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X-WR-CALDESC:Events for Human Resources
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DTSTART;VALUE=DATE:20220503
DTEND;VALUE=DATE:20220506
DTSTAMP:20221012T144514Z
CREATED:20220420T205500Z
LAST-MODIFIED:20221012T144514Z
UID:6758-1651557600-1651730399@www.h-r.la
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:20220507T180000
DTEND;TZID=America/Los_Angeles:20220527T210000
DTSTAMP:20230221T014417Z
CREATED:20220425T202753Z
LAST-MODIFIED:20230221T014417Z
UID:6764-1651946400-1653685200@www.h-r.la
SUMMARY:Jeremy Toussaint-Baptiste: I Would Prefer Not To (Stay Cool)
DESCRIPTION:Gallery Hours: Wed-Sun noon-6PM\nWe highly recommend emailing everythinginaaair@gmail.com to make an appointment to view the exhibition.\nThe installation employs Amacher’s work on “psychoacoustics” alongside “acousmaticism” (psychoacousmaticism) through the lens of Herman Melville’s short story Bartleby\, The Scrivener. Considering Herbert Marcuse’s notion of the “Great Refusal” as an indictment of emergent military-cum-consumer technology being weaponized against citizen-civilian populations\, it provides a quiet blueprint for protecting oneself from such phenomena. I Would Prefer Not To (Stay Cool) makes deliberate misuse of a decommissioned military-issue Long Range Acoustic Device\, or LRAD*\, (specifically\, LRAD 500x)\, its ability to transmit sound\, pre-recorded or live\, is baffled by placing six inverted riot shields\, mounted to oscillating fans in front of it. These inverted shields not only deflect the sound from a potential aggressee\, but their inversion also refracts the sound back to its source with the same intensity. The placement of the shields on indeterminately oscillating fans also physicalizes the sentiment of cool\, steely refusal put forth by Bartleby’s repeated utterance\, “I Would Prefer Not To\,” enacting a chance-operation in which these “refusals” go in and out of phase. The project was funded\, in part\, by a Foundation for Contemporary Arts Emergency Grant.\n*Often referred to as “sound cannons\,” LRAD’s have been deployed by police forces across the United States\, including NYPD\, as a “non-lethal” sonic weapon against civilian populations engaged in peaceful protest as far back as 2004.\nClosing Performance and Conversation\nWednesday\, May 25\, 7PM\n\nPerformance by Jeremy Toussaint-Baptiste\, followed by a conversation between the artist\, Jennifer Doyle and Gelare Khoshgozaran.\n\nJeremy Toussaint-Baptiste\, Get Low (The Fall / The Drop)\, 2021\n\nJeremy Toussaint-Baptiste (b. 1984\, Baton Rouge\, LA) MFA in Performance and Interactive Media Arts from Brooklyn College. He currently lives and works in New York\, NY and Tucson\, AZ.\n\nSelect exhibitions include: “Set It Off\,” ICA @ Virginia Commonwealth University and 1708 Gallery\, Richmond\, VA (2021)\, “Devo (Listenin’ Out The Top Of Ya Head)\,” Berlin Atonal\, Berlin\, DE (2021)\, “Pendulum Music: An Arrangement for Four Performers and Geodisic Dome\,” MoMA PS1\, Queens\, NY (2018); “Club\,” Performance Space New York\, New York\, NY (2018); “Evil Nigger: A Five Part Performance for Julius Eastman\,” The Kitchen\, Brooklyn\, NY (2018); “Study Of ‘Study Of Three Heads’\,” Philadelphia Museum of Art\, Philadelphia\, PA (2018); “Evil Nigger Part IV and Evil Nigger Part V\,” Issue Project Room\, Brooklyn\, NY (2017); “Who Needs To Think When Your Feet Just Go+ Never Not Doing\,” The Studio Museum in Harlem\, New York\, NY (2016).\n\nSelect awards and residencies include: Camargo Foundation Core Program Fellow (2022)\, Bemis Center for Contemporary Arts Sound Artist-In-Residence (2021)\, Bessie Award for Outstanding Music Composition and Sound Design (2018); Issue Project Room Artist-in-Residence (2017); Jerome Foundation Airspace Residency at Abrons Arts Center\, New York (2019); Rauschenberg Residency 381 (2019). He is also a founding member of the performance collective Wildcat!.\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. The series was supported by a Mike Kelley Foundation Grant.
URL:https://www.h-r.la/event/jeremy-toussaint-baptiste-i-would-prefer-not-to-stay-cool/
CATEGORIES:exhibition
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