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DTSTART;TZID=America/Los_Angeles:20160903T210000
DTEND;TZID=America/Los_Angeles:20160904T210000
DTSTAMP:20160909T195616Z
CREATED:20160820T074004Z
LAST-MODIFIED:20160909T195616Z
UID:2193-1472936400-1473022800@www.h-r.la
SUMMARY:Internet Discount Bedroom 2
DESCRIPTION:Opening Saturday\, September 3rd at 9pm\, the exhibition will be on view for the duration of 24 hours\, closing Sunday\, September 4th at 9pm.  \nContributing artists include:\nMatt Damhave\, Emma Kohlmann\, Dennis Wornick\, Shay Semple\, Suzanna Zak\, Cali Thornhill DeWitt\, Madison East\, Elijah Funk\, Taylor Doran and ”Prank Line” from Local Outreach (Van Robinson & Jake Hjortland). \nPerformances by:\nVIP\, Doses\, Sage Caswell\, Colorways\, A.B.S.\, Naturalized\, and Free The Land  \nSo Fine Arts and Internet Discount Mall present Internet Discount Bedroom 2\, an immersive installation examining the distance between art and commodity and the role of the artist in self-promotion. Modeled after stock environments and film sets\, the constructed space resembles a teenage bedroom from the late 1990s\, or the functional equivalent of one. With those few elements\, the artists engage in the act of refusal as a generative form of art-making\, as seen within the circumscribed boundaries of the traditional domestic space\, where the walls are half sex half war.
URL:https://www.h-r.la/event/internet-discount-bedroom-2/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/08/idm.jpg
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DTSTART;TZID=America/Los_Angeles:20160911T170000
DTEND;TZID=America/Los_Angeles:20160911T220000
DTSTAMP:20160909T195616Z
CREATED:20160904T180100Z
LAST-MODIFIED:20160909T195616Z
UID:2205-1473613200-1473631200@www.h-r.la
SUMMARY:9/11 Fifteen Years
DESCRIPTION:9/11\nFifteen Years \nA one-night exhibition happening on the fifteen year anniversary of\nSeptember 11\, 2001. \nA paradigm shift. Airplanes as weapons. America attacked. In the\nimmediate aftermath\, we saw people rush to hospitals to donate blood\,\nand strangers talking on the street to figure out what was going on.\nPeople wanted to help. But\, in the months and years that followed\, the\nevent was used to incite wars\, foster racism and xenophobia\, and\nstoke small-minded\, nationalistic thinking. \nSome of the works in this show address September 11th specifically\,\nbut many do not. The works address isolation\, absence\, destruction\,\npolitics\, religion\, collapse\, terrorism. They depict falling\, burning\,\nvoids\, paper\, ash\, smoke\, skyscrapers\, airplanes. The works are smart\,\nsombre\, elegiac. And this show is uncomfortable. Often an anniversary\nis something celebrated\, as is the opening of an art show. But not in\nthis case. Is it a commemoration of the event? A memorial? \nSam Contis\nNikki Darling\nNicole Eisenman\nTony Feher\nDavid Gilbert\nDevin Kenny\nMark McKnight\nElieen Myles\nJohn Purtle\nVincent Ramos\nGuan Rong\nSamantha Roth\nMark So\nCody Trepte\nRosha Yaghmai\nSamira Yamin \nCurated by Closing
URL:https://www.h-r.la/event/911-fifteen-years/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/09/IMG_4426.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160918
DTEND;VALUE=DATE:20160926
DTSTAMP:20160913T021723Z
CREATED:20160913T012717Z
LAST-MODIFIED:20160913T021723Z
UID:2221-1474178400-1474783199@www.h-r.la
SUMMARY:Noon Tran & Hannah Mjølsnes: Road River Gust
DESCRIPTION:After driving for hundreds of miles\, \npast mountains\, cliffs\, boulders\, and gravel \ndust\, you will find a field of white dunes surrounded by blue mountains. \nCurrents of wind move through this landscape\, continuously shaping and rearranging it. When lakes and rivers dried out due to climate changes\, the wind swept up the exposed bottom sediment of dry sand. The sand brushed against cliffs and rocks\, before piling up at the foot of a mountain ridge that barricaded it from traveling further with the winds. For the past 2\,500 years or more\, fine grains of golden quartz and feldspar have accumulated into 600 feet tall dunes. \nYour feet sink into the side of the dune and soften the sound of your steps\, but as thousands of small rocks begin cascading down\, you can hear them reverberating around you. You leave clear imprints in the surface but as you look back at your tracks they have already been smoothed over by the wind and are almost gone. The booming echoes fade back into complete silence. \nThroughout our work with the site\, a migration of materials occurs. Ceramic sculptures are taken to the site and field recordings are brought back. The materials break apart before coming together in a new form. The site is compressed by the act of recording it\, and reassembled in the gallery. The recordings are altered through digital processes that mirror the natural process of erosion. \nAudio recordings are adapted using granular synthesis: a method by which sounds are broken into tiny grains\, smaller samples of sounds are then redistributed and reorganized to form other sounds. \nThe soundscape is a five-channel sound piece that is experienced differently according to your position in the space. Individual sound recordings from ceramic vessels set up an acousmonium of collected recordings. \nThe video component of the installation uses software that employs an optical flow algorithm to read the motion of the sand. This data is subsequently fed into a video feedback system that resynthesizes the footage. \nƨɘnƨloႱM ʜɒnnɒH bnɒ nɒɿT nooИ         ƚƨuᎮ bɒoЯ ɿɘviЯ \nƨɘlim ʇo ƨbɘɿbnuʜ ǫnilɘvɒɿƚ ɿɘƚʇA\nɒ bniʇ ɘw \,ƚƨub lɘvɒɿǫ bnɒ \,ƨɿɘbluod \,ƨʇʇilɔ ʜǫuoɿʜƚ\n.ƨniɒƚnuom ɘuld yd bɘbnuoɿɿuƨ ƨɘnub ɘƚiʜw ʇo blɘiʇ \n.ɘqɒɔƨbnɒl ɘʜƚ ƚuo ɘvɿɒɔ ƨƚnɘɿɿuɔ bniW\nɘʜƚ ƚuo bɘiɿb ɘǫnɒʜɔ ɘƚɒmilɔ nɘʜw \,ƚɒʜƚ wonʞ ɘW\nƨniɒɿǫ ɘniʇ \,ƨɿɒɘy 005\,2 ɘdyɒm ɿoᖷ .ƨƚnɘmibɘƨ\nmoɿʇ bɘƚɒlumuɔɔɒ ɘvɒʜ ɿɒqƨblɘʇ bnɒ zƚɿɒup ʇo\n.ƚɘɘʇ 006 ƨɒ llɒƚ ƨɒ\,ƨɘnub ƚnɒiǫ mɿoʇ oƚ noiƨoɿɘ\n\n\,ƨɘnub ɘʜƚ ǫniʞlɒw ƚɿɒƚƨ ɘw ƨA\nllɒmƨ ʇo ƨbnɒƨuoʜT .bnɒƨ ɘʜƚ oƚni ʞniƨ ƚɘɘʇ ɿuo\nnɒɔ ɘW .ƨɘnub ɘʜƚ nwob ɘbɒɔƨɒɔ oƚ niǫɘd ƨɘnoƚƨ\nllɒmƨ ɘʞil ƨu ʜƚɒɘnɘd ɘƚɒɿɘdɿɘvɘɿ ƨɘnoƚƨ ɘʜƚ ɿɒɘʜ\nɘɿuƨ ɘʞɒm ɘw oƧ .ʞɘɘƨ-bnɒ-ɘbiʜ ǫniyɒlq ƨlivɘb\n\,ǫnolɒ oǫ ɘw ƨɒ bnɒƨ ɘʜƚ ni ƨƚniɿqƚooʇ ɿuo ʞɿɒm\nbɘqqoƚƨ ɘv’ɘw wonʞ ƨlivɘb yɘnoƚƨ ɘʜƚ oƨ ƚƨuႱ\n.ǫniʜɔɿɒm ɘɿɒ ɘw ɘʞil ƨʞool ƚi \,ɿɒʇɒ moɿᖷ .yf\nbɘʞool bɒʜ ɘw ʇi \,ƚɒʜƚ ƨi ƚɘy wonʞ ƚ’nob ɘw ƚɒʜW\n.ƨʞɔɒɿƚ ɿuo ʇo ynɒ nɘɘƨ ɘvɒʜ ƚ’nbluow ɘw \,ʞɔɒd\nƨɘiɔnɘbnɘƚ ɔiƚƨilɒiɿɘqmi ɿuo ʇo ƨuoiɔƨnoƆ\nƨbniw ɘʜƚ \,ƨlivɘb yɘnoƚƨ ɘʜƚ moɿʇ qlɘʜ ɘlƚƚil ɒ ʜƚiw\nɿuo bɘwɘivɘɿ bɒʜ ɘw ʇI .ƨƚniɿqƚooʇ ɿuo ǫniʇluǫnɘ ɘɿɒ\n⁏ƨqɘƚƨ ɿuo noiƚƨɘup oƚ bɘƚɿɒƚƨ ɘvɒʜ bluow ɘw \,liɒɿƚ\nɘno ɘʜƚ ƨuƨɿɘv \,ʞooƚ ɘw ƚʜǫuoʜƚ ɘw ʜƚɒq ɘʜƚ\nbluow ɘw ƚʜǫuoʜƚ ɘw ɘno ɘʜƚ ɿo \,ʞooƚ yllɒɘɿ ɘw\n\,ɘɔɒq ɿuo ǫninoiƚƨɘup bɘƚɿɒƚƨ ɘvɒʜ bluow ɘW .ɘʞɒƚ\nnɘvɘ ⁏ʜƨɘlʇ ɿuo ʇo yɔnɘɿɒqƨnɒɿƚ ɘʜƚ \,ƚʜǫiɘw ɿuo\n\,noiƚɒɔol ɿuo ƚnioqniq oT .ƨɘibod ɿuo ʇo yƚivɒɿǫ ɘʜƚ\nɘʜƚ ni ƨʞɿɒmbnɒl ɿoʇ bɘʞool ɘvɒʜ bluow ɘw\nǫniƨoqmoɔɘb ɘmoƨ ɿo ʜƨud yɿb ɒ ɿoʇ ɘdyɒm \,ƨɘnub\n.ɘɔnɘƚƨixɘ ɿuo ƚɿoʇmoɔ oƚ ǫniʜƚynɒ \,ʜƨɒɿƚ \nƚnɘmɘlƚƚɘƨ ɒ ɘʞɒm oƚ ɘbiɔɘb ɘw bɒɘƚƨnI\nbɘiʇƨiƚɒƧ .ɿɘʜƚɿuʇ nɘvɘ ɘƚiƨ ɘʜƚ ƚidɒʜni bnɒ\nɘƨoqoɿq ɘw \,ƨɘnub ɘʜƚ ʇo ǫniʞɿɒm ɿuo ʜƚiw\nwɘn ƚɿoqmi bnɒ ɘƚiƨ ɘʜƚ moɿʇ ƨlɒiɿɘƚɒm ƚɿoqxɘ oƚ\nƨɘɿuƚqluɔƨ ɔimɒɿɘɔ ǫniǫniɿd ɘniǫɒmi ɘW .ƚi oƚ ƨɘno\nɿoʇ quɘʞɒm oƚ ǫniɿɘʇʇo nɒ :ɘǫnɒʜɔxɘ nɒ ƨ’ƚI .ɘɿɘʜƚ\n\,llɘw \,bnɒ \,ƨɘɿuƨɒɘɿƚ ɿiɘʜƚ ǫniƚool \,ƨɘnub ɘʜƚ ǫniziɘƨ\nɘɘɿǫɒ ƨu ʇo llɒ ƚoИ .ƨlivɘb yɘnoƚƨ ɘʜƚ ǫnidɿuƚƨib\nƨbniw ɘʜƚ bnɒ lliƚƨ bnɒƚƨ ƚ’nƨɘob ɘmiƚ ƚud ƨiʜƚ oƚ  .ƚoʜƨ ɒ ƚi ɘviǫ oƚ ɘbiɔɘb ɘw \,oƨ ⁏ɿɘǫnoɿƚƨ woɿǫ \n.ƨɘqɒʜƨ wɘn ni ƨɘnub ɘʜƚ ɘǫnɒɿɿɒɘɿ ɘW\nɘƚiƨ ɘʜƚ ʇo ƨƚɘɿɔɘƨ ɘʜƚ ɿɘʜƚɒǫ ɘW\nɘǫɒnɒm ɘw ʇi \,ƚɒʜƚ bɘɔnivnoɔ \,ƨǫnibɿoɔɘɿ ʜǫuoɿʜƚ\nɘvɘiʜɔɒ bnɒ mɘƚƨyƨ oibuɒ ɘƚɒɿodɒlɘ nɒ ƚɔuɿƚƨnoɔ ɘW\n\,”ǫninɘƚƨil ɘɿuq oƚ bɘƚovɘb ɒiqoƚu wɘn“ ɿɘwɘn ɒ\n’muinomƨuoɔɒ‘ ƨ’ɘlyɒᙠ yd bɘnoiƨivnɘ ƨɒ\nƨǫnibɿoɔɘɿ ɿɘʜƚɘǫoƚ ǫniɿd lliw ɘW .ƨbnuoƨ ʇo\nylƚnɘɿɘʇʇib bɿɒɘʜ ɘɿɒ ƚɒʜƚ ƨlɘƨƨɘv ɔimɒɿɘɔ moɿʇ\nɿɒlunɒɿǫ ǫniƨU .ɘɔɒqƨ ni noiƚɒɔol ɿuo oƚ ǫnibɿoɔɔɒ\n\,ƨniɒɿǫ yniƚ oƚni ƨbnuoƨ ƨʞɒɘɿd ƚɒʜƚ \,ƨiƨɘʜƚnyƨ\n.bnuoƨ ʇo ƨɘlqmɒƨ ɿɘllɒmƨ ɘɿuǫiʇnoɔɘɿ lliw ɘw\n.noiƚɒllɒƚƨni bnuoƨ ɿuo ɿoʇ ƨoɘbiv ɘƚɒɘɿɔ ɘW\nɘƨnɘƨ ƚɒʜƚ ƨmʜƚiɿoǫlɒ wolʇ lɒɔiƚqo ɘƨu ɘW\n.ƨɘʞɒm ƚi ɘƨion ɘʜƚ bnɒ bnɒƨ ɘʜƚ ʇo noiƚom ɘʜƚ  \nʜǫuoɿʜƚ noiƨiv ɿuo ǫniɘɘƨ ɿɘƚʇA\n\,nɒlq bnɒɿǫ ɿuo oƚ ƨɘnub ɘʜƚ ǫniƚɔɘႱduƨ bnɒ\n.ƨɘnub ɘʜƚ ʇo ƨɘiɿɘƚƨym ɘʜƚ bɘʞɔɒɿɔ ɘvɒʜ lliw ɘw  \noƚ ǫnivom ɘd bluow ɘw ƨA\nɘɔnɘƨƨɘ ɘʜƚ ɘɿoƚƨ bluow ɘw \,ƨɘɿuƚnɘvbɒ ƚxɘn ɿuo\nɘmoƨ ƚƨɒɘl ƚɒ ɿo( ɘɔɒqƨ yɿɘllɒǫ ɿuo ni ƨɘnub ɘʜƚ ʇo\nɘnoɘmoƨ liƚnu \,ɘmiƚ ɘmoƨ ɿoʇ )ƨlivɘb yɘnoƚƨ ƨƚi ʇo\nmɿɘƚ-ǫnol ɒ bɘɘn ƚʜǫim ɘw \,ɿɘƚɒ⅃ .ƨniɒlqmoɔ\nǫnizɘɘupƨ ɿo ƚinu ɘǫɒɿoƚƨ ɒ ǫniƚnɘɿ ɘdyɒm \,nɒlq\n.yɿoƚƨ ɿɘʜƚonɒ ƨi ƨiʜƚ ƚuᙠ .ƨɘxod bɿɒodbɿɒɔ ɘbiƨni ƚi \nƚɒʜW\nɘw ƨɒ \,ƚɒʜƚ ƨi ɿɘdmɘmɘɿ oƚ ǫniƨƨɘɿq ɘɿom ɘd ƚʜǫim\nbnɒƨ ɘʜƚ ǫniʞɿɒm \,ƨɘnub ɘʜƚ ʜǫuoɿʜƚ ǫniʞlɒw ɘɿɒ\n.ʞɔɒd bɘʞool ƚ’nɘvɒʜ lliƚƨ ɘw \,ƨƚniɿqƚooʇ ɿuo ʜƚiw\nƨƚɿoʇʇɘ ɿuo ƚɒʜƚ nwonʞ ɘvɒʜ bluow ɘw \,bɒʜ ɘw ʇI \n.ɘɘɿʇ ƚɘƨ nɘɘd ǫnol ɘvɒʜ ƨɘnub ɘʜƚ :niɒv ni ɘɿɒ \n  \nNoon Tran and Hannah Mjolsnes \nContributors: Daniel Hynds\, Michael Leisz\, Chenhui Mao\, Sara Gomez\nOpening Sunday\, September 18th 7 – 9pm performance at 8:30pm\nGallery hours everyday: 2 – 8pm
URL:https://www.h-r.la/event/noon-tran-hannah-mjolsnes-road-river-gust/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/09/sands.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160927
DTEND;VALUE=DATE:20161004
DTSTAMP:20160917T214130Z
CREATED:20160909T202312Z
LAST-MODIFIED:20160917T214130Z
UID:2216-1474956000-1475474399@www.h-r.la
SUMMARY:Lina Hermsdorf “A Biologically Immortal Living Being Can Still Die”
DESCRIPTION:Performed by Henry Babbage\n\nPerformance September 27th\, 8pm\nExhibition on view from September 28th—2nd October (12pm-6pm daily) \nHydras never die of old age. In the ancient Greek myth\, the Hydra is a multi-headed serpent\, with a specific organic talent. As soon as one of its heads is decapitated\, the serpent regenerates the missing body part. Hydra is also the name of a freshwater animal with similarly extraordinary regenerative abilities. Stem cells from this genus of Hydra have a capacity for indefinite self-renewal. \nIn the multidisciplinary exhibition “A Biologically Immortal Living Being Can Still Die“ at Human Resources Los Angeles\, Frankfurt-based artist Lina Hermsdorf examines the varying philosophical and scientific meanings of ageing and confronts them with the seemingly ubiquitous desire for eternal youth. \nHermsdorf is concerned with rhetorical strategies and modes of narration. Through employing intertextuality as a device\, she hints at the very foundation of language and the instability and unreliability of the voice of the artist. She uses the exhibition space as a stage on which language\, the mind and the body exercise\, testing ways that one perceives and processes information as a cognitive being in stimulation-rich environments.\nHer ongoing interest in the characteristics of living organisms as systems that receive\, store\, exchange energy and information in all forms – food\, oxygen\, heat\, signals and are subject to the irreversible time of the second law\, since they are dying entities\, has also shaped the form and content of this exhibition. \nOriginally commissioned by BlockUniverse\, London\, this iteration of the work will open with a lecture performance on September 27th\, 8pm and transform into an exhibition\, surveying the subliminal structures regarding questions of preservation\, ageing and temporality at the intersection of performative and object-based practices. \n“What is an organism? A sheaf of times. What is a living system? A bouquet of times.”\n– Michel Serres \nLina Hermsdorf studied Theatre at the University in Giessen and Fine Arts at the Städelschule in Frankfurt. Her performative works and installations have been shown at Museum Abteiberg Mönchengladbach (2016)\, BlockUniverse\, London (2016)\, Minibar\, Stockholm (2015)\, Yvonne Lambert\, Berlin (2015)\, Kunsthalle Baden-Baden (2015)\, Rowing\, London (2015)\, and Taylor Macklin (2015)\, Zurich among other venues. Upcoming and current projects include: Salon Kennedy\, Frankfurt\, Atlas Economy at Mélange\, Cologne and Rowing\, London (2017). She will be Artist in Residence at Gasworks\, London from October 2016 on. \nProduction Assistant Carl Marion \nsupported by Goethe-Institut\, Munich \n 
URL:https://www.h-r.la/event/lina-hermsdorf-a-biologically-immortal-living-being-can-still-die/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/09/8.-Lina-Hermsdorf-Maintenance-2016.-Oak-table-glass-cube-flatscreen-living-specimen-hydra-Video-6min-©-Courtesy-of-the-Artist.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160927
DTEND;VALUE=DATE:20161004
DTSTAMP:20161106T211936Z
CREATED:20160914T040628Z
LAST-MODIFIED:20161106T211936Z
UID:2224-1474956000-1475474399@www.h-r.la
SUMMARY:Jakob Brugge
DESCRIPTION:Laoshou Mountain in southwestern China was quarried for more than two decades. Shortly after the quarry’s closure\, the Funnin County Forestry department decided to reconcile the barren mountainside with its surrounding foliage. The conclusion they reached was to paint the mountain. Workers sprayed the section of land a bright\, vaguely chemical green\, tracing the exact outline of the quarry. This decision\, whether simply a dishonest attempt at “greening” or the result of a more substantial bureaucratic drama\, presents a startlingly incongruous failure of representation\, but also\, perhaps\, a development in the potential of authenticity and redescription. The true reasons behind Funnin County’s decision are largely unknown; however\, they provide a methodology of well reasoned foolishness through which to view this exhibition. \nThe exhibition consists of the failed execution of a DIY design and the ensuing attempts to reconcile its deficiencies. A set of Adirondack furniture was mistakenly built out of drop ceiling tiles\, accidentally broken\, and then recast out of plastic to ensure its structural stability. This reformatting establishes a logic of compromise from which the rest of the work emerges. Each element appears in mediated and codependent forms\, functioning ultimately as a staging of uncertainty. \nJakob Brugge (b. 1990\, Los Angeles) Studied at Washington University in St. Louis and the Gerrit Rietveld Academie (Amsterdam\, NL). \nOpening: September 27th\, 7—10pm\nExhibition on view from September 28th—2nd October (12pm-6pm daily)
URL:https://www.h-r.la/event/jakob-brugge/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/09/Img-for-Press-Release.jpg
END:VEVENT
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