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DTSTART;TZID=America/Los_Angeles:20260721T000000
DTEND;TZID=America/Los_Angeles:20260915T235959
DTSTAMP:20260731T204705
CREATED:20260707T202918Z
LAST-MODIFIED:20260801T004050Z
UID:9682-1784592000-1789516799@www.h-r.la
SUMMARY:CINEMA LAND
DESCRIPTION:Join us this summer for CINEMA LAND! \n\n\n\n\n\n\n\nThis summer Human Resources transforms back into its origin as a movie theater including proper sound\, acoustic treatments\, carpet\, comfortable seating\, snacks and amenities to showcase the archival facet of performance and video art. CINEMALAND will feature artist retrospectives\, cult films\, experimental animation\, video art programs\, live film scores\, rare 16mm and archival prints to Chinatown six nights a week. Free popcorn. Join us! \n\n\n\nAll screenings have modest sliding scale tickets. Become a member for $13/month to access all HR events including this summer’s Cinema Land screenings! \n\n\n\nFull lineup updated regularly. Stay tuned! \n\n\n\nCOMING UP: \n\n\n\nFriday\, July 31 at 7pm: Nguyen Tan Hoang\, THE GAYSIAN ARCHIVE: RISKY BUSINESS  \n\n\n\nSaturday\, August 1 at 7pm: Nguyen Tan Hoang\, PIRATED FANTASIES \n\n\n\nSaturday\, August 1 at 9pm: Fast Cat Productions\, Cruising(at the movies) \n\n\n\nSunday\, August 2 at 4pm: Tuni Chatterji\, Heart Aches from Loving You: two films \n\n\n\nTuesday\, August 4 at 8pm: Shu Lea Cheang\, Fresh Kill \n\n\n\nThursday\, August 6 at 8p: Stanya Kahn\, No Go Backs\, It’s Cool\, I’m Good \n\n\n\nThursday\, August 6 at 10p: Ivan Zulueta\, Arrebato \n\n\n\nSaturday\, August 8 at 12pm: Jasmine Nyende\, A Scream Workshop \n\n\n\nSaturday\, August 8 at 9pm: William E. Jones and Margie Schnibbe\, in conversation \n\n\n\nSaturday\, August 8 at 11:30pm: John Waters\, Female Trouble \n\n\n\nSunday\, August 9 at 7pm: Films For Horses\, Stick With Me \n\n\n\nMonday\, August 10 at 10pm: Agnieszka Smoczyńska\, The Lure \n\n\n\nThursday\, August 13 at 8pm: Eve Fowler\, Filles Manquées \n\n\n\nSaturday\, August 15 at 7pm: Shirley Clarke\, Portrait Of Jason \n\n\n\nTuesday\, August 18 at 8pm: Haruko Tanaka + Reader Chorous\, series of shorts + documentary \n\n\n\nSunday\, August 23 at 4pm: Macho Dancer\,  \n\n\n\nWednesday\, August 26 at 8pm: Bedcrumbsshow\,  \n\n\n\nThursday\, August 27 at 8pm: Pedro Alejandro Verdin\,  \n\n\n\nFriday\, August 28 at 9pm: Anna Wittenberg\, Guts\, Machines and Animals: LA Artists Shorts  \n\n\n\nSaturday\, August 29 at 9pm: Hugo & Harmony Holiday\, Janet Jackson – The Velvet Rope Tour \n\n\n\nTuesday\, September 1 at 8pm: Elana Man\, Susan Mogel\,  \n\n\n\nFriday\, September 4 at 9pm: Juliet Bashore\, Kamikaze Hearts (alternately\, Fact or Fiction) \n\n\n\nSunday\, September 6 at 7pm: Stanya Kahn\, Deny\, Defend\, Depose \n\n\n\nSaturday\, September 12 at 7pm: Chris Vargas & Eric Stanley\, Homotopia/Criminal Queers  \n\n\n\nSunday\, September 13 at 4pm: Noemi Mendez-Colon\, XHDЯBZ – La Familia P. Luche \n\n\n\nFriday\, September 25 at 9pm: Harry Dodge\, BY HOOK OR BY CROOK \n\n\n\n \n\n\n\nPAST SCREENINGS: \n\n\n\nThursday\, July 16 at 6pm: Jennifer Doyle\, Sex Test – Erik/A screening postponed\, TBA \n\n\n\nTuesday\, July 21 at 8pm:  Mark So + Madison Brookshire\, Nonalignment \n\n\n\nThursday\, July 23 at 8pm: Stanya Kahn\, Stand in the Stream \n\n\n\nFriday\, July 24 at 7pm: P Staff presents Kate Bush Rarities \n\n\n\nSaturday July 25th\, at 9pm: Juzo Itami\, Tampopo \n\n\n\nTuesday July 28th\, at 8pm: Agnés Varda\, The Beaches Of Agnés \n\n\n\nWednesday\, July 29 at 8pm: Middle Ear Project\, Un-Silent Films \n\n\n\nThursday\, July 30 at 8pm: Stanya Kahn\, Don’t Go Back to Sleep
URL:https://www.h-r.la/event/cinemaland/
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DTSTART;TZID=America/Los_Angeles:20260723T000000
DTEND;TZID=America/Los_Angeles:20260806T235959
DTSTAMP:20260731T204705
CREATED:20260714T202437Z
LAST-MODIFIED:20260727T075818Z
UID:9729-1784764800-1786060799@www.h-r.la
SUMMARY:Stanya Kahn Survey of Films
DESCRIPTION:  \n\n\n\nThis is the first of 3 consecutive Thursday nights of films by Los Angeles artist Stanya Kahn. \n\n\n\nSliding scale tickets \n\n\n\nThursday July 23rd at 8pm – Stand in the Stream (2011-2017) \n\n\n\nStand in the Stream defies categorization—an ambient digital feature about life\, death\, the inextricability of the personal from the political\, the primacy of the image and the interplay of scale in human struggle\, from the intimacy of the home to the global streets\, the handheld camera to the drone. Shot over the course of six years\, Stand in the Stream captures historic shifts in popular uprisings and the nascent use of the internet to organize and document. Made during a period in which massive and unprecedented protest movements rose across the globe between 2010 and 2017—Tunisia\, Egypt\, Brazil\, Turkey\, the U.S.—the film is also follows the intimate arc of deterioration and death of the artist’s activist/worker mother\, alongside personal documentation of daily life amidst swiftly changing political and digital landscapes. Live-streams screen-recorded in real-time are intercut with footage Kahn shot on multiple camera formats\, as an embodied means to reframe our screen-saturated\, contemporary perspectives without using found footage. With a dense and visceral sound score\, Stand in the Stream moves from the home to the wild\, from online chat rooms to the streets. From the birth of a child to the death of a mother\, from Tahrir Square to Standing Rock and Trump’s (first) inauguration\, Stand in the Stream is an urgent contemporary ode and a story for the people. \n\n\n\nThursday July 30th at 8pm – Dont Go Back to Sleep \n\n\n\n\n\n\n\nColor HD video with stereo soundWritten\, directed\, shot\, edited and sound designed by Stanya Kahn ©2014 \n\n\n\nIncludes original sounds/music by Kahn and Keith Wood (Hush Arbors\, Chelsea Light Moving). B Camera by Ignacio Genzon\, Mike Soltz and Chiara Giovando. The cast contributed primary dialogue. Made with the support of Grand Arts\, Kansas City \n\n\n\nCourtesy of the artist \n\n\n\n“People are going back and forthacross the doorsill where the two worlds touch.The door is round and openDon’t go back to sleep!” –Rumi“When you affect something\, you are at the same time opening yourself up to being affected in turn\, and in a slightly different way than you might have been the moment before. You have made a transition\, however slight. You have stepped over a threshold.”—Brian Massumi\, (translator\, “A Thousand Plateaus”)\, from interview: Navigating Movements \n\n\n\nDon’t Go Back To Sleep is an experimental narrative feature film that operates as a metaphor for the violence of the state and resulting citizen trauma and resilience. As medical professionals perform haphazard triage\, mostly on each other\, in homes left vacant during the 2008 housing crash\, we realize they may be the only people left: workers (The People) vs the danger outside: the state (police/military/clampdown). In tenuous relations between strangers collaborating under pressure\, darkly comedic camaraderie arises in small human exchanges. \n\n\n\n \n\n\n\nThursday August 6th at 8pm – No Go Backs  ©Stanya Kahn\, 2020\, It’s Cool\, I’m Good Stanya Kahn ©2010 \n\n\n\n\n\n\n\nNo Go Backs  ©Stanya Kahn\, 2020 \n\n\n\nTRT: 33 min  \n\n\n\nColor super 16mm\, transferred to 2K Digital video with stereo sound \n\n\n\nA visceral 33-minute short film\, shot on super 16mm with an original sound-score and no words\, No Go Backs follows two sets of teenagers who leave the city for the wild\, only haphazardly prepared. Featuring the artist’s son (Lenny Dodge-Kahn) and his life-long best friend (Elijah Parks) and their friends (Serafina and Marisol Prietto\,) No Go Backs is a quietly dystopian fiction grounded in real-world relations and the understated but persistent presence of contemporary catastrophes. In the haunted precarity of a collapsed world\, the kids travel in dreamlike states of distraction\, malaise\, and resilience. They cut an arduous path along sites of California’s historic water wars\, following the aqueduct north toward its source\, through the monumental landscapes of the Eastern Sierra Nevada. Eventually encountering other kids along shared roads—and the prospect of camaraderie in facing the unknown—the film becomes a vison of tenuous survival and the astonishing power of the earth. Completed just a month before lockdown\, No Go Backs appears as an uncanny premonition and an allegorical epic about an entire generation that must make a new way forward.  \n\n\n\n\n\n\n\nIt’s Cool\, I’m Good Stanya Kahn ©2010 \n\n\n\nTRT: 35:22  \n\n\n\nColor SD video transferred to HD with options for 5.1 surround or stereo \n\n\n\nCommandeering a rotating staff of nurses with equal parts wit and belligerence\, a severely injured protagonist (Kahn) moves through the city\, hospice\, and wilderness\, seducing\, harassing and charming caretakers into holding the video camera. At once selfless\, narcissistic\, verbose\, elusive\, vulnerable and manipulative\, the patient is tenacious in the face of death. Memory and time have been destabilized by trauma. Mirroring economic collapse\, urban tension and ecological demise as contexts for contemporary stress\, the “patient” embodies damage and resilience with a relentless albeit morbid sense of humor. A compromised sense of social navigation gives way to uncompromised presence.  \n\n\n\nKahn shot at over twenty locations and designed a complex audio score\, to cut a narrative that’s organized across many small arcs in place of one grand one\, confounding linear time and troubling the line between the monstrous\, heroic and mundane. \n\n\n\nBecome a member for $13/month to access all of HR events including this summer’s Cinema Land featuring Stanya Kahn’s film survey!
URL:https://www.h-r.la/event/stanya-khan-screenings/
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DTSTART;TZID=America/Los_Angeles:20260731T000000
DTEND;TZID=America/Los_Angeles:20260801T235959
DTSTAMP:20260731T204705
CREATED:20260711T005945Z
LAST-MODIFIED:20260720T223102Z
UID:9709-1785456000-1785628799@www.h-r.la
SUMMARY:THE GAYSIAN ARCHIVE: NGUYEN TAN HOANG’S EXPERIMENTAL VIDEOS (1995-2026)
DESCRIPTION:7:00 pm – 8:30 pm \n\n\n\n\n\n\n\nTickets \n\n\n\nJuly 31st at 7pmProgram 1: RISKY BUSINESS \n\n\n\nPost-Screening Discussion with Nguyen Tan Hoang & Eve Oishi \n\n\n\nThe program centers on the intersection of queer Asian identity\, sexual desire\, and the HIV/AIDS crisis. 7 Steps to Sticky Heaven (1995) presents candid interviews with young gay Asian men in San Francisco about the “politics of starch.” Queer & questioning twenty-somethings in Irvine\, California\, confess their lasting longings and missed connections in Maybe Never (but I’m counting the days) (1996). Forever Bottom! (1999) critiques and embraces the ubiquitous figure of the Asian bottom. K.I.P. (2001) remixes 1980s VHS porn decay to highlight a spectral gay male sex community persevering across time. Sad Porn Circa 1994 (2026) links gay pornography with liberation politics and the curtailment of sexual possibility. A Horse\,  A Filipino… (2005) juxtaposes Hollywood’s Filipino sissy houseboy with bare back porn\, highlighting persistent “uninhibited” racial-sexual stereotypes. I Remember Dancing (2019) expands the archive to intergenerational trans and queer “gaysians\,” reflecting on AIDS\, activism\, and collective memory. Together\, these pieces map a three-decade spanning\, self reflexive portrait of the risks\, pleasures\, and cultural negotiations shaping queer Asian American experience.   \n\n\n\n– –  \n\n\n\nAugust 1st at 7pmProgram 2: PIRATED FANTASIES \n\n\n\nPost-Screening Discussion with Nguyen Tan Hoang & Chris E. Vargas \n\n\n\nAcross the nine works in the Pirated Fantasies program\, Nguyen Tan Hoang foregrounds the negotiation of queer Asian identity through experimental collage and archival appropriation. Each piece taps a different facet of that negotiation—whether it’s reclaiming absent “sticky‑homoerotic” images of Hong Kong pop idols in Forever Jimmy! (1995)\, chronicling personal longing and loss in Love Letters 1 & 2 (1996)\, or excavating refugee trauma and its sexual reverberations in PIRATED! (2000). The videos also interrogate media representation: they remix pornographic tropes\, historic film clips\, and found photographs to reveal how race\, gender\, and desire are simultaneously fetishized\, erased\, or embraced (e.g.\, the “no Asians” ban explored in look_im_azn [2011]\, the Oriental Hardon’s [2026] gaysian nude archives\, and the early‑70s gay porn examined in Eavesdropping on Jason Sato’s Brothers [2025]). A third through‑line is the fluidity of gender and desire\, illustrated by the gender‑transition narrative of Crimson (2000)\, the priesthood metaphor in The Calling (2000)\, and the hand‑focused objectification of The Lesbian Hand (2026). The program binds past and present through memory\, longing\, and the act of re‑imagining—the act of looping\, looping\, and looping again to compress history\, trauma\, and pleasure into short\, hyper‑edited kinetic essays that map a continuous\, evolving queer Asian diaspora. \n\n\n\n– – \n\n\n\nNguyen Tan Hoang (b. 1971\, Saigon\, Vietnam) is interested in Asian American visual culture\, Southeast Asian cinema\, race and pornography\, and homo-sex archives. They earned a PhD in Rhetoric from the University of California\, Berkeley\, and an MFA in Studio Art from the University of California\, Irvine. Their publications include the monograph A View from the Bottom: Asian American Masculinity and Sexual Representation (Duke University Press\, 2014) and essays in Camera Obscura\, Visual Anthropology\, Porn Archives\, and The Intellect Handbook of Adult Film and Media. Their short experimental videos have been screened at the Museum of Modern Art (NY)\, The Getty Center (LA)\, the Centre Pompidou (Paris)\, Asian Art Museum (SF)\, and Haus der Kulturen der Welt (Berlin). They live and work between San Jose\, California\, and Ho Chi Minh City\, Vietnam. \n\n\n\nCo-Sponsored by Bad Asians & Center for Race & Gender at UC Berkeley \n\n\n\n \n\n\n\nBecome a member of HR-LA for $13 a month for tickets to all screenings
URL:https://www.h-r.la/event/the-gaysian-archive-nguyen-tan-hoangs-experimental-videos-1995-2026/
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