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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
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20160927
DTEND;VALUE=DATE:20161004
DTSTAMP:20161106T211936Z
CREATED:20160914T040628Z
LAST-MODIFIED:20161106T211936Z
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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
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20161007
DTEND;VALUE=DATE:20161025
DTSTAMP:20161001T084942Z
CREATED:20160928T231157Z
LAST-MODIFIED:20161001T084942Z
UID:2238-1475820000-1477288799@www.h-r.la
SUMMARY:Seduction of a Cyborg
DESCRIPTION:Exhibition Dates: October 7-23\, 2016\nOpening Reception: Saturday\, October 8\, 7-10pm  \nSeduction of a Cyborg explores intimacy\, sex\, and desire as related to technocratic fantasies of futurity\, (re)production of bodies\, and fractured selfhood in the digital age. The fictional and the virtual intersect\, exposing narratives that activate\, transform\, and deconstruct our understanding of the networked and plugged-in subject. The exhibition springs from an engagement with the work of Lynn Hershman Leeson\, a foundational feminist artist whose work has explored selfhood and technology for over fifty-years. The exhibition places special focus on Hershman Leeson’s feature-length film Teknolust (2002)\, in which a female bio-geneticist downloads her own DNA to produce cyborgnetic clones that subsist on sexually obtained Y-chromosomes and act as “portals” on the internet where users fulfill fantasies and dreams. \nSeduction of a Cyborg considers this and other early works by Hershman Leeson as a point of inception in examining a range of practices by artists\, which include video\, photography\, installation\, and web-based projects. The exhibition presents historical and contemporary works that call on critical ideas of and around technofeminism\, queer theory\, and disembodiment. The erotic innuendo inherent in the politics and possibilities of nascent technologies\, as well as a longing for an era of low-fi and analogue\, mark points of interest that extend from the 1990s to today. Other works realize fantastical and futuristic (gender) identities\, presenting body parts that have been biotechnologically produced and avatar identities that assume mutable identities online. In the realm of the virtual\, the imaginary knows no limits. \nArtists in the exhibition include: Sadie Benning; Hannah Black; Johanna Breiding; Shu Lea Cheang; Linda Dement; Ricardo Dominguez\, Francesca da Rimini\, and Michael Grimm; Deanna Erdmann; Lynn Hershman Leeson; Faith Holland; Juliana Huxtable; Martine Neddam; Alexei Shulgin; Vertical Blanking (Kim McKillip and Michael J. Masucci); and Pinar Yoldas.\nSeduction of a Cyborg is curated by David Evans Frantz\, Hannah Grossman\, and Simone Krug\, 2017 MA Candidates in Curatorial Practices and the Public Sphere Program at the USC Roski School of Art and Design. \nGallery hours are Wednesday through Sunday\, 12-6pm\, October 7 – 23\, 2016. An opening reception will be held on October 8 from 7-10pm. \nA screening of Lynn Hershman Leeson’s film Teknolust (2002)\, presented in collaboration with a shorts program curated by Dirty Looks LA\, will be held at Human Resources on Sunday\, October 16 from 6-8pm.
URL:https://www.h-r.la/event/seduction-of-a-cyborg/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
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DTSTART;TZID=America/Los_Angeles:20161029T120000
DTEND;TZID=America/Los_Angeles:20161029T210000
DTSTAMP:20161026T224611Z
CREATED:20161026T224302Z
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SUMMARY:John Wiese: Battery Instruments
DESCRIPTION:BATTERY INSTRUMENTS\n• 4-channel video/4-channel sound (2016 version) *Debut\n• 4-channel video/2-channel sound (2012 version)\n• 8-channel sound (2009 version) \nOpen from noon to 9pm. Reception from 7 to 9pm.\nFree \nEditions available at the event. More info TBA. \n  \n  \nThe cinema of ‘pure means’: John Wiese’s Battery Instruments as history lesson.\nBruce Russell \nJohn Wiese’s Battery Instruments is a work that provokes a lot of thought. And ?rst among these thoughts for me is to consider what it might mean to designate him\, on the evidence presented in this installation project\, as a ?lm maker. \nThere was a tedious fashion a few years ago for composers to produce sound tracks for imaginary movies. Barry Adamson did a few once he had no gainful employment while waiting for the new wave of New Wave to pick up Magazine again. In a cultural sense this kind of thing is pure ‘makework’\, like setting the unemployed to dig holes and ?ll them again. It’s also in my opinion an illegitimate extension of one art form into the territory occupied by another\, and moreover one that tends to arise from a ‘narrative’ understanding of music. This seems to me one of the most pernicious pretensions of a jumped-up art form — the idea that music can communicate narrative meaning is pure Wagner\, and that way lies\, if not madness\, at the very least the Nuremburg Rallies. \nBut if\, on the other hand\, we are willing to let sounds ‘be what they are’ — what can be ‘said’ — what can be ‘said’ with them? \nOne way to approach an answer to this question begins by ‘unpacking’ Battery Instruments to reveal what deeper meanings may be implicit beneath its austere surfaces. This process begins with the experience of getting into a box in which a media work is presented. This is what got me thinking about the cinema in the ?rst place. \nOnce inside this ‘magic lantern show’ of sound; the stuttering\, glooping\, belching and tapping that comprise the radically edited phonemes of the piece (circulating in their eight channels like planets in an endless dance of conjunction and epicyclical enjambment) instantly evoked references to both sound poetry\, and then (when considered alongside Wiese’s practice as a typographer) one of the twentieth century’s less well-known but unimpeachably radical aesthetics of rejection — Lettrism. \nAnd the business of Lettrism\, apart from provoking scandals in a time when this was still possible\, was mainly concerned with poetry and the cinema. Their approach to both was instructively thorough-going. As Serge Berna put it in 1952 with regard to film: \nToday\, faced with the imperatives imposed upon us by the cinematographic tradition\, we must smash the double magic circle that protects this citadel. The ?rst is the sacred barrier within which one guards the credo: ‘Cinema-is-images’. \nThe radicality of these questions posed to art forms and media by the ?rst Lettrists remains substantially un-recouped in 2009. Isidore Isou’s strict requirement remains in force: that after its initial elaboration in the ‘amplic phase’\, every form of expression should be puri?ed by ‘chiselling’ out the content of the form in order to reveal what is truly essential in it. And very clearly what is least essential to the cinema is the image. \nOf course this kind of paradoxical mangling of concepts is easily done — saying that an artist unconcerned with moving images is engaged with the cinema! What pish — it’s the conceptual equivalent of shooting ?sh in a barrel: which is proverbially understood to be opposite of meaningful sport. But my sport here is decidedly meaningful\, as will become apparent when we consider what really constitutes what we call ‘media’. \nUnderstanding the process through which media arise is the key to Berna’s ‘smashing of the double magic circle’. Jonathan Sterne’s magisterial work The Audible Past examines exactly this question: ‘what makes media?’ \nThis is so basic it is almost never asked\, or even understood to be question-able. Sterne makes plain the way that what we accept as media appear to be so natural precisely because they are uniquely pervasive forms of rei?cation. And rei?cation is only perceptible as such by a somersault of the mind precisely because it has the appearance of natural inevitability. These social realities may not be questioned precisely because the prevailing social and economic relations assert that they can ‘be’ in no other way. \nWe generally assume that media are identical with technologies. Yet as Sterne makes plain\, media are much more than this\, they are “recurring sets of contingent social relations and social practices” which cohere around technologies. In Bourdieurian terms they are technologies in association with a speci?c habitus. \nSterne explicates this by showing how sound technologies in their earliest phases have very loose connections with media — the telephone\, for instance\, at some periods was used for broad.casting and seemed to have a great future in that realm. At the same time the radio was used primarily for point-to-point communication\, and even once it became articulated within broadcasting networks\, it had an almost complete allergy to recorded music — to a degree which today seems quite inexplicable. Yet today we cannot conceive of a broadcasting telephony or a point-to-point radio network — which is why cell phones and Blackberry-type PDAs are considered ‘phones’ (albeit with additional characteristics)\, even though they are actually radios\, because the social practices that structure their use make them so. Witness the branding of one of the most fully-featured and least ‘telephone-like’ of these devices as the iPhone. The actual technology which makes these work is not constitutive of their social reality qua media\, but their ‘mode of use’ is — in this case point-to-point communication in a telephone network. \nMy point here is that Isou’s Lettrists (and by extension\, John Wiese) are historically vindicated in conceiving a cinema which is not visual — for quite some time in the nineteenth century the sound recording was socially received as a concert performance media analogous to the soon-to-be-invent.ed cinema. People gathered together to hear phonographic performances. This tradition was of course revived in France following the invention of electro-acoustic music. And much later a group of French mavericks promoted a series of recorded works on the Metamkine label as ‘Cinema for the Ear’. Their meaning was not that these were ‘soundtracks’ or adjuncts to visual narratives\, but that they were\, in and of themselves; ?lms. \nWhich brings us back to Battery Instruments. The other characteristic of Wiese’s work that stakes its claim as cinematic is its emphasis on editing and repetition. Giorgio Agamben has written of Debord’s cinematographic work that its virtue lies in its wholehearted emphasis on the real core of cinema\, which he de?nes as montage. In this Debord exposes his debt to his ?rst master\, Isidore Isou. And what\, Agamben asks\, are the ‘transcendental conditions’ (to borrow a Kantian terminology) on which montage relies? They are: ‘repetition and stoppage’. \nAnd the same may be said of Wiese himself. His work to date has proven that he is an ‘editor’s editor’ — he builds by dissection\, cutting down to tiny blocks of sound which he then reassembles to create sound work which cannot in reality exist. Sounds don’t behave acoustically the way they behave in the work of John Wiese. Like all great artists he makes the world conform totally to his vision — or perhaps I should say: to his audition. \nAnd this is certainly true of Battery Instruments. By recon?guring the classic audible elements of a rock band: guitar\, bass\, drums and voice — into independent channels of tightly edited ‘phonemes’\, which chance then remixes into an impossible sound ?eld of sequential spatially distributed noise events presented within the miniature auditorium that is his cinematheque\, Wiese simultaneously evokes the Lettrist cinema without images\, and its reduction of poetry to far less even than words or syllables — to letters. And as Agamben has also observed: “stoppage shows us that cinema is closer to poetry than to prose”. It can counter syntactical limits with acoustic and metrical limits\, as poetry does. \nAnd as Battery Instruments does. Dissolving the form of rock music in the acid of montage\, it then precipitates it again into the form of a poetic cinema of the ear. This is the cinema that Agamben has argued is a ‘pure means’ because\, contrary to the prevailing Hegelian conception that the medium must disappear into the expression\, it uses repetition and stoppage to draw attention to the medium\, to prevent the false disappearance of the image into the absolute. \nAnd John Wiese’s work is his medium — sound — rather than any illegitimate message grafted onto the waves which carry it to us. The message\, which is shown in the form rather than signi?ed in the content\, is the time-dissolving wager of audition itself\, the kinematos which is implicit in all life. \n(Essay from the original 2009 Battery Instruments monograph) \nJohn Wiese “Battery Instruments” (Score\, 2009)
URL:https://www.h-r.la/event/john-wiese-battery-instruments/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
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