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: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
BEGIN:DAYLIGHT
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
TZNAME:PDT
DTSTART:20250309T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20251102T090000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240802T000000
DTEND;TZID=America/Los_Angeles:20240804T235959
DTSTAMP:20240818T004934Z
CREATED:20240723T180601Z
LAST-MODIFIED:20240818T004934Z
UID:8362-1722556800-1722815999@www.h-r.la
SUMMARY:Secret Magic Show
DESCRIPTION:Anna Hrund Másdóttir\, Rollin Hunt\, and Aimee Goguen \n\n\n\nopening reception: Friday\, August 2\, 6 – 9pmopen hours: Saturday and Sunday\, August 3 – 4\, 12 – 6pm
URL:https://www.h-r.la/event/secret-magic-show/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/07/Secret-Magic-Show.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240817T000000
DTEND;TZID=America/Los_Angeles:20240908T235959
DTSTAMP:20240821T225741Z
CREATED:20240801T205057Z
LAST-MODIFIED:20240821T225741Z
UID:8367-1723852800-1725839999@www.h-r.la
SUMMARY:There is almost not an interval
DESCRIPTION:Theresa Hak Kyung Cha “Mouth to Mouth” (1975) black and white video\, sound\n\n\n\nOpen hours 12-6pm Fridays\, Saturdays\, and Sundays and by appointment all other times \n\n\n\nRenee GladmanWill RawlsTheresa Hak Kyung ChaAllison ParrishJJJJJerome EllisSarah RaraLuke Fischbeck \n\n\n\n\n“People will never believe you are ‘without events.’ And that is why decay is slow\, and why it is not devastation.” (1) \n\n\n\n\nIntervals are what a threshold makes\, a here and there\, (held) in suspension\, a distinction (telling the difference)\, undifferentiated (holding difference)\, without separation\, a crossing\, where limits meet\, anticipation (a margin to move in)\, body horror (I’m an alien)\, reperforming events\, switching (logic)\, binary\, alternating\, lenticular\, talking back\, the transformation of silence into language and action\, some temporalities (for sure)\, stop motion\, flicker\, duration\, bracketing\, the suspension of judgment\, the withholding of assent\, the preconditions\, the prior logic\, intersection\, coincidence\, suture\, stitch\, montage\, cut\, rupture\, glitch\, break\, gap\, clearing\, hesitation\, some kinds of waiting\, losing control\, building community\, falling in love\, between thought and speech\, between speech and act\, between action and listening\, between memory and futurity\, between what’s in my head and what’s in yours\, side by side\, boundary objects\, parallel selves\, the fantasy of continuity\, a movement between the pieces\, fragments of actual energy\, time away\, life\, a long take\, notes in a chord\, frames in a film\, unnatural bridges. “Allegory\, here\, is material\,” Ian White wrote: “An interval\, occupied.” (2) \n\n\n\n“Intervals”\, Trinh T. Minh-Ha observed\, don’t “bring about any tremor like ‘passion\,’ ‘death\,’ or ‘love.’” It’s thanks to intervals\, however\, that “a direct relation is possible: a relation of infinity assumed in works that accept the risks of spacing and take in the field of free resonances—or\, of indefinite substitutions within the closure of a finite work.” (3) \n\n\n\nA barely-perceptible interval is space enough for holding movement between pieces that have been cut apart or never really touched\, whose relation is latent or obscured. We will approach “intervals” as tainted binaries or boundaries: before and after\, bodies and spaces\, events and images\, internal and external\, spoken and thought\, original and translation. Forms to explore include traveling in time\, interpolating (imagined continuities)\, waiting (pausing\, anticipating)\, transducing (moving across one medium into another)\, flickering\, hovering over\, pivoting on\, or crossing of thresholds\, pushing sequences out of order\, ambivalence\, and self-contradiction. Intervals show a special kind of coherence across duration\, distance\, or difference. Intervals are the mechanics of memory and representation\, the choreographies of reconstruction\, where fiction and testimony are glued together to assemble critical\, speculative\, fabulous histories.  \n\n\n\nWill Rawls “Sister Spell” (video still)\n\n\n\nWill Rawls “Sister Spell” (video still)\n\n\n\nSarah Rara “Untitled (Door)” 2024 (video still)\n\n\n\nSarah Rara “Untitled (Door)” 2024 (video still)\n\n\n\n\n“There is almost not an interval. For a very long time everybody refuses and then almost without a pause almost everybody accepts. In the history of the refused […] the rapidity of the change is always startling.” (4) \n\n\n\n\nThe whiplash of recognition! \n\n\n\n\n\n\n\n(1) Renee Gladman\, The Ravickians(2) Ian White\, “What is Material?”(3) Trinh T. Minh-Ha\, “Beware of Wolf Intervals”(4) Gertrude Stein\, “Composition as Explanation”
URL:https://www.h-r.la/event/there-is-almost-not-an-interval-2/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/08/mouth-to-mouth_low.jpg
END:VEVENT
END:VCALENDAR