Upcoming Concerts

Washington Street Art Center
January 19-28, 2018

The Studio at 550
Sunday, February 4, 2018

WENHUA SHI ArtScience Talk
Le Laboratoire Cambridge
Wednesday, February 7, 2018

Support Non-Event!!!

Washington Street Art Center
January 19-28, 2018

an experimental music gathering in Somerville

Non-Event is pleased to co-host the second season of the Co-Incidence Festival, which will take place January 19–28, 2018 at or around the Washington Street Art Center

Co-Incidence Artists:
Amy Golden
Caleb Chase
Cal Fish
Joachim Eckl (Resident Artist)
Kirsten Carey
Michael Pisaro
Aaron Foster Breilyn (Co-Director)
Luke Martin (Co-Director)

Washington Street Art Center
321 Washington Street
Somerville (near Union Square)


January 19, 7pmThe Welcome Concert in Union Square Somerville, featuring pieces by Joachim Eckl, Marilyn Arsem, Sarah Pitan, and Jennie Gottschalk.

January 19–28 (one hour per day)SOUND BRIDGES (a piece by Joachim Eckl, performed by local and Co-Incidence artists) in Union Square, Somerville (see the Co-Incidence Festival page for times + locations)

January 27, 6pmPotluck Finale at the Washington Street Art Center.

There may be other (non) performances at Washington Street during the festival. We encourage people to attend any of the days they can! More information about the festival, including a more detailed performance schedule and artist bios is available at the Co-Incidence Festival website.

The Co-Incidence Festival is supported in part by grants from the SAC Arts Union, the Amphion Foundation, the Massachusetts Cultural Council, and the Austrian Cultural Forum.


The Studio at 550
Sunday, February 4, 2018

Photo by Marcel Zaes

swissnex Boston and Non-Event present


The Studio at 550
550 Massachusetts Ave., Cambridge
Doors: 6:30pm, Music: 7pm
Tickets: $10 gen admission | $8 students + Non-Event members

There will be a post-concert reception, courtesy of swissnex Boston

PULSATIONS [BITUMEN] is an audiovisual performance that combines generative digital music with four viola players, using an original graphic notation featuring a BRAID.live algorithm and visuals, performed by:

Marcel Zaes (electronics, visuals)
Jordan Dykstra (viola)
Ashley Frith (viola)
Zsolt Sőrés (viola)
David Schnee (viola)

With PULSATIONS [BITUMEN], the Swiss composer MARCEL ZAES (*1984 in Bern) sets out to redefine the conventional concert performance. He presents a transcontinental music project which is an intriguing fusion of electronic and classical aesthetics. PULSATIONS [BITUMEN] presents the least celebrated of all string instruments, the viola, with four exceptional players, and extends the viola's sound with generative digital technologies towards a contemporary live-sampling aesthetic.


Jordan Dykstra (US)
Jordan Dykstra was born and raised in Iowa, educated in Southern California, and re-educated in the Pacific Northwest. He has played viola and composed, mainly for strings, throughout. This year he will complete his masters degree in experimental music composition at Wesleyan University.

Ashley Frith (US)
Ashley is a violist, currently focusing on chamber music at Community MusicWorks in Providence. She studied with Lila Brown at The Boston Conservatory.

David Schnee (CH)
David Schnee is a freelance violist, improviser and composer. He is a sought-after chamber music partner and equally adept at jazz, classical, pop and contemporary music as well as studio-work and orchestra playing.

Zsolt Sőrés (HU)
Zsolt Sőrés is a conceptual thinker, an experimental violist dedicated to electronics, improvisation, drone music and extended playing techniques. He also is a lecturer at the Franz Liszt Music Academy Budapest, and a film curator at the Ludwig Museum in Budapest.

This program presented with the support of Pro Helvetia, Swiss Arts Council, and UBS Culture Foundation.


WENHUA SHI ArtScience Talk
Le Laboratoire Cambridge
Wednesday, February 7, 2018

Photo: Peter Gumaskas

Le Laboratoire Cambridge presents
(in collaboration with Non-Event)

WENHUA SHI artist talk
Sound Art China

Le Laboratoire Cambridge (Directions)
650 East Kendall Street, Cambridge
Free but RSVP required

RSVP via Eventbrite

Sound art didn’t exist in China until three decades ago. Even Sound art China was born outside of academic, and contemporary art global market, it still draws international attention. As a curator and artist, Wenhua's talk will trace some historical and artistic impacts of the recent emerging sound art scene in China, discuss its key artists and their influences as well as also raise the question of the future of Sound art in China.

WENHUA SHI pursues a poetic approach to moving image making, and investigates conceptual depth in film, video, interactive installations and sound sculptures. His work has been presented at museums, galleries, and film festivals, including the International Film Festival in Rotterdam, the European Media Art Festival, the Athens Film and Video Festival, the Ann Arbor Film Festival, Pacific Film Archive, West Bund 2013: a Biennale of Architecture and Contemporary art, Shanghai, Shenzhen & Hong Kong Bi-City Biennale of Urbanism, and the Arsenale of Venice in Italy.

He has received awards including the New York Foundation for the Arts, the New York State Council on the Arts, and Juror’s Awards from the Black Maria Film and Video Festival. Recently he presented a solo show, A Year from Monday, at Squeaky Wheel Film and Media Art Center in Buffalo, NY and a solo screening, Autumn Air, at Massachusetts College of Art and Design, Boston, MA.


Tuesday, February 13, 2018

Non-Event Presents
Our February Experimental Coffee House


Café Fixe
1642 Beacon Street (Washington Square)
Brookline, MA
7 p.m. /$5

ANDREW NEUMANN is an interdisciplinary artist working in a variety of media, including electronic music, sculpture, film and video installation. He is the recipient of a Guggenheim Fellowship, a LEF Foundation grant among other awards. He has performed at Experimental Intermedia Foundation, Issue Project Room, Roulette, Spectrum, SUMP and other New York venues. He has had solo shows at bitforms Gallery in Seoul, the DeCordova Museum, bitforms Gallery, New York, The Center for Photography at Woodstock and the Boston Cyberarts Festival.

His music is available on Sublingual Records. His videos have been shown on PBS, The Worldwide Video Festival, Artist Space, He has had residencies at STEIM, MacDowell , YADDO, Djerassi, The Ucross Foundation, and the Experimental Television Center. This Spring, he will be an artist in residence at A-I-R, Krems, Austria.

This program is supported in part by a grant from the Brookline Commission for the Arts and the Boston Cultural Council, both local agencies which are funded by the Massachusetts Cultural Council. The Boston Cultural Council is administrated by the Mayor’s Office of Arts + Culture.


SMFA at Tufts
Sunday, February 25 2018

Non-Event, the Goethe-Institut Boston, and SMFA Library Sounds present


School of the Museum of Fine Arts Anderson Auditorium
230 The Fenway, Boston
Tickets: $15 gen admission | $10 students + Non-Event members
FREE for SMFA students

MARCUS SCHMICKLER (digital synthesizer & computer) and THOMAS LEHN (analogue synthesizer) first worked together in December 1998 as members of the storied electro-acoustic ensemble, Music In Movement Electronic Orchestra (aka MIMEO) in Cologne almost twenty years ago. Since then, they have collaborated extensively, touring in Europe, the USA and Japan, and performing at Experimental Intermedia, Mills College, Bard, Lampo, Princeton, and more. They released several highly-acclaimed recordings on labels, such as A-Musik, Mikroton, and Editions Mego. Their debut release, BART, on Erstwhile, is one of the high-water marks of contemporary synthesizer music. This is their second duo performance with Non-Event.

HOWARD STELZER is a composer of electro-acoustic music. Almost all of his sounds are generated by, processed by, recorded onto and played back out of cassette tapes and consumer-grade tape players. He isn’t sure how most of these things work. Stelzer operated the Intransitive Recordings label from 1997 until 2012. When he is not composing, Stelzer is a middle school math teacher in Lowell, MA, where he lives with his family in a big room behind a power plant.


Metropolitan Waterworks Museum
Friday, April 20, 2018

Non-Event and the Metropolitan Waterworks Museum present


Metropolitan Waterworks Museum
2450 Beacon Street, Boston
Doors: 7:30pm, Music: 8pm
Tickets: $15 gen admission | $10 students + Non-Event members

There is limited parking at the museum. Please use the T (Reservoir or Cleveland Circle stops on the Green line), if possible!

SARAH DAVACHI is a Canadian composer of electronic and electroacoustic music, currently based in Los Angeles where she is a doctoral student in musicology. She also holds a master's degree in electronic music and recording media from Mills College in Oakland, California, where she studied with Maggi Payne and James Fei. Her compositional projects are primarily concerned with disclosing the delicate psychoacoustics of intimate aural spaces, utilizing extended durations and simple harmonic structures that emphasize subtle variations in overtone complexity and natural resonances. The instrumentation she employs is varied, including analog synthesizers, electric and acoustic pipe organs, piano, orchestral strings, and woodwinds, with mutual idioms often layered in textural counterpoint. Her work as a researcher concerns aspects of organology, archival study, and phenomenology. Since 2007, Davachi has also had the unique opportunity to work for the National Music Centre in Canada as an interpreter and content developer of their collection of acoustic and electronic keyboard instruments. Recent recordings include 2017's All My Circles Run on Students of Decay and 2016's Vergers on Important Records.

KATARINA MILJKOVIC is a Boston-based composer who investigates the interaction between science, music and nature through collaborative musical performance. This interest led her to the mathematician Benoit Mandelbrot’s essay "The Fractal Geometry of Natur"e and self-similar complex structures resulting in the cycle, Forest, “a dreamy piece, along the lines of Feldman or Brown, entirely captivating” (Signal to Noise). Her generative music has been described as “a refined, hypnotic dream” (Danas), “a work of musical and visual slow-motion with only a few delicately elaborated musical metaphors” (Radio Belgrade), and “ambient tone poem… that moved hypnotically through the sonic frame” (Lucid Culture).

This project is made possible in part by a grant from the Boston Foundation.