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DTSTAMP:20260811T080540
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SUMMARY:Rehearsals for A Color Play
DESCRIPTION:Anna Betbeze and HR present: Rehearsals for A Color Play \n\n\n\nGallery Hours: Thursday-Sunday\, 12 – 6pmOpening: Saturday\, June 15\, 4 – 6pmOpen rehearsals: Friday\, Saturday\, and Sunday\, June 21 – 23\, 4 – 6pmClosing Reception: Sunday\, June 23\, 6 – 8pm \n\n\n\n\n\n\n\nRehearsals for A Color Play is an experiment\, an invitation\, a painting\, a stage\, and a score. A space to consider that color is a live material\, extra-visual\, beyond optical/retinal sensation. Using dyed fabrics as its central material\, curtains\, shrouds\, veils\, clothing\, and flags become sites for color language\, expressivity\, kinetic form\, and social and political organization. \n\n\n\nRehearsals will be the first phase in an ongoing project\, A Color Play\, that interrogates the expressive aspects of color. Color here is not theoretical\, it is tethered to experience and cannot be unbound or contained\, it bounces; reflects\, seeps\, touches\, an active catalyst for all kinds of change.  \n\n\n\nEach day will perform a chapter\, each chapter an inquiry into hidden aspects of color. The first chapter\, The Swamp\, will play with color’s ruinous\, entropic\, and muddy aspects; the potential for synaesthetic landscape\, fusing ends with beginnings. Each chapter will follow the last\, improvisationally\, an open ended project designed to change course.  \n\n\n\nBetbeze invites participants and showgoers to play and intervene in the set\,  and/or to sit\, lounge\, contemplate\, listen. Rehearsals will be held 4 – 6 pm Friday\, Saturday and Sunday. The stage set will be on display for viewing during gallery hours\, 12 – 6 pm. \n\n\n\n\n\n\n\nRehearsals for a Color Play extends and bridges Anna Betbeze’s experiments with touch and the tactile sense. This project marks the beginning of experiments into the psychological\, social\, and affective registers of color\, through returning color to the tactile\, material world.   \n\n\n\nThe immediacy and honesty of sensation reveal complexities in human experience that can critique\, destabilize\, and de-center the dominance of visual perception in contemporary culture.We exist within a world that is increasingly circumscribed by the optics of digital technology\, and its concomitant limitations and expansions of the perceivable world. Centering sensation allows me to consider the fullness and ephemerality of lived experience and the true urgencies of this moment alongside the supposed deathlessness of artistic creation.  \n\n\n\nSpecial thanks to: HR\, Aimee Goeblins Gougen\, John Buttdial\, Jennifer Doyle\, Andre Keichian\, Corazón Del Sol\, Jason Gowans\, The Guggenheim Foundation\, BAU Institute\, Camargo Foundation and University of California-Riverside.  
URL:https://www.h-r.la/event/anna-betbeze-and-hr-present/
CATEGORIES:Artist in Residence,exhibition,performance
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220503
DTEND;VALUE=DATE:20220506
DTSTAMP:20260811T080540
CREATED:20220420T205500Z
LAST-MODIFIED:20221012T144514Z
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SUMMARY:Jacqueline Kiyomi Gork & Laetitia Sonami — Fingers Caught in a Field of Moss
DESCRIPTION:Tuesday May 3rd & Wednesday May 4th\, 5:00 – 9:00 PM\n  \nSound artists Jacqueline Kiyomi Gork and Laetitia Sonami set up in residency at Human Resources for their fourth collaboration. For Fingers caught in a field of moss they scale down natural growth events to rhythms of sonic saturation and rarefication. The synthetic textures created in real time by the artists evoke an organic unfolding of layered scales of time. The ten-channel audio installation incorporates loudspeakers\, subwoofers\, directional speakers and anechoic sculptures to manipulate the natural resonance of Human Resources architectural acoustics. Both artists would like to acknowledge the pervading influence of Maryane Amacher’s groundbreaking work in their own unique practice. \n  \nAudience is invited to come in at any point during the durational live performance-installation. Use of phone is prohibited during the performance \n  \nLAETITIA SONAMI\nLaetitia Sonami is a composer\, sound artist\, performer and researcher. Born in France\, Sonami studied electronic music with Eliane Radigue before moving to the United States in 1977 to continue her electronic music practice.Sonami’s sound performances\, live-film collaborations and sound installations focus on issues of presence and participation.  She applies new technologies and appropriated media to achieve an expression of immediacy through sound\, place and objects.A pioneer in wearable technologies\, Sonami has devised new gestural controllers for performance. Best known for her unique instrument\, the elbow-­length lady’s glove\, which is fitted with an array of sensors tracking the slightest motion of her hand and body\, she has performed worldwide and earned substantial international renown. Her latest instrument\, the Spring Spyre\, is based on the application of machine learning (AI) to music performance.Recent projects include a third live film with SUE-C\, a  collaboration with harpist Zeena Parkins\, and an electronic improvisation duo with James Fei.Sonami received the Herb Alpert Awards in the Arts (2000) and the Foundation for Contemporary Performance Awards (2002). Sonami lives in Oakland\, CA and is currently a guest professor at the Center for Contemporary Music\, Mills College.\n \n\n\nJACQUELINE KIYOMI GORK\nJacqueline Kiyomi Gork’s hybrid practice combines work in sound installation\, sculpture\, and performance with the aim of reconfiguring traditional hierarchies between audience\, performer\, and architecture.  Kiyomi Gork studied sound art and new genres at the San Francisco Art Institute and researched the history of communication technologies\, acoustics and computer music at Stanford University. Kiyomi Gork has been the subject of solo exhibitions at Empty Gallery\, Hong Kong; 356 Mission\, Los Angeles; François Ghebaly\, New York; Queens Nails\, The Lab and Yerba Buena Center for the Arts\, San Francisco. Kiyomi Gork has participated in group exhibitions at Hammer Museum\, Los Angeles (Made in LA 2020); SculptureCenter\, New York and the San Francisco Museum of Modern Art. She is a recipient of a 2021 Art + Technology Lab Grant from the Los Angeles County Museum of Art. \n\n\n\n\nEverything in Air\n\nHuman Resources LA presents Everything in Air\, a series of public programs over the course of a year—new commissions\, exhibitions\, performances\, and forums\, often in hybrid combinations—using key concepts within artist and composer Maryanne Amacher’s work as points of departure. A near-mythic figure whose situated methodology and speculative embrace of technology continues to defy formal and disciplinary boundaries\, Amacher generated an artistic and conceptual milieu that encompassed sound and installation art\, networked culture\, and feminist technoscience. Invited artists\, whose own engagements with sound\, structure\, and situation move freely across disciplines\, are encouraged to trace the resonances they find with Amacher’s ideas—from perception and duration\, to embodiment\, place\, and listening—towards new formal and conceptual territories. The international and intergenerational group of artists will take up residence using HRLA’s architectural\, organizational\, and social structures as an instrument\, both physically—using the entire building itself as a tool for making (sound or otherwise)—and figuratively\, “instrumentalizing” HRLA’s structures to resonate\, modulate\, filter and amplify signals\, gestures\, and ideas. Invited participants include Akio Suzuki & Aki Onda\, Jimena Sarno\, Jacqueline Kiyomi Gork and Laetitia Sonami\, Jeremy Toussaint-Baptiste\, Chiara Giovando\, Dead Thoroughbred (keyon gaskin & sidony o’neal)\, Kali Malone\, Geneva Skeen and others to be announced. Black Hole will be a participating partner.
URL:https://www.h-r.la/event/jacqueline-kiyomi-gork-laetitia-sonami-fingers-caught-in-a-field-of-moss/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:Artist in Residence,exhibition,performance
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DTSTART;TZID=America/Los_Angeles:20201127T080000
DTEND;TZID=America/Los_Angeles:20201210T170000
DTSTAMP:20260811T080540
CREATED:20201222T224140Z
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SUMMARY:Hande Sever: 2 or 3 Things I Know About Her
DESCRIPTION:2 or 3 Things I Know About Her \nHande Sever \n  \nBefore dawn on September 12\, 1980\, a right-wing military junta took power in Turkey. During the nine years that followed\, the Turkish Armed Forces persecuted over three million people from the revolutionary movement. Between 1980 and 1985\, the military government arrested 750\,000 of them; blacklisted 1\,683\,000; tried 230\,000 in 210\,000 lawsuits; sentenced 7\,000 to death; revoked the citizenship of 17\,000; and denied 388\,000 the right to obtain a passport. The government admits that 400 people disappeared (the true number is certainly higher); another 400 died in prison. This coup was leveraged by the Carter administration\, and then supported through military aid by the Reagan Administration. \n2 or 3 Things I Know About Her is an exhibition by artist Hande Sever\, who recalls her mother’s experience of the junta in Turkey through reconstructed memories\, walnut frames\, and oral history. After the coup\, prisons became synonymous with torture centers – the most notorious of which were Metris\, Diyarbakır and Ulucanlar. The artist’s mother was kept in the Metris Military Prison – now known as Metris Closed Penitentiary. Taking up her mother’s memories of being a political prisoner\, the work tackles subjects such as military violence\, censorship\, and mass incarceration. Turning to the past in order to make sense of the present\, 2 or 3 Things I Know About Her unearths the historical processes that led to the extermination of a generation\, and\nreplaces within the scale of bodies the violence perpetrated by US-backed political interests in West Asia\, reminding its audience of the consequences of actions taken by military officials for national domination\, and what the dominated was left to witness. \n  \n \n“They would give me a batch of flyers. The flyers contained anti-facist and anti-imperialist information. My task was to get to a crowded public square\, or preferably to a bus\, then toss the flyers in the air. I would run away as the flyers dropped on the floor. I needed to get out of there before the cops arrived. We aimed to find new allies and supporters through this. They would find us through the flyers.” \n— from a conversation with the artist’s father. \n  \n  \n \n“I was first imprisoned in Selimiye Military Prison in 1980\, then\, in 1981\, I was transported to Metris Military Prison. Selimiye was barracks hurriedly converted into a detention center to accommodate the mass incarceration of political dissidents. You know Ataol Behramoğlu. The poet. I was in the same ward with his partner. She believed that we would be released quickly because they couldn’t find enough evidence to press charges against me. It cost me four years of being detained. At the end of four years I was released.” \n— from a conversation with the artist’s mother. \n  \n  \n \n“Once I read that there are over one million victims of military torture in Turkey. I thought\, what an understatement. The number is definitely higher. After I was detained I was immediately blindfolded and handcuffed by the military. They left me for hours like that. What they called “Palestinian hanging” was the most common torture method the military used againt political dissidents. I couldn’t stop thinking about the torturers. Did they have loved ones? Can someone with such an appetite for cruelty have loved ones?” \n— from a conversation with the artist’s mother. \n  \n  \n     \n  \nThis exhibition was hosted by Actual Size\, as part of HRLA’s TSM Residency program
URL:https://www.h-r.la/event/hande-sever-2-or-3-things-i-know-about-her/
LOCATION:actual size\, 741 New High St.\, Los Angeles\, CA\, CA\, 90012
CATEGORIES:Artist in Residence,off-site event
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20201023
DTEND;VALUE=DATE:20201027
DTSTAMP:20260811T080540
CREATED:20201014T165717Z
LAST-MODIFIED:20201014T170106Z
UID:5350-1603432800-1603691999@www.h-r.la
SUMMARY:Dawn of the New Age
DESCRIPTION:HRLA Time Space Money artist-in-residence Sarah Gail presents their painting\, Dawn of the New Age on Oct 23-25 at 7pm\, at Actual Size Gallery (741 New High St. Los Angeles\, CA 90012). They will be showing their piece with performance art and music to accompany it. This presentation has been created in an effort to inspire all to look within and discover the world that they desire to live in\, to believe that a harmonious world can exist\, and to put forth the effort into making that happen.
URL:https://www.h-r.la/event/dawn-of-the-new-age/
LOCATION:actual size\, 741 New High St.\, Los Angeles\, CA\, CA\, 90012
CATEGORIES:Artist in Residence
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2020/10/Sarah-Gail-Armstrong-Dawn-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200821
DTEND;VALUE=DATE:20210402
DTSTAMP:20260811T080540
CREATED:20200821T173345Z
LAST-MODIFIED:20200914T180506Z
UID:5257-1597989600-1617256799@www.h-r.la
SUMMARY:Time Space Money Artists in Residence
DESCRIPTION:HRLA is pleased to announce the list of artists for the Time Space Money artist in residence program! Between August 2020 and March 2021 we are offering 22 residencies at HRLA and at Actual Size. We received over 200 applications\, and wish we could do more to support the large community of artists who have defined HRLA since we opened our doors in May 2010! \nOur physical space will not be open to the public during this period; we will however\, share a range of projects online and some work will be viewable from the sidewalk outside Actual Size. We are deeply grateful to Actual Size for sharing their space with these artists. \nAimee Goguen\n \nAimee Goguen is a video artist who combines analog video with animation elements. Goguen’s video work is often imaginably about bullying and putrefaction. Goguen co-curated Afterglow: Summer Video Series with Harry Dodge. She has been included in such anthologies as Dirty Looks Volume 4 The Pink Place: On Aimee Goguen’s ‘Tongue Job’ by Dodie Bellamy and The Oxford Companion to Queer Cinema reviewed by William J. Simmons. Goguen has participated in several group shows including ec.dy.sis\, CASSTL\, Antwerp\, Accidentally on Purpose\, Panel LA\, Protuberances\, LAXART\, Things: a queer legacy of graphic art and play\, Participant Inc\, and Escape from Witch Mountain\, White Columns\, NY. She earned her BFA in Film/Video and MFA in Fine Arts at California Institute of the Arts. She lives and works in Los Angeles. \nhttps://aimeegoguen.com \nAmelia Bande + Rachel Higgins\nDrift/Do I Live Inside A Miracle?\, 2019\, collaborative performance with Amelia Bande on a raft Higgins built\, August 08\, 2019\, Fire Island. \nAmelia Bande is a writer\, performer\, music maker and language teacher originally from Chile. She uses text and visuals to create live capsules of intimacy and low-fi musicals. Her solo and collaborative work has been shown at Artists Space\, The Poetry Project\, Storm King Arts Center\, Participant Inc.\, BOFFO Performance Festival\, EFA Project Space and more. She has been an artist in residence at WORM Filmwerkplaats\, The Shandaken Project\, FIAR and Yaddo. She was co-editor of Critical Correspondence\, an online publication of Movement Research. Find me @meliosmelios \nRachel Higgins is an artist and builder based in L.A. She creates sculpture and participatory events using construction materials and the language of corporate design to re-imagine social space. Higgins received an MFA from Hunter College in 2010. Her solo and collaborative work has been shown at Kristen Lorello Gallery NY\, Socrates Sculpture Park\, the Hammer Museum\, EFA Project Space\, among many others. She has been awarded residencies at Socrates Sculpture Park\, Lower Manhattan Cultural Council’s Workspace Program\, Real Time & Space in Oakland\, CA\, Fire Island Artist Residency\, and Tinkledy Springs in Abiquiu\, New Mexico. \nhttps://meliosmelios.tumblr.com/\nhttp://rachelhiggins.com/\nAndrea Carrillo Iglesias\n \nAndrea Carrillo Iglesias (Tijuana\, 1986) is a Mexican artist and graphic designer. Her work combines research and production practices in relation to the political and ethical implications in the production of the image\, exploring the relationship between image\, power\, and knowledge\, and its effects on the ways in which our reality is socially and aesthetically produced. Her practice takes on the form of moving image\, immersive installations\, performance\, and alternative narrative forms. \nCarrillo holds a Master in Design Studies in Art\, Design and the Public Domain from the Harvard Graduate School of Design where she also co-directed FortyK gallery. In 2015 she finished a year of Graduate Studies in Visual Arts at Sandberg Instituut\, Amsterdam. Carrillo has exhibited in Mexico\, Netherlands\, and the United States. Her most recent exhibitions have been; Flat Affect at Deslave Galería\, Califas: Art of the US-Mexico Borderlands at the Richmond Art Center\, An Island of Simulation at the Sackler Museum\, and Parkour by Heart at Massachusetts Institute of Technology. She is currently a member of Coopia\, a trans/in-disciplinary cooperative for the transformation of the territory through explorations of direct democracy. \nhttps://acarrillo.info \nAUSTYN RICH\n \nAUSTYN RICH is from Smyrna\, Georgia. He works bi-coastally. He has performed for d. Sabela grimes\, Lula Washington\, Bill T. Jones and William Forsythe. Austyn is currently presenting his work\, STAY SANE\, a drive-in performance under the current conditions of stay at home. His upcoming work\, 021\, will be created while in residence at HRLA. \nhttps://AUSTYNRICH.COM \nTinkel Binkel Corp \n \nFounded in autumn 2019 AD and before they were born\, Tinkel Binkel Corp.® is a registered trademark of the present times. During a two week slow-train journey through China\, the founders\, BK and AK\, developed a 10-point Manifesto born from their experiences of longing\, communication errors\, and the freeing limitations that come from being stuck to the rail. Using this finely-tuned Manifesto as a foundation and springboard for relating to one another and the whirled at large\, Tinkel Binkel Corp. hopes to proliferate their rhetoric in as many spheres as possible. The Corp. works in several mediums of life\, including conversation\, interview\, identity-switch\, film\, novel\, song\, meal-creation and poem. Their primary means of gathering content is via spying — the fly on the wall talks back! \nhttps://flatjournal.com/flat/geshlider-ko \nChristal Pérez and Karla Ekatherine Canseco\n \nThe performances of Karla Canseco and Christal Perez are situated as rhizomatic investigations – at times taking on the position of a deconstruction of language – the signifiers\, symbols\, bastard associations\, the creation and (eventual) destruction of the Anthropocene\, the analysis of their respective cultures that follow lineages that migrate out of the global south into the deceitful embrace of (necro)capitalism\, the (dis)logic of multiculturalism as a quantifier of change – progress – optimism all while in dialogue (even if refuting\, recapitulating\, rupturing) the myths of aesthetics\, (meta)(sub)culture and (post)(anti)modernism. \nhttps://karlachristal.net \nChristina Catherine Martinez\n \nChristina Catherine Martinez is a writer\, actor\, and comedian based in Los Angeles. The Comedy Bureau has described her live act as “a great bridge between many different disciplines\, including performance art\, stand up\, and clowning”. Her writings on art and culture appear regularly in Artforum\, Texte Zur Kunst\, Art Agenda\, and MOMUS. Her television work includes a series of short films for FX titled “Two Pink Doors” and creative consulting for The Eric Andre Show on Adult Swim. Her book of essays on art\, comedy\, and illness\, titled “Aesthetical Relations” was published in 2019 by Hesse Press. She has received the 2013 Georgia Fee Artist/Writer Residency in Paris\, France\, the 2015 Warhol Foundation International Art Critics Association Art Writing Workshop Grant\, a 2018 inaugural Bar-Fund Artist Grant\, and a 2018 Creative Capital / Warhol Foundation Arts Writers Grant for Short-Form Writing. She has been named a Comic to Watch in 2020 by TimeOut LA. Despite the institutional tone of the previous sentences\, joy and stupidity remain cardinal elements of her work (practice?) \nhttps://christinacatherine.info \nCorey Fogel\n \nCorey Fogel (b. 1977) is a drummer and artist living in Los Angeles\, CA. His practice is based around momentary encounters between music and objects\, textiles\, foods\, and other collaborators. Corey engages the viewer to consider sound as a medium on par with paint and cellulose. He challenges us to consider the contexts in which we create\, store\, and understand sound in performance. \nHis works have been presented at Machine Project\, Los Angeles; Los Angeles County Museum of Art\, Human Resources\, Los Angeles; Redling Fine Art\, Los Angeles; The Wulf\, Los Angeles; The Hammer Museum\, Los Angeles; the Museo de Arte Contemporaneo de Oaxaca\, REDCAT; Los Angeles; and New Music for Strings Festival: Reykjavik. His performance work was also included in J. Paul Getty Museum’s Pacific Standard Time Performance and Public Art Festival and West of Rome’s Trespass Parade. Corey was awarded The California Community Foundation 2014 Fellowship in Visual Arts. Fogel also performs and composes in many rock\, jazz\, noise\, folk\, and chamber music capacities. Recent collaborations include: Julia Holter\, Tashi Wada\, Patty Waters\, Abigail Levine\, Simone Forti\, Raven Chacon\, Yoshi Wada\, Michael Winter\, Robert Blatt\, Maya Dunietz\, John Butcher\, John Russell\, Todd Barton\, Misha Marks\, Brian Allen\, Alexander Bruck\, Patrick Shiroishi\, Liz Glynn\, Chris Speed\, Mark Dresser\, Kathleen Kim\, Ezra Buchla\, Tony Malaby\, John Dieterich\, Carlin Wing\, Sam Mickens. He is currently pursuing his Ph.D in the Integrated Composition\, Improvisation\, and Technology program at UC Irvine. \nhttps://coreyfogel.com \nHande Sever\nImage from “2 or 3 Things I Know About Her\, 2020” \nHande Sever is a research-based artist\, writer and educator who was raised in Istanbul\, Turkey. Her work often takes up her family’s history of persecution to explore divergent lines of inquiries\, including issues of exile and postcoloniality. Sever’s works have been presented at Hauser & Wirth Somerset\, UK; CICA Museum\, Gyeonggi-do\, South Korea; the Museum of Contemporary Art Chicago\, IL; Flux Factory and A.I.R. Gallery in New York; Human Resources\, Visitor Welcome Center and BOX Gallery in Los Angeles\, CA. As a writer\, Sever is committed to articulating the histories and conceptual undertakings of artists and cultural producers belonging to the Majority World\, with a focus on contemporary artistic and architectural practices originating from indigenous communities within Turkey. Her writing has been published by the Getty Research Journal\, the Journal of Arts & Communities\, the Stedelijk Studies journal\, and X-TRA Contemporary Art Quarterly\, among others. She currently teaches at the California Institute of the Arts as part of the Photography and Media Program. \nhttps://handesever.org \nHea-Mi Kim\n \nHea-Mi Kim is an artist working in video\, installation\, and sound. Her work informs power structures around systemic racism and gender roles inhibited by Western society. Born in Seattle\, WA in but raised in the suburbs of Detroit\, MI as a second generation Korean-American\, she was early on exposed to the consequences of her intersectional identity. She is currently exploring how her assimilated identity has informed the mundane vis-à-vis colonization and Asian American history. She received her BFA in Studio Art in New York City from Parsons School of Design in 2018\, and she will be graduating in 2020 with an MFA from the University of California Los Angeles specializing in the New Genres department. \nhttps://heamikim.com \nJackie Amézquita\n \nJackie Amézquita (b. 1985) is a bi-national artist/activist. Amézquita was born in Quetzaltenango\, Guatemala\, and migrated to the United States in 2003. She holds a Bachelor’s degree in Fine Arts from ArtCenter College of Design and an Associate degree in Visual Communications from Los Angeles Valley College. She is an MFA Candidate in the New Genres program at the University of California\, Los Angeles (UCLA) 2022. She is currently living and working in Los Angeles\, California. \nAmézquita’s work explores the psycho-socio-geographical and political interactivity of different ethnic groups. She is interested in exploring the impact that two opposing cultures create on their social environment and how socioeconomic differences between cultures affect the social structure. The types of jobs people do\, the amount of money they can earn\, and the quality of land they occupy are factors which play a role in defining racial groups in society\, each with its own concerns\, interests\, values\, and attitudes. \nAs a result of her experiences as an immigrant woman\, her practice has been influenced by her relationship to borders and the interaction with different cultures around the world. The artist has incorporated the use domestics and construction making techniques to explore a visual language that rebalances the power of socio-political relationships. This practice has allowed her to intertwine historical and contemporary references. \nhttps://jackieamezquita.com \nJackie Beckey\, Rachel Blomgren\, Paul Borman\, Evan Burrows\, Tynan Kerr\, and Sophie Weil\n \nJackie Beckey\, Rachel Blomgren\, Paul Borman\, Evan Burrows\, Tynan Kerr\, and Sophie Weil are multidisciplinary artists and musicians who live and work in LA. The group shares an affinity for creating community-engaged music\, and more often than not appear in non-commercial venues- DIY spaces\, public parks\, infoshops\, community theaters. Their residency at Human Resources will enable their first audio-visual collaboration together\, an ad hoc fruition representing more than a decade of creative affiliation and cross-pollination under many guises. \nhttps://dove-cove.com/ \nhttps://florina.bandcamp.com/ \nhttps://tynankerr.com/ \nhttps://olgaa.bandcamp.com/ \nJasmine Orpilla\n \nJASMINE ORPILLA is an Ilocana/x-American\, performance artist and composer of experimental theatrical sound installations\, in which she activates her living traditional practices of music\, dance and family rituals within the contemporary\, yet ever-eroding frame of her own 1st-generation schism from both Imperialist history and the U.S. military culture of her childhood. An awarded international performer who takes space with renown art\, theatre and opera directors on stages worldwide\, her voice continues to disrupt the status-quo institutions of genre\, gender- and racial- stereotypes she encounters in those spaces today. \nhttps://JasmineOrpilla.com \nJi Soo Chung\n \nJisoo Chung is an L.A.-Seoul based artist working primarily through video\, installation and performance. Her work navigates physical and psychological relationships between individual and systems that are reflected on daily based technology. Influenced by the failure in technology such as linguistic mistranslations and cultural misinterpretations\, Chung uses these failures as a blueprint to subvert the occupied linguistic\, sociocultural systems. Born in Seoul\, South Korea\, Chung received MFA from the University of California Los Angeles in the area of New Genres in 2019\, and BFA from Seoul National University\, Seoul\, in the department of Paintings. Chung’s work has been shown in Los Angeles and Seoul including Monte Vista Project\, L.A.; Tiger Strikes Asteroid LA\, L.A.; Durden and Ray\, L.A.; 1748 adams\, L.A.; Seoul National University Museum of Art\, Seoul; CICA Museum\, Seoul; Dongduk Women’s University\, Seoul; and Dong-shi-sangyoung Screening Project\, Seoul. She was nominated as ArtSlant Prize showcase winner in the New-media category in 2017 and commissioned by Los Angeles County Metropolitan Transportation in 2019 for the New Digital CIPs project. Her work will be presented in a group exhibition held at Korean Culture Center Los Angeles art gallery in 2021. \nhttps://chungjisoo.com \nJorge Espinosa\nphoto credit: Ivonne Guzman 2020 \nJorge Espinosa is a Los Angeles based artist\, musician\, educator and designer born in Quito\, Ecuador. He is interested in creating sonic and visual scenarios where he can explore ideas of power\, and the context where such dynamics happens. This is an opportunity for him to reflect on who he is\, and where he stands regarding certain topics. Even though he sometimes uses accurate historical facts as a source\, he is also interested in the fictional side of history. He is not pretending to document a conflict\, but to model a scenario with found elements where a new one can be created. His work is equally informed by radio soap operas and news reports\, and navigates in between music exploration\, the recreation of personal and collective memories through soundscapes and visual scenarios. \nSome of this work is very specific to certain places or audiences since it draws from particular codes and references. Not all pieces should function the same everywhere\, making it interesting to see how they could change depending on who’s the audience and where it’s presented. \nhttps://jorgeespinosam.com \n  \nM. Page Greene \n \nM. Page Greene is a person living in Los Angeles and an interdisciplinary artist. Their drawings and paintings have been exhibited at galleries including Peres Projects\, Stuart Shave/Modern Art and AltCtrlDel as well as institutions including The UCLA Hammer Museum\, The New Museum and Kunsthalle Schirn\, Vienna. Disillusioned by the mechanics of the art market\, they started performing live in alternative venues and producing A/V works under the name Page Person in 2017. \nhttps://www.instagram.com/tv/CDwT27OlttU/?igshid=u4gbxh3rz4x0 \nMar Citlali\, Anthony Robles\, and Frank Gil\n \nMar Citlali\, Anthony Robles\, and Frank Gil are three Mexican-American artists from three different regions of Southern California (The Inland Empire\, Los Angeles\, and Orange County.) Their independent work revolves around vastly different mediums and worlds but they find common ground in collaboration and shared passions for humor and absurdity. \nMar Citlali is an interdisciplinary artist focused primarily on self portraiture and storytelling through writing and different mediums such as food or soundscapes. \nAnthony Robles is a filmmaker and multimedia artist whose work re-imagines both his and his family’s memories of growing up in Wilmington and the surrounding Harbor Area of Los Angeles\, California. He is constant in his reveries that celebrate his family’s legacy. \nFrank Gil is a hairstylist whose practice questions the thresholds of beauty and exaggerates the human form. He is currently a creative director at luxury brand Sassoon but is working toward bringing stylistic freedom outside of the confines of the traditional salon environment. \nvimeo.com/delroble \nMiddle Ear Project\n \nMiddle Ear Project (Los Angeles) was founded by Jennifer Bewerse and Cassia Streb\, a design team who has been performing\, curating\, and producing concerts together since 2014. We are endlessly fascinated by the discourse created when pieces of music are thoughtfully juxtaposed\, and how exploring different artistic answers to the same question can illuminate interesting complexities instead of straightforward solutions. We find real satisfaction in coordinating concerts that are rich and complex\, something that listeners can dig their ears into. \nOver the years\, we’ve gained a tremendous amount of experience working with performing ensembles\, presenting organizations and venues\, often working with many of these within a single project. We launched this concert design project in order to join forces and make our skills available to artists beyond those already involved in our personal ventures. \nWe share a focused work ethic\, a deep dedication to our work and musical communities\, and we recognize that the success of our events is built around a community of artists and presenting organizations. By putting different composers\, compositions\, and performance techniques in conversation with the social structures of a concert\, we help create a sum that is greater than its parts. In short: better concerts. \nhttps://middleearproject.com \nNick Flessa\n \nNick Flessa hails from Cincinnati but has spent the better part of his life in Los Angeles. Nick’s work has shown in places like REDCAT\, Echo Park Film Center\, UCLA and the University of Puget Sound. From late 2016 to mid 2019 he helped guide programming and printing at Los Angeles Contemporary Archive\, where he presented his solo exhibition Death Production: The Archive of Janna Flessa (executed by Nick Flessa) in 2018. His book Case Number: 87-447 can be found in national and international library collections. Flessa is an active musician/performer and the editor of the Wende Museum’s Historical Witness Project. \nhttps://nickflessa.com \nPanteha Abareshi\n \nPanteha Abareshi is a 21-year old artist based in LA. Her work is rooted in her existence as a chronically ill/disabled body existing with multiple medical illnesses\, at the root of which is sickle cell zero beta thalassemia- a genetic blood disorder that causes debilitating pain\, and bodily deterioration that both increase with age. Through her work\, she aims to discuss the complexities of living within a body that is highly monitored\, constantly examined\, and made to feel like a specimen. Taking images that are recognizable as “human” forms\, and reducing them to the gestural is a juxtaposition of her own body’s objectification\, and dissection. Through her performance work\, she pushes her body to\, and often beyond\, the limits of its ability. The radicalized abjectification of her own corporeal form allows for a continued examination of her bodily deterioration\, and its connection to a larger context of universal fragility fear\, pain and mortality. In her video work and installations\, she aims to make the viewer hyper-aware of their own body\, and actively employ accessibility as a tool\, both withholding and over-extending it as a means of casting light onto the ill/disabled experience. With every piece\, her practice traces and documents her body’s malfunction\, and its disintegration. With this deterioration comes implantation of medical devices\, prosthetics\, and the use of mobility aids. Her body is the primary medium in her practice\, and these materials become vital to the visual language of her work. Currently\, she is contemplating the prosthesis\, and simultaneous abstraction. \nhttps://PANTEHA.COM \nSarah Gail Armstrong\n \nMy Inspiration comes from experiencing life\, and the many emotions that come with existing.There is a colorfulness and boldness to my work\, that reflects how I view and relate to the world. Oftentimes\, my art is a representation of a fantasy\, dream\, or vision I’ve had; thus\, giving me permission to further explore my dreams\, and fantasies. General themes in my work include nature\, sexuality\, racism\, romance\, spirituality\, gender\, and self-expression. \nMy existence as a dark-skinned\, Black\, nonbinary\, femme is constantly under attack. Thriving and creating work that stems from a goal of a pro-Black peaceful future actively combats the white cis hetero male patriarchy. Being vulnerable enough to bear myself to the world empowers me\, and others like me to live a life of our choosing. In much of my work\, I take advantage of my privilege and use art to speak out against local and/or global injustices that are occurring. \nSeren Sensei\n \nSeren Sensei is an artist\, cultural critic\, filmmaker\, and writer. Her cultural criticism has been printed in such publications as Riot Material\, The Crisis Mag and NYLON\, and referenced in Jacobin Mag\, Vulture\, Complex\, Newsweek\, AJ+\, People\, Netflix\, Vice\, and more. Specializing in race\, culture\, and sociopolitical theory\, she facilitates an active community with over 7 million views on her YouTube channel\, where she has released two seasons of the docuseries ‘The [Black] Americans\,’ dedicated to archiving and exploring the cultural narratives of Black Americans – Descendants of American Chattel Slavery. In 2015\, she released her first book\, entitled ‘So\, About That… A Year of Contemporary Essays on Race and Pop Culture.’ She is also a panelist\, public speaker\, and lecturer\, speaking on such platforms as ‘For The Record’ podcast at Genius; at George Washington University; and at California State University\, Bakersfield. Seren was a 2016-2017 fellow for at lands edge\, a Los Angeles-based pedagogical program for cultural producers wishing to combine art and activism\, and a 2018-2019 cohort with the Urban Agriculture Beginner Farming Training Program by Future Harvest CASA in Washington\, D.C. She was most recently named a 2020 Indie Memphis Black Filmmaker Resident for her screenplay\, ‘Kitt.’ \nhttps://www.youtube.com/channel/UCzTTM7g6KJ1lFF9wuJCdvTg
URL:https://www.h-r.la/event/residents/
CATEGORIES:Artist in Residence
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