• Address 720 East Locust Street | Milwaukee, WI 53212
  • Phone 414.263.5001
  • Hours Tue-Fri 11-8pm | Sat-Sun 12-5pm | Closed Mon
  • Hours Tue-Fri 11-8pm, Sat-Sun 12-5pm, Closed Mon
Event Calendar
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readings & workshops
April 29

Poet Reading with Mark Doty

readings & workshops
April 29

Iroquios Raised Beading Workshop with James Kelly

exhibitions
May 4 -4

Exhibition: News from the Homefront, Recent Works by Jeff Morin

readings & workshops
May 10

Poetry Reading: Lindsay Daigle

readings & workshops
May 16

Poetry Reading: Mai Der Vang, author or Afterland

readings & workshops
June 6 -9

Intersite: Geopoetics of the Urban Garden and Beyond 

Archived performances
May 8 Sunday, May 8
1:00pm, $200 | $185 for members of either WPBC or Lynden Sculpture Garden

Alternating Currents Live presents The Transatlantic Bridge 12

 

featuring

David Boykin - reeds

Lionel Garcin - reeds

Nicole Mitchell - flute

Christian Pruvost - trumpet

Christophe Rocher - clarinet, bass clarinet

 

We welcome the return of Nicole Mitchell and David Boykin to Alternating Currents Live at Woodland Pattern, for this adventure joined by new friends Christophe Rocher, Christian Pruvost, and Lionel Garcin.

 

“Five times over, for this twelfth Transatlantic Bridge: Nicole Mitchell and her flute arrows, the bubbling lava of Christophe Rocher’s clarinets, David Boykin’s avalanche saxophones and Lionel Garcin’s cascading ones, Christian Pruvost and the hydra of his trumpets. This will be a wind ensemble, a swarm intelligence, five funambulists inevitably. Together, they will compose (improvise) a bouquet wrinkled by blows suddenly tempestuous, suddenly becalmed. It’s obvious, their breaths will draw as many Rose of Winds, their wind instruments will also be music compasses. It will take one shift of air, a thousand and one shifts of air. A wind ensemble. And with the blown air moving, with this distillation of breaths, an imperceptible shift of the world’s axis, of its positions, of its dispositions, of its orientations. One may dream.”  —Alexandre Pierrepont, 2016