BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Human Resources - ECPv6.17.4.1//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Human Resources
X-ORIGINAL-URL:https://www.h-r.la
X-WR-CALDESC:Events for Human Resources
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/Los_Angeles
BEGIN:DAYLIGHT
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
TZNAME:PDT
DTSTART:20170312T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20171105T090000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
TZNAME:PDT
DTSTART:20180311T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20181104T090000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
TZNAME:PDT
DTSTART:20190310T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20191103T090000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180728
DTEND;VALUE=DATE:20180813
DTSTAMP:20180728T213746Z
CREATED:20180723T185421Z
LAST-MODIFIED:20180728T213746Z
UID:3553-1532757600-1534053599@www.h-r.la
SUMMARY:Every Unlikely Story
DESCRIPTION:Image credit: Cameron Coffman\, slow crawl\, 66″ x 22″ x 34″\, wood\, clay\, resin\, glass\, ladybug\, aphids\, waterbug\, plants\, dirt\, plastic\, 2018 \nOpening Reception: Saturday\, July 28\, 7-10pm\nExhibition Dates: July 28 – August 11\, 2018\nGallery Hours: Wed-Sun\, 12-6pm \nImagine the chapters in a long book as individual\, freestanding fragments. Take this collection of distinct plot twists\, allegories\, flashbacks\, and scenic descriptions and shuffle them. There is always something compelling about the exquisite corpse—its reliance on chance\, its absurdist form that is at once distorted\, grotesque\, and yet still enticing. \nThis exhibition brings together a disparate grouping of images\, anecdotes\, and narratives that coalesce into a cohesive portrait of the now. They rely on drama\, on fantasy\, and on farce. Some stories plumb the depths of history. Others examine their immediate surroundings. Many are deeply rooted in the personal and explore identity through the lenses of race\, gender\, and nationality. Process is the focal point in some pieces\, where the journey towards the end takes on more significance than the end itself. Other works are more concise portraits; and while they might employ a plainer vocabulary\, they are no less complex. \nThere is a grandmother as she is hoisted from her deathbed. Elsewhere\, on a different empty bed\, crumpled unmade sheets mark the trace of a distant lover. In other spaces\, one finds a hand lit on fire\, but inexplicably luminous and unscathed. And there is another hand whose thin arm connects to the body of a snake\, its outstretched finger resting on a strange box of bugs and dirt. There are layered stories told in song\, gathered in found internet footage from gospel church choirs. There are pieces of buildings—bricks\, stained concrete\, chipped walls—whose nicks and dents tell of one location’s past. Here we are transported to ancient\, foreign lands. At the same time\, we dwell on the political implications of the rapidly changing neighborhoods and gentrifications of our own city. \nAs in all recollection\, there is both sadness and joy. Where there is heartbreak today\, there was once intrigue\, piercing chemistry\, and so many bouquets of flowers. One might get blisters on their feet from salsa dancing all night\, but the memory of a late night out trumps the morning hangover. \nAdrian Abela\nAlex Anderson\nCarey Coleman\nCameron Coffman\nColeman Alexander Collins\nJenny Gagalka\nMariam Graff\nShasha Dothan\nNasim Hantehzadeh\nLouis Heilbronn\nJohn Hulsey\nTodd McQuade\nKamaria Shepherd\nSean Sprague\nHiejin Yoo \nCurated by Simone Krug and Eric Kim
URL:https://www.h-r.la/event/every-unlikely-story/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/07/Cameron-Coffman-1.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180816
DTEND;VALUE=DATE:20180819
DTSTAMP:20180813T180008Z
CREATED:20180805T185159Z
LAST-MODIFIED:20180813T180008Z
UID:3853-1534399200-1534571999@www.h-r.la
SUMMARY:Poison Remedy Scapegoat
DESCRIPTION:Beginning 5pm August 16th\nPerformance and Exhibition Open August 16th and 17th\n5pm – 11pm \nLike a cave made out of purple and dark green walls. I roasted things in the oven and you picked at the vegetables like a bird. You’d squeeze the sponge hard so it wouldn’t sit wet and moldy on the counter. One time we drove to the Oregon Coast and I sat in the middle seat in the back. \nPoison Remedy Scapegoat is an intra-acting ecosystem of people\, sculptural elements and choreographed dance sequences. A collaboration between Olivia Erlanger and Nikima Jagudajev. \nWe wrestled in the sand and Mad lost the keys. Ned had AAA and we rode home in a tow truck\, with a stop on the way at some kind of buffet style diner. Remember that huge lumberjack sculpture in the front? We contaminated each other and grew into ourselves\, parting ways and again over time growing closer. \nTime passes differently in PRS\, night is longer than day\, as the atmospheric elements change according to solar wind data streams. Portal sculptures interrupt the floor\, standing next to objects of proposed intimate engagement. Visitors are invited to lie down on mattresses\, eat cake and generally hang out. \nWith the angels\, Ezra Fieremans\, Mor Mendel\, Laurel Atwell\, Jordan Balaber\, devika v. wickremesinghe\, Gaunlett Cheng and systems design by Tommy Martinez. \n………………… \nOlivia Erlanger (b.1990\, New York\, NY) is a sculptor based in Los Angeles. Recent and upcoming solo projects include a solo project at MotherCulture\, LA\, mouths filled with pollen at AND NOW\, Dallas\, Body Electric\, BMW Frieze Open Work commission at Frieze\, London 2017\, Dripping Tap at Mathew\, New York and The Oily Actor at What Pipeline\, Illinois. Recent group shows include Entangled Tales at Rupert\, Lithuania\, Annex at M+B Gallery\, LA\, New Human Agenda at AND NOW Dallas\, TX\, Wormwood at Ellis King\, Dublin\, Other People’s Things\, Brown University\, RI. Erlanger is the recipient of Open Work\, a BMW Frieze commission. She was a fellow at IdeasCity 2017 in Arles\, France and a visiting artist at Brown University in 2016. She co-authored Garage with Luis Ortega Govela\, due out September 2018 from MIT Press\,  in addition to the self-published Hate Suburbia and Born Goth—which was included in Harvard Design Magazine’s Summer 2017 issue. Their documentary\, Garage will premiere this fall. \nNikima Jagudajev (b. 1990) is a choreographer. Her work\, expanding formal dance into the construction of open-ended socialities\, has been presented at the Whitney Museum and Judson Church\, in the context of 89+ at LUMA/Westbau (Zurich)\, Rockbund Art Museum (Shanghai)\, Villa Empain (Brussels)\, and as part of the Marrakech Biennale (Morocco). She has worked with\, among others luciana achugar\, Olivia Erlanger\, Asad Raza\, Tino Sehgal\, Mårten Spångberg and Gillian Walsh. She was assistant editor to the anthology Post-Dance (2017) and has published various essays. \nEzra Fieremans is a performer working for and in collaboration with choreographers and film makers. \nSince 2008\, Laurel Atwell has been living in Brooklyn and making work that has recently become more interdisciplinary with her research conducted as a 2016 Movement Research Artist in Residence. Her work has been presented at Abrons Arts Center\, Dixon Place\, Center for Performance Research\, Draftworks at Danspace Project\, Domestic Performance Agency\, Links Hall in Chicago\, IL\, Movement Research at Judson Church\, Pieter Performance Space in Los Angeles\, CA as well as throughout apartments\, parks\, bars\, and galleries in Brooklyn\, Manhattan\, and Queens. Laurel has the pleasure of collaborating with Tess Dworman; the two recently created WellMan\, a class drawing from qi gong and meditation practices. Laurel has recently appeared in the work of Mariangela Lopez\, Phoebe Berglund\, Kim Brandt\, Melanie Maar\, Kathy Westwater\, Tess Dworman\, Ursula Eagly\, Nikima Jagudajev\, and Milka Djordjevich. She edits the Dance Pamphlets for 53rd State Press\, teaches qi gong\, and will be back in LA for dual residencies at PAM and Central Park Gallery this October with Jessica Cook. \nMy name is Mor Mendel and I remember myself dancing under the kitchen table at the age of three and I don’t think I stopped dancing since\, professionally and personally. Movement and music are an inspiration\, something to feel life through\, a drive and a force. I was born in Pittsburg but moved back to Israel where I grew up when I was two. The region and culture I come from\, keep on informing and influencing the way I live and move in the world. In Israel I earned my BA in Dance Theater. I later moved to NYC and completed my MFA in dance from Sarah Lawrence College on 2014. I still live in NY where I am creatively engaged with other artists and focus my teaching around people with Parkinson and elderly communities. \nJordan Balaber is a composer\, producer and sound artist based in Queens\, New York \ndevika v. wickremesinghe is a dancer person and Los Angeles Expressive. Since 2014\, devika has worked in dance and performance with L.A artists including Alexx Makes Dances\, Milka Djordjevich\, Dorothy Dubrule\, Laurel Jenkins\, Sarah Leddy\, Gwyneth Shanks\, and Flora Weigmann. devika is a founding member of taisha paggett’s WXPT. In 2015 she was a part of Maria Hassabi’s PLASTIC at the Hammer Museum. Alongside Alexx Shilling devika curates and produces the long running series Hi\, Solo at Pieter Performance Space\, a series dedicated to developing the work of emerging L.A choreographers. Most recently\, under the direction of Elkahnah Pulitzer and Laurel Jenkins\, devika performed in Leonard Bernstein’s MASS at Lincoln Center. She has had the pleasure of working with many New York artists including Diana Crum\, Showtime Goma\, K.J Holmes\, Vanessa Justice\, ana isabel keilson\, Mariangela Lopez’s ACCIDENTAL MOVEMENT\, Jill Sigman and Buck Wanner. Alongside collaborator Samantha Allen\, devika creates film and live performance as the Institut IDGAF @institut.idgaf
URL:https://www.h-r.la/event/poison-remedy-scapegoat/
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/2018/08/unnamed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180818
DTEND;VALUE=DATE:20180821
DTSTAMP:20180816T080304Z
CREATED:20180723T190105Z
LAST-MODIFIED:20180816T080304Z
UID:3559-1534572000-1534744799@www.h-r.la
SUMMARY:One-Two
DESCRIPTION:Gallery Hours: 2pm – 9pm \nAn exhibition by John Dieterich and Carlin Wing \nWith work by Cuauhtli \nA talk by Leopoldo Peña on pelota mixteca and his photography series Oaxacalifornia @ 7pm on Saturday August 18\, 2018 \nAnd a performance with Corey Fogel @ 7pm on Sunday August 19\, 2018. \nOne-two\, give-and-go\, pass the ball and make a run towards the possibility of receiving it again in a new position. This is a method for coordinating the movement of two people to move a third object past opposing players and up the field. Ball players of all kinds know the drill. Three things are necessary to run a one-two: the ability to control the ball in whatever position you find yourself; the ability to move in such a way that your teammate can return the ball to you; and the ability to read the movement of the person you are passing to. So\, the run dictates the pass. And the pass dictates the run. It must be both. When you train this way what you are training is empathy\, the ability to read someone’s (sometimes many someones’) tells. Our bodies are always telling stories about us\, with and without our awareness and direction. One thing that sets great players apart is their ability to read closely quickly\, anticipating the thoughts and movements that other players are telegraphing\, responding in the instant. In these moments\, they know you better than you know yourself. They feel what you are going to feel next. They attune themselves and time their own actions accordingly. A second thing that sets great players apart is their ability to use their bodies’ to tell you the specific story they want. They telegraph truths to their teammates and sell stories to their opponents and referees. A one-two is one kind of collaboration. It rests on communication. It is a deeply human enterprise. \nArtist biographies: \nJohn Dieterich is an Albuquerque-based guitarist\, improviser\, composer and soccer player.  Since 1999\, John has been a member of the rock band Deerhoof. John is also involved in many musical collaborations\, including Gorge Trio\, Endlings (with Raven Chacon)\, Dieterich & Barnes (with Jeremy Barnes)\, and The Hand to Man Band\, and has initiated art collaborations with Chilean visual artist Marcos Sanchez and Los Angeles artist and media studies scholar Carlin Wing. \nCarlin Wing is a Los Angeles based artist\, educator\, and media scholar. Her current book project\, Bounce: A History of Balls\, Walls\, and Gaming Bodies\, follows an array of bouncing balls through the histories of electronic and non-electronic games\, across the spectrum of play\, game\, and sport\, and into the domains of physics\, material science\, animation\, and computing. The book is part of Hitting Walls\, an iterative project made with a wide range of media that uses ball-wall games as a point of departure for approaching interwoven histories of industrialization\, colonization\, and global spectacle. She is an Assistant Professor of Media Studies at Scripps College. \nCuauhtli is a painter and muralist. He has painted murals\, planted gardens\, and made community spaces in Los Angeles for 15 years. \nLeopoldo Peña was born in Michoacán\, México and has lived in Los Angeles since 1992. Currently\, he is a Ph.D. candidate in the Department of Spanish and Portuguese at University of California\, Irvine. He also works as a freelance photographer/language educator and on personal photo projects and spends most of his free time with his son and daughter. His photographic work is centered on two themes: immigration and modern environment. He works on long-term documentary projects with an emphasis on cultural performance. His environmental work seeks to accentuate a human-intervened environment. His work has been published in Boom California\, La Jornada\, StreetNotes\, La Opinión\, Al Borde\, Derive\, Grey Magazine\, Retina\, NACLA: Report on the Americas\, B/W Magazine and El Tequio. \nCorey Fogel (b. 1977) is a drummer and artist currently living in Los Angeles\, CA.  His practice is based in momentary encounters\, often involving the intersection of sounds\, objects\, textiles\, foods and frequently include other musicians and artists.  Fogel engages the viewer to considering sound as a medium on par with paint and cellulose\, a constant in our daily lives. Through his work he challenges us to consider the contexts in which we create\, store and understand sound. Fogel’s 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\, and REDCAT; Los Angeles. 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. Fogel also performs and composes in many rock\, jazz\, noise\, folk\, and chamber music ensembles. In addition to touring and recording internationally\, Fogel has been a member of groups: Julia Holter\, Missincinatti\, The Mae Shi\, Gowns\, Cryptacize\, Barbez\, Monstro\, The Curtains\, Learning Music\, Nowcloud\, Dominique Leone\, 18 Squared. Corey is currently working on his PhD in UC Irvine’s Integrated Composition\, Improvisation\, and Technology (ICIT) program.
URL:https://www.h-r.la/event/one-two/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2018/07/One-Two-3.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180824
DTEND;VALUE=DATE:20180905
DTSTAMP:20180821T230019Z
CREATED:20180813T012830Z
LAST-MODIFIED:20180821T230019Z
UID:3863-1535090400-1536040799@www.h-r.la
SUMMARY:A Motorbike Sunbathes on a Patch of Plastic Turf
DESCRIPTION:Opening Reception: August 24\, 6-10pm\nExhibition Dates: August 24—September 3\, 2018\nGallery Hours: Tuesday—Sunday\, 12—6pm \nA Motorbike Sunbathes on a Patch of Plastic Turf is a series of videos\, installations and sculptures by Berlin-based Tra My Nguyen and London-based Annie Mackinnon. Drawing upon family and the artists’ Vietnamese and Chinese backgrounds\, the works focus upon identifying connections\, disconnections and nostalgia surrounding commodities within the tangling nexus of hyper-consumption. \nTra My Nguyen’s work examines motorbike culture in Vietnam\, examining it from both a Western and local standpoint. Stemming from childhood memories riding in Vietnam\, to her mother selling her motorbike to move to Germany\, the motorbike becomes symbolic of freedom to many locals. This is in contrast to Western tourist’s fascination and fetishisation\, where the image of an overstocked Vietnamese Motorbike is perceived almost as novelty. \nAnnie Mackinnon explores the idea of lying products and marketing lies: promises of reconnecting with nature through purchasing North Face Jackets. Through repurposing discarded outdoors gear into products which ‘connect you with nature’\, the videos and installations slip between nature documentary and interactions with quasi functional designed objects. Interview scenes with her Mother who grew up with nine siblings in rural China\, explore the transformation from having no conceptualisation of ‘nature’ beyond basic survival\, to an increasingly materialistic shift\, where her Grandma now parades diamanté jackets in fashion shows in her old people’s home.
URL:https://www.h-r.la/event/a-motorbike-sunbathes-on-a-patch-of-plastic-turf/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2018/08/unnamed-1.png
END:VEVENT
END:VCALENDAR