BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Human Resources - ECPv6.17.3//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
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:20220313T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20221106T090000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
TZNAME:PDT
DTSTART:20230312T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20231105T090000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
TZNAME:PDT
DTSTART:20240310T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20241103T090000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20230701T120000
DTEND;TZID=America/Los_Angeles:20230706T180000
DTSTAMP:20240826T163356Z
CREATED:20230615T172735Z
LAST-MODIFIED:20240826T163356Z
UID:7537-1688212800-1688666400@www.h-r.la
SUMMARY:Adrian Culverson: Smorgasbord
DESCRIPTION:Gallery hours: Noon-6:00pm \n\n\n\nSmorgasbord is a collection of paintings and sculptures that revolve around abstracted formal investigations of colour\, shape\, and play. Hand-sewn fabric compactions augmented and calcified with heavily applied color. Bizarrely deformed three-dimensional structures with rough and sandy honeycombed surfaces resembling computer generated imagery\, a motion graphic still-life. Large swaths of smooth colorful frostings\, seemingly dipped like hardened candy shell\, an assortment of stuffed shapes cascade and pose as evolved protuberance. A short explosive burst with unknown musculature\, like a cartoon super highway or beautiful puff-cloud. – Aimee Gougen \n\n\n\nAdrian Culverson grew up in Claremont\, a suburb of Los Angeles\, California. Culverson graduated with Honors from Art Center College of Design with a BFA in Fine Art and a Minor in Multimedia\, and she graduated from Claremont Graduate University with an MFA. Culverson has been published in several Art journals including Scribendi and Venice Beach and has shown her work in many group shows. Major influences to Culverson’s work include reading\, travel and most importantly the art of staying still and watching people and life unfold. Currently\, Culverson teaches beginning drawing at a local community college and works as an artist’s assistant. Culverson’s pieces involve many mediums from sewn structures to painting to photography. Culverson is based in Los Angeles. (Instagram: @aculverson)
URL:https://www.h-r.la/event/adrian-culverson-smorgasbord/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2023/06/Adrian-Culverson-HR-snip.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20230713T000000
DTEND;TZID=America/Los_Angeles:20230719T235959
DTSTAMP:20240818T010151Z
CREATED:20230706T054041Z
LAST-MODIFIED:20240818T010151Z
UID:7572-1689206400-1689811199@www.h-r.la
SUMMARY:ANEMOIA
DESCRIPTION:Gallery hours: 12 – 6pm \n\n\n\n“Our culture is defective. Perhaps you mean that we ought to study the problem and look for a solution. Perhaps we could\, if it wasn’t so late. Altogether too late.” [The Sacrifice – Andre Tarkovsky]  \n\n\n\nAnemoia is a group exhibition that addresses the climate crisis through the concept of nostalgia as a future oriented emotional experience. This exhibition brings together the diverse practices of five artists: Andrea Nhuch\, David Daigle\, Sahar M. Abadi\, Niusha Barahimi and Taylor Griffith. Makeshift hybrid plants resembling a post-human garden\, video projections\, photographs and assemblage propose a dystopian future landscape. The dialog between the works invites reflection on the complex interplay between humanity\, nature\, and the climate crisis. \n\n\n\nAnemoia\, a term denoting nostalgic feelings for a time or place one has never experienced\, finds new meaning within the context of this exhibition. It serves as a reflection on our regretful detachment from nature\, symbolizing the growing divide between human and nature. Ultimately\, Anemoia stands as an elegy for a lost\, decaying future\, capturing the anxiety of living amidst technologically advanced ruins of our dreams. \n\n\n\nAbadi’s multi-channel video\, Where we were\, suspends the viewer in a loop. The video uses aerial perspective to hover upon ancient ruins\, a smooth pattern of decay and dissolve. The choreography of space\, objects and ideas poetically addresses themes of time\, as history and duration\, and the visual and spatial codes of a civilization. One channel of the video mines the visual language of numbers\, simultaneously reminding that history repeats itself\, that this is a pattern that repeats itself throughout history. The sound element of the video adds a thematic complexity through describing the cycle of life and death as well as humanity’s tendency for war and destruction.Nhuch’s installation\, Speculative Now is a series of sculptures centered around the strict use of materials to question the relationship between the natural and artificial. The collection of works are presented as a hybrid conceptual forest that has mutated and is resilient to human intervention. Man-made materials\, such as sheet metal\, plastic\, glass\, and rubber latex\, act as both contaminants and prosthetics for found wood\, tree trunks and twigs. Nature and culture are entangled in a material symbiosis in an attempt to speculate about post-human landscape aesthetics.Daigle’s piece titled Petrol is an inflatable nightmare of a melted gasoline pump. In a world where we prioritize our dependency on fossil fuels\, we risk the damage of these fuels permanently altering our own bodies. The unexpected growth of hair\, teeth and even eyeballs from the work refer to genetic mutations caused by chemical leakage\, explosion and pollution. \n\n\n\nGriffith’s video\, Staring Into The Abyss of an Archipelago\, offers a captivating juxtaposition between the deep ocean and outer space\, using two distinct perspectives. It was filmed both in the waters off the Galapagos Islands and on the Channel Islands\, creating a space for contemplation of the non-human world\, often regarded as the last frontiers of exploration. The footage was captured using a low-light camera\, surpassing the sensitivity of the human eye with an impressive 4 million ISO capability. In this way\, the work invites viewers to reflect on the depths of the ocean and the vastness of space\, reminding us of the unexplored abysses that lie beyond our current understanding and perceptions of reality. \n\n\n\nBarahimi’s series titled\, Photosynthesis\, are large format analog photographs which deal with the concept of waiting and change. The works presented in this exhibition draw on the political economy of waiting\, utilized by control mechanisms to direct people’s movement\, their desire and hope. Photosynthesis is a biological process that converts light energy into chemical energy\, the same way in the film photography light falls into the silver halides to produce an image: Waiting for the imperceptible changes to make a difference. \n\n\n\nIG: @thenhuch\, @daviddaigle_studio\, @sahar.m.abadi\, @niusha.barahimi\, @510tay \n\n\n\nFor media inquiries\, interviews\, or further information\, please contact:Shiva Abadishiva.maba@gmail.com(213) 819-2669
URL:https://www.h-r.la/event/anemoia/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/07/where-we-were-still-2-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20230721T000000
DTEND;TZID=America/Los_Angeles:20230730T235959
DTSTAMP:20240826T163306Z
CREATED:20230711T165704Z
LAST-MODIFIED:20240826T163306Z
UID:7584-1689897600-1690761599@www.h-r.la
SUMMARY:We came to help you carry the sun
DESCRIPTION:(Image: Sydney Acosta\, Diseased\, Do Not Disturb\, Unsettling Feeling\, Rising Level\, 2022. Charcoal and pastel on paper\, 18 x 24 inches. Audio: Cherisse Gray\, “Waxing & Waning\,” 2023.)\n\n\n\nGallery hours: 12 – 6pmOpening: Friday\, July 21\, 7 – 9pmPoetry reading by Jennifer Tseng and performance by Christos Tejada at 8pm \n\n\n\nWaxing & Waning \n\n\n\nenveloped letterlost in transitcall her “Death”\,a return to pure surface \n\n\n\nbefore\, she was a messagecoded & overgrownbut today\, she’s envelopefour white corners\, paperthin like church wafers which pass from hand to hand to hand \n\n\n\ndrunk in circulationgraze at the body of Christchew on the symbol\, this letterso plum\, illegible and veiled \n\n\n\nHer passage transforms all shadows\,but we came to help you carry the sun \n\n\n\nOur degradation as mediation—and Legacy is a disease. \n\n\n\n–Cherisse Gray 2023 \n\n\n\n \n\n\n\nSydney Acosta (b. 1987\, Yanaguana aka San Antonio\, TX) lives and works in Los Angeles. She received her MFA from UCLA in 2021. Recent exhibitions include Groundwork\, Dreamsong\, Minneapolis\, MN; When The Stones Clash\, Michael Benevento\, Los Angeles\, CA; The Death of Beauty\, Sargent’s Daughters\, Los Angeles\, CA; of the world (with Luz Carabaño)\, Castle\, Los Angeles\, CA. She has been supported by the MacDowell Fellowship\, the Helen Frankenthaler Foundation\, the LA Lakers emerging artist grant and the American Austrian Foundation. Her current exhibition at Kristina Kite Gallery Filled With Song explores questions around mixed subjectivities\, vanitas\, the miraculous and death– recurrent obsessions that also fill the collaboration with Jennifer Tseng for HRLA.  \n\n\n\nChristopher Baliwas’ central practice of photography is often taken over by other mediums such as sound\, and sculpture. He is concerned with legacy\, rudimentary processes/practice\, and structural rigidity and produces work that engages with these themes as an attempt to inspire alternative senses of the world. Under the alias\, reallynathan\, Baliwas independently released the album “O” in 2020\, and co-produced the mix series “Raise the Flag:” on NTS Radio. He lives in Los Angeles with his partner\, Andrea Sipin\, their first born\, Naima\, and their second child who is on the way. \n\n\n\nCherisse Gray (b.1990\, Manila\, Philippines) is an interdisciplinary artist living and working in New York City. She received her MFA in Sculpture at UCLA and her BFA in Sculpture & Linguistics from Virginia Commonwealth University. Gray works across mediums through installation\, performance\, sculpture\, and painting. She liberally utilizes the syntax of contemporary visual culture through the playful adaptation of found objects\, reappropriated images\, hired actors\, and the performance of classical archetypes. At this current juncture in time– her work investigates questions of otherness\, porosity\, boundaries vs. barriers\, and the phenomenology of beauty by way of architecture\, design\, and assemblage. \n\n\n\nChristos Tejada (b. 1989\, Los Angeles\, CA) multimedia artist & tattooist combines ritual and performance to explore thresholds of the visible and invisible expressed through the body. Performing since 2015 through their audio-visual work\, Tejada’s practice creates sensory experiences of identity symbolism with a focus on integrating the spiritual with the physical. Recent commissioned performances: Our Lady of Sorrows curated by Ron Athey in 2022 at Coaxial Gallery and Neptune’s Closet curated by Jamie Ross in 2023 at William Andrews Clark Memorial Library. Most recently\, in Athens\, Greece\, April 2023 under the guidance of Ron Athey\, Frederica Dauri\, Michele Occelli\, and Diana Pornoterrista\, Darkness Visible produced & curated by Hermes Pittakos\, the artist participated in a nine-day immersive with a focus on esoterica\, hypnosis\, automation\, somatic work\, ritual\, post-porn\, flesh-modifying techniques\, and unadulterated bliss. Tejada\, with the intention of diving deeper\, explores the bridge between generations/destructions and the erotic dimension of communal experiences. \n\n\n\nJennifer Tseng writes & teaches across genres. She is interested in collaborating with existing texts & with makers in other disciplines. Her work with Sydney began at MacDowell & raises ongoing questions about the tension between the need to tell the truth & the right to opacity; lyric & narrative powers of text & image—alone & together; & the sociality of thinking & art making. Such questions intersect with & complicate questions of multiplicity\, hybridity\, points of view & the ways in which time\, death & culture impact our lived experiences. Tseng’s most recent book\, Not so dear Jenny\, poems made with her late father’s English letters\, won the Juniper Prize for Poetry & will be published by University of Massachusetts Press in spring 2024. Her work has been translated into Chinese\, Danish & Italian. She is a professor of literature & creative writing at University of California\, Santa Cruz.
URL:https://www.h-r.la/event/we-came-to-help-you-carry-the-sun/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2023/07/carry-the-sun.png
END:VEVENT
END:VCALENDAR