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SUMMARY:Sabrina Chou
DESCRIPTION:HR \nSabrina Chou \nft. Great States Reel Lawn Mower\n(available for rent: reellawns@gmail.com) \nOctober 17 – November 14\, 2015\nOpening reception October 17th 7-10pm \nFrom the manufacturer: \nThe power source behind our mowers hasn’t changed much in 100 years. It’s still readily available on demand. You can still fuel it for the price of a banana and a glass of milk. It always works when you want it to\, and it doesn’t leave any residue for the environment to absorb other than a couple of footprints in a perfectly cut lawn. People—the power behind our mowers in 1895\, and the power behind them today. What has changed is the product available to the people. At Great States\, we’ve applied a century of technology to a good old-fashioned idea: the reel lawn mower. Today’s reel mowers are lightweight and easy to maneuver. They’re ideal for today’s smaller lawns\, and today’s hectic lifestyles. They’re always ready when you’re ready\, and they’re almost maintenance free with no spark plugs to foul or engines to clog up. They’re good to the environment and they’re good to the lawn\, snipping the grass for a clean\, precise cut. A cut that’s helped us carve our niche as the nation’s largest manufacturer of in-demand\, on-demand reel mowers. We’ve spent 100 years of perfecting our reel mower designs\, streamlining our production processes and searching for the best possible materials to build the best reel mowers possible. And we’re proud of all that. But more important still\, we’ve spent the last 100 years\, and we’ll spend the next 100 more\, keeping America Green. \nDid you think it was going to be easy? \nLook down. The astroturf beneath your feet is melting. \n–  \nHuman Resources presents HR\, an exhibition of new work by Sabrina Chou consisting of backdrops\, equipment\, furnishings\, and clothing. The exhibition proposes an ambiguity around these objects\, and how they might oscillate between aesthetic proposition\, functional use\, and absurd adaptation. Assembled around us\, the works outline open-ended sets\, figurative utopias\, and allegorized landscapes. Somewhere between the field\, the court\, the lawn\, the desert\, the discotheque\, and the office\, our unattributed bodies can find vaguely open seats and space to move. \nPerformances and events during the exhibition to be announced. \nSabrina Chou (b. Los Angeles) is an artist based in Rotterdam\, the Netherlands. She is the founder of GOODxPRACTICE\, a subscription-based clothing line. HR is the second in a series of solo exhibitions in three acts. Act I was presented at Pracownia Portretu in ?odz\, Poland and Act III will be presented in Rotterdam\, the Netherlands. This series of exhibitions is supported in part by Centrum Beeldende Kunst Rotterdam.
URL:https://www.h-r.la/event/sabrina-chou/
CATEGORIES:exhibition
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DTSTART;VALUE=DATE:20151121
DTEND;VALUE=DATE:20151215
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SUMMARY:The Closer I Get To The End The More I Rewrite The Beginning
DESCRIPTION:The Closer I Get to the End the More I Rewrite the Beginning \nCurated by Suzy Halajian \n with Basma Alsharif\, Doa Aly\, Gilda Davidian\, Mariah Garnett\, David Horvitz\, Hiwa K\, Mark Leckey\, Klara Liden\, Christine Rebet\, Julie Tolentino\, Erika Vogt\, and Hanna Wildow\ntexts by Doa Aly\, Janine Armin\, Shoghig Halajian\, and Litia Perta\n& a video program organized with Clara López Menéndez  \nOpening Saturday\, November 21\, 7-10pm\nNovember 21-December 13\, 2015 (Gallery Hours: Tue-Sun\, 12-6pm)\nVideo program and performance info below \nBodies are moving\, swaying\, spinning\, coming together in ecstatic relief\, only to come apart in Mark Leckey’s 1999 video work\, Fiorucci Made Me Hardcore. The video mashes up found footage of British youth culture in various underground dance scenes from the 1970s\, ‘80s\, and ‘90s with a single soundtrack unifying the images. Serving as a starting point to the project\, the work presents a timeless social experience that celebrates the party as a political tool in its diehard resistance to the capitalistic workweek\, as well as transcendence found through the act of ‘getting lost’ in subcultural dance codes and ultimately\, in fatigue. \nThe Closer I Get To The End The More I Rewrite The Beginning (1) presents works by Basma Alsharif\, Doa Aly\, Gilda Davidian\, Mariah Garnett\, David Horvitz\, Hiwa K\, Mark Leckey\, Klara Liden\, Christine Rebet\, Julie Tolentino\, Erika Vogt\, and Hanna Wildow to explore the state of exhaustion\, through the time and space that make it possible. The project questions the appearance and contours of social spaces that enable this condition\, and locates instances within these sites that allow for new forms of sociability. By considering both individual and collective states of being together situated within a neoliberal and mutating model of capitalism\, the exhibition asks how these spaces may be realized in a state of nonstop action and renewal and how their potentials may unfold over time. The works in this exhibition reimagine\, re-perform\, consume\, and even obliterate images and places set in motion. They refuse to remain static or meet at the center\, but continue to turn and shift\, only to begin again. \nThe exhibition brings together artists’ works\, a video program\, and writings that respond to spaces found within relentless states of operation. It takes into account more recent political insurgencies and sites of dissent; refusal and/or withdrawal from work\, action\, and participation; a lack of physical tenacity due to the durational; and the effects of these on cultural and historical imagination that define both the personal subject and public event. Further expanding out from the exhaustion of space due to withdrawal and protest\, the project stresses the position of indefinable bodies in the social sphere\, as well as an all-consuming understanding of institutional frameworks in a move away from the authorial. It does not advance the notion that once an option disappears its potential is lost; but rather it is in the act of clearing out\, the voiding of\, that allows for new possibilities to come into fruition or to be made visible. Once emptied\, fields of echo\, repetition\, and perpetual reflection can prove useful. \n1. Part 1 of this project\, The Recorder Was Left On\, Or The Closer I Get To The End The More I Rewrite The Beginning\, was on view at LACA (www.lacaarchive.org) from August 7 to September 26\, 2015. Both exhibitions partially borrow their titles from Alejandro Cesarco’s installation\, The Streets Were Dark With Something More Than Night Or The Closer I Get To The End The More I Rewrite The Beginning (2011). \nVideo program  \nPart 1. Screening & Discussion at 1009 N. Madison Ave. LA\, 90029  \nSaturday\, November 14\, 2-9pm \nScreening of Peter Watkins’ La Commune (Paris\, 1871)\, 2000\, 345 min. \nSunday\, November 15\, 5:30-9pm \nScreening of Jasmina Metwaly and Philip Rizk’s Out on the Street\, 2015\, 71 min\, followed by a discussion on both films. \nNote: The screenings above are scheduled before the exhibition opens at Human Resources. \nPart 2. Screening at Human Resources\n \nFriday\, December 11\, 7-9pm: Screening featuring works by Malin Arnell\, Phil Collins\, Harry Dodge and Stanya Kahn\, and Basim Magdy followed by a Q&A with Malin Arnell\, Harry Dodge\, and Stanya Kahn.\n \n\nPerformance by Julie Tolentino \nSaturday\, December 5\, 11pm \n\nThanks to the support provided by the Cultural Services of the French Embassy in the United States. \nImage: Klara Liden\, Bodies of Society\, 2006\, DVD\, color\, sound\, 5:08 min\, courtesy the artist\, Reena Spaulings Fine Art\, New York and Galerie Neu\, Berlin.
URL:https://www.h-r.la/event/the-closer-i-get-to-the-end-the-more-i-rewrite-the-beginning-exhibition/
CATEGORIES:exhibition
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