played by children at slumber parties. A levitation trick that evokes the unknown, a tension with the truth of its physics.The events that unfold are recalled, heightened and eventually brought back down to earth. The disillusion of our accounts is a natural conclusion. Through melodramatic lighting and intangible ghostly presence, tension between physicality and spirituality charges moments with desire—an attempt towards harmony.
Light as a Feather, Stiff as a Board Opening Reception
Special Event
Thursday, April 30, 2026
6:00 pm
9:00 pm
“Light as a Feather ,Stiff as a Board” asks whether you are the invisible onlooker or an active participant. Eli Kaufman and Michael Gunn harness painting’s voyeuristic nature to complicate interpersonal relationships. The paintings exist at a threshold where our internal world is acted upon, through collaboration and intimacy. Tangled foliage, Twisting cables, A cast shadow—Reach, hold, repair, tend. How do we balance relying on one another while channeling the power of that which goes unseen? This exhibition shares its title with a game played by children at slumber parties. A levitation trick that evokes the unknown, a tension with the truth of its physics.The events that unfold are recalled, heightened and eventually brought back down to earth. The disillusion of our accounts is a natural conclusion. Through melodramatic lighting and intangible ghostly presence, tension between physicality and spirituality charges moments with desire—an attempt towards harmony.
Light as a Feather, Stiff as a Board Closing Reception
Thursday, June 25, 2026
6:00 pm
to
9:00 pm
“Light as a Feather ,Stiff as a Board” asks whether you are the invisible onlooker or an active participant. Eli Kaufman and Michael Gunn harness painting’s voyeuristic nature to complicate interpersonal relationships. The paintings exist at a threshold where our internal world is acted upon, through collaboration and intimacy. Tangled foliage, Twisting cables, A cast shadow—Reach, hold, repair, tend. How do we balance relying on one another while channeling the power of that which goes unseen? This exhibition shares its title with a game played by children at slumber parties. A levitation trick that evokes the unknown, a tension with the truth of its physics.The events that unfold are recalled, heightened and eventually brought back down to earth. The disillusion of our accounts is a natural conclusion. Through melodramatic lighting and intangible ghostly presence, tension between physicality and spirituality charges moments with desire—an attempt towards harmony.
Light as a Feather, Stiff as a Board Closing Reception
Special Event
Thursday, June 25, 2026
6:00 pm
9:00 pm
“Light as a Feather ,Stiff as a Board” asks whether you are the invisible onlooker or an active participant. Eli Kaufman and Michael Gunn harness painting’s voyeuristic nature to complicate interpersonal relationships. The paintings exist at a threshold where our internal world is acted upon, through collaboration and intimacy. Tangled foliage, Twisting cables, A cast shadow—Reach, hold, repair, tend. How do we balance relying on one another while channeling the power of that which goes unseen? This exhibition shares its title with a game played by children at slumber parties. A levitation trick that evokes the unknown, a tension with the truth of its physics.The events that unfold are recalled, heightened and eventually brought back down to earth. The disillusion of our accounts is a natural conclusion. Through melodramatic lighting and intangible ghostly presence, tension between physicality and spirituality charges moments with desire—an attempt towards harmony.
A la orilla gathers works by Maite Sosa Methol, an exploration of how textiles can tell stories through material investigation and knitting as a medium capable of holding memories, tensions, contradictions, and cultural codes, both personal and collective. Taking inspiration from Uruguay — a country named after a river — and its diverse landscapes and heritage, the work centers on her homeland's deep relationship to water. In her practice, water becomes material and metaphor: how it moves, erodes, reflects, and overflows. The knitted lace structures open into transparency, dyed silks ripple like tide, glass tears suspend gravity. Unlike typical textile exhibitions that highlight finished garments, a la orilla overturns the expectation of finality and refocuses on the process stage. Her creative process begins by extracting colors and forms from photographs of Uruguay's native flora, the Ceibo flower, the surface of the water, the beach as a place of relaxation and spirituality, including Iemanjá; and the protest-driven collective energy that comes from Uruguayan Carnival, Montevideo’s vivid celebrations, rituals, and traditions. These elements inform a series of color and pattern studies that are not illustrations of culture but atmospheres translated into structure, color, and rhythm. The resulting samples come together as a collection of “little universes.”
Valentine’s Day special for service industry folks - beginners welcome! Make one of the following: salt cellar/bowl, amuse-bouche dish/tasting bowl, spoon rest, oil dip dish, etc. With edible art by Paula's and drinks by MWM.
Over the course of their thirty trips around the sun, Earth has remained diligent in their commitment to monolithic minimalism. The sonic vocabulary may have changed—from their early years churning out seismic drone metal on albums like Earth 2 (1993) to the dusty Morricone-tinged comeback album Hex; Or Printing in the Infernal Method (2005) to the meditative rock approach of Primitive and Deadly (2014)—but the underlying principle of austerity and restraint remains a constant. With their latest album Full Upon Her Burning Lips, Earth purges the layers of auxiliary instrumentation that embellished some of their previous records and deconstructed their dynamic to the core duo of Dylan Carlson on guitar and bass and Adrienne Davies on drums and percussion. In the process, they tapped into the Platonic ideal of Earth—an incarnation of the long running band bolstered by the authority of purpose, where every note and every strike on the drum kit carries the weight of the world.
Risks, Rituals, & Ruptures opens October 9 with works by Jane Hesser, Catherine LeComte Lecce, Ellen Shattuck Pierce, and Ellen Wetmore. Join us at 6 pm for viewing, cocktails, and conversation followed by performances at 7 from LIGHTS OUT, Glenna Van Nostrand, Host Ensemble, and House Red. Tickets available at the door, sliding $10-20 suggested donation. All proceeds go to Sojourner House, who envisions a world where everyone lives their life free from domestic and sexual abuse. ‘Risks, Rituals, & Ruptures’ brings together four artists who map reproduction and care—its risks, rituals, and ruptures—and the charged pause between what was and what will be. Across drawing, pattern, and photography, the works ask how we carry loss and continue to live inside the no-longer and the not-yet.
