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DTSTART;TZID=America/Los_Angeles:20251205T000000
DTEND;TZID=America/Los_Angeles:20251214T235959
DTSTAMP:20260826T143310
CREATED:20251104T214437Z
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SUMMARY:Acacia Marable: trash flag
DESCRIPTION:Found matter elicited a certain detachment from the object itself. It could be sold for asong\, traded\, or given away but also could be returned to the streets\, to the land\, or to thejunk pile. Sometimes it was left to ripen\, and sometimes it was just left.—Kellie Jones\, South of Pico: African American Artists in Los Angeles in the 1960s and 1970s (2017) \n\n\n\nOver the course of several months\, Acacia Marable gathered discarded objects and slowlytransformed them through assemblage\, reconfiguration\, and sculptural improvisation. Thisprocess was at once devotional and absurdist: he cleaned\, sealed\, and\, in oil\, painted each itemred\, white\, and blue—the palette of nationalism\, shared identity\, and soft power. Ranging frombanana peels to a grand piano\, the trash-objects were primarily gleaned from the streets betweenMarable’s house and studio or generated by the artist himself. Across these sculptural paintings\,the American flag repeats: at times it is reproduced in full\, at others it is fragmented\, skewed\, orreduced to its basic compositional elements\, rendered abstract. \n\n\n\ntrash flag builds on the Afro-Atlantic legacy of Yard Shows\, intricate installations of scavengeditems created by Black Southerners primarily in the wake of the Civil Rights movement.Through these exhibitions\, objects deemed valueless or otherwise obsolescent were transfiguredinto expansive assemblages with spiritual\, subversive\, and testimonial significance. Through therepetitive\, ritualistic acts of remaking and undoing the flag across the refuse of daily life\,Marable creates space for objects to belong in ways they were not intended to. Rupture isvisible—or possible—only in relation to pattern\, to a recursive act. Here\, broken\, cast-off\,jettisoned\, discarded matter is reclaimed in the form of a vast\, all-over painting\, its multifacetedsurface at turns coalescing and dissolving its primary loaded symbol. \n\n\n\nOpening Reception\, December 5  \n\n\n\n· 6–9 PM \n\n\n\nArtist Walkthrough & Cookout\, December 14• Walkthrough begins at 1 PM• Cookout from 2 PM until closing \n\n\n\nGallery HoursWednesday–Sunday · 12–6 PM
URL:https://www.h-r.la/event/acacia-marable-trash-flag/
CATEGORIES:exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20251101T000000
DTEND;TZID=America/Los_Angeles:20251116T235959
DTSTAMP:20260826T143310
CREATED:20250909T161219Z
LAST-MODIFIED:20251113T204652Z
UID:9071-1761955200-1763337599@www.h-r.la
SUMMARY:CAREROTICS: on giving and taking
DESCRIPTION:Panteha Abareshi at Human Resources Los Angeles (HRLA) \n\n\n\nPress Preview: Friday\, October 31\, 2025\, 7–9pmExhibition Opening: November 1\, 2025\, 12–6pm (gallery hours)\, 7–9pm (opening reception) \n\n\n\nGallery Hours: Wednesday–Sunday\, 12–6pm or by appointment \n\n\n\nLOS ANGELES —  Human Resources Los Angeles (HRLA) presents CAREROTICS: on giving and taking\, a solo exhibition by Panteha Abareshi that examines how the disabled body is relegated to the fringes of visibility and yet made into a spectacle\, bringing a complex duality to the nature of disability as performance. For Abareshi\, the absence of autonomy makes room for fetishism to blossom\, as the disabled individual is made into a tool for the able-bodied viewer to use as linguistic metaphor and/or as sexualized fetish object. In their work\, the disabled body becomes a vessel for the taboo corporeal fears and desires of the able-bodied audience.  \n\n\n\nPanteha Abareshi’s artistic practice is rooted in their existence as a chronically ill/disabled body contending with multiple medical illnesses\, at the foundation of which is sickle cell zero beta thalassemia— a genetic blood disorder that causes debilitating pain and bodily deterioration\, both of which increase with age. Their work explores the complexities of living within a body that is highly monitored\, constantly examined\, and made to feel like a specimen\, critically interrogating the sick/disabled body’s place within medical institutions.  \n\n\n\nCAREROTICS: on giving and taking is curated by Jennifer Doyle\, Caroline Ellen Liou\, and Jeanne Vaccaro. Major support for the exhibition is provided by the Mike Kelley Foundation for the Arts and the English Department at the University of California\, Riverside. We are also grateful to Miguel Barragan and his students at ASU Herberger Institute for Design & the Arts\, and to Alpha Medical Resources. \n\n\n\nExhibition Programs \n\n\n\nExhibition Walkthrough with Panteha Abareshi and Jeanne VaccaroSunday\, November 2\, 2025 | 2–4pm | Human Resources\, Los Angeles (HRLA) \n\n\n\nReading by Panteha Abareshi\, moderated by Johanna HedvaSaturday\, November 8\, 2025 | 7–8:30pm | Human Resources\, Los Angeles (HRLA)Panteha Abareshi shares the intimate\, the hyper-personal\, and the crip-theoretical in this reading of unreleased writing. Beginning with fictive pieces of an autobiographical nature\, the reading will also include the recitation of the poetics featured in the exhibition\, as well as new written work around the pieces presented in CAREROTICS: on giving and taking. Followed by a Q&A with writer\, artist\, and musician Johanna Hedva. \n\n\n\nFetish Material and Pornographic Screening and LectureFriday\, November 14\, 2025 | 7:30–9pm | Whammy! Analog Media\, 2514 Sunset Blvd. Los Angeles\, 90026Join us for a screening/sharing of pornographic and fetishistic materials collected and examined by Panteha Abareshi over the course of their research. The artist will lead a lecture-based discussion around the sick/Crip body’s representation in these explicit materials. This program will be an exploration of how the disabled body is made into and used as [sex] object\, and an interrogation of consent\, control\, pleasure and power through a close examination of a slew of porno vids\, fetish pics and kinky JPEGs.  Please note: 𝗧𝗛𝗜𝗦 𝗣𝗥𝗢𝗚𝗥𝗔𝗠 𝗜𝗦 𝗡𝗦𝗙𝗪 & 𝟭𝟴+\, bear in mind that we will be watching and discussing explicit pornographic material\, and some of these may be difficult and challenging to view. This program is first and foremost a safe space of non-judgement\, but also one dedicated to pushing into what is most taboo\, unknown and uncomfortable as a means of expanding how we know\, see and image the sick/Crip subject. \n\n\n\nExhibition Walkthrough with Panteha Abareshi and Ron AtheySunday\, November 16\, 2025 | 2–3pm | Human Resources\, Los Angeles (HRLA)
URL:https://www.h-r.la/event/carerotics-on-giving-and-taking/
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250914T000000
DTEND;TZID=America/Los_Angeles:20250921T235959
DTSTAMP:20260826T143310
CREATED:20250903T044751Z
LAST-MODIFIED:20250913T152420Z
UID:9059-1757808000-1758499199@www.h-r.la
SUMMARY:Howl
DESCRIPTION:a collective unsilencing\, a divine portent\, a wail\, an omen\, a refusal to cower in the face of attempted erasure\, a call to our ungovernable animality\, a convening of artists using their voices and creative agency to resist intimidation and summon alternative worlds where transness is holy and bodily autonomy is sacrosanct\, a portal built of rage and grief and glimpses of euphoria\, an experiment in collaborative methods\, kinship\, and open process where shared labor becomes a form of care and the gallery becomes a staging ground for the battles we did not ask to fight \n\n\n\nFULL PRESS RELEASE \n\n\n\nfeaturing: Nicki Green\, Ashton Phillips\, Edgar Fabian Frias\, Badly Licked Bear\, Umi Hsu\, Sadie Greyduck\, Leslie Foster\, Salvador De La Torre\, Nina Sarnelle\, Alystair Rogers\, Wesleigh Gates\, Beatrice Gosse\, Tanner Pfeiffer and 8TPS\, Jynx Prado\, Elizabeth Frances Folk\, Johanna Hedva\, Pau Pescador\, and Luce de Lire  \n\n\n\nGallery hours noon-6pm\, Thursday September 18-Sunday September 21  \n\n\n\nSchedule of Events \n\n\n\nSeptember 14th \n\n\n\n2-3pm Procession of Divine Portent joule bricks from AutomataArts (504 Chung King Rd\, Los Angeles\, CA 90012) to Human Resources \n\n\n\nSeptember 18th \n\n\n\n7-9pm Opening of Howl with live performance by Umi Hsu at8pm and flash tattoos from Salvador de la Torre 7-9pm \n\n\n\nSeptember 19th  \n\n\n\nMobile Sewing Station activation by Badly Licked Bear during gallery hours  \n\n\n\n8pm Los Angeles premiere of Breath Work by Nina Sarnelle \n\n\n\nSeptember 20 \n\n\n\n2-4pm Mobile Sewing Station activation and participatory patchmaking session with Elizabeth Frances Folk \n\n\n\n5-6pm Open.Rehearsal with Tanner Pfeiffer and 8TPS choir \n\n\n\n7- 9pm Live performances and readings\, including choral performance by Tanner Pfeiffer and 8TPS choir; an original movement piece by Beatrice Gosse; a site-specific grappling hook performance by Sadie Greyduck; non-linear lecture performance on trans horror by Wesleigh Gates; Xina Xurner. \n\n\n\nSeptember 21 \n\n\n\n2 – 3pm artist panel on strategies for resisting silencing anderasure and cultivating resiliency in an age of fascism with Salvador de la Torre andEdgar Fabian Frias \n\n\n\n3 – 4pm: tactical magic workshop by Edgar Fabian Frias \n\n\n\ncurated by Ashton S. Phillips
URL:https://www.h-r.la/event/howl/
CATEGORIES:exhibition,performance,reading,seminar/workshop
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250809T000000
DTEND;TZID=America/Los_Angeles:20250824T235959
DTSTAMP:20260826T143310
CREATED:20250710T223751Z
LAST-MODIFIED:20250724T180714Z
UID:8967-1754697600-1756079999@www.h-r.la
SUMMARY:Arthur Cooke: Saudade Into Light
DESCRIPTION:Saudade Into Light is an exhibition of Arthur Cooke’s (b.1996-2020) prolific image-making and multidisciplinary photography practice. The presentation of works at Human Resources includes a selection of his artist prints\, self-published books\, video works\, hand sewn clothing and fabric prints. Alongside this impressive archive\, a selection of photographs have been posthumously printed by his family to be shown in the exhibition.  \n\n\n\nBorrowing its name from one of his books on view\, the show’s title Saudade Into Light\, incorporates the Portuguese word “saudade” – a word that is untranslatable in English for its complexity of feeling but references what Cooke writes as “…the love that remains when someone is gone.” In the description of his book with the same name\, which explores family archives\, Cooke continues “…this project consists of images and words based around the realization of ‘a missing\,’ in this case a person\, and the stages of recognizing\, coping and discovering through this sense of a void.” As the family of the artist organizes this exhibition\, the title assumes new meaning – through honoring and curating Cooke’s brilliant body of work\, they are tasked with finding the light within grief. \n\n\n\nAs the title suggests\, Cooke’s practice is steeped in an intuitive poeticism. His photographs read like visual poems\, mixing analogue and digital photography\, then further manipulating the photographs in post-processing\, either through effects or application of text. Through this process of editing and re-editing\, Cooke would confuse the image at every layer\, abstractly interrogating photography as a form. His photographs were often reused in his video and clothing works\, continuously changing the format of the medium he was working in.  \n\n\n\nIn an enduring search for meaning and connection in the digital age\, his work remains steadfast in its intention of capturing and exploring specific feelings through image. This ethereal sensibility characterized his digital practice – applying a combination of layering\, blurring and convoluting qualities to images he had previously taken. Oftentimes\, the original subject is natural\, like a rose\, with the photographic image then transplanted into the digital space\, removed from its logical environment and obscured into a symbol. The work becomes something that transcends its natural place and lives on\, forever changing.  \n\n\n\nBorn in Venice\, California\, Cooke formed his artistic vision at an early age. Cooke began working with images as abstractions at seventeen in class at Venice Arts\, a photography mentorship program for low-income youth. He was then awarded the prestigious National YoungArts Silver Award in photography in 2014. He went on to be accepted to NYU Tisch School of the Arts with the largest scholarship ever given in the Photography & Imaging program. He would graduate from the university in 2018 and moved back to Los Angeles shortly after. At the time of his passing\, he was working on several video and hand sewn clothing works that he was excited to debut once the pandemic ended.  \n\n\n\nHe is remembered by all who have encountered his work for its strikingly singular and evocative vision. Cooke’s images continue to evolve while staying distinctly his; marked by their foregrounding in a deep and complex emotional landscape and his applied alchemical process of transforming feeling into being through imagery.  \n\n\n\nSaudade Into Light is organized by Nicole Cooke\, Elna Cooke and Michael Cooke. \n\n\n\n \n\n\n\nGallery Hours: Thursday to Sunday\, 12 p.m. to 6 p.m. and by appointment \n\n\n\nOpening Reception: Saturday\, August 9th from 6 p.m. to 9 p.m. \n\n\n\nThe Cooke Family would like to thank: Lee Baxter\, Benny & Irina Chan\, Claire Dorfman\, Roni Feinstein\, Kate Kelley\, Rachael Knotz\, Scott Oshima\, Roxanne Reicheg and Issa Sharp. \n\n\n\nAdditionally\, the Cooke Family would like to thank: Arthur’s friends and those close to the family who have supported this exhibition. \n\n\n\nAbout the Cooke’s: \n\n\n\nNicole Cooke is an LA-based artist\, working in performance\, clothing design and soft sculpture. Sewing live with a Singer sewing machine that she’s converted into a musical instrument\, Cooke has previously performed at Murmurs Gallery and Los Angeles Contemporary Archive. She earned her bachelor’s degree in Design | Media Arts at UCLA. \n\n\n\nElna Cooke is an artist\, seamstress and clothing designer from Cleveland\, Ohio. At eighteen she attended the renowned AndersonRanch Arts Center and went on to earn degrees in art studio and fashion design. For almost two decades she taught fashion design at SMC and FIDM and has currently resumed a practice in oil painting. \n\n\n\nMichael Cooke is an accomplished actor\, writer and musician. Born and raised in New York City\, he studied under the greats; jazz piano with the legendary Walter Bishop Jr. and acting with the acclaimed Peggy Feury. Cooke has worked extensively in theater\, television and film – most notably playing Herb in David Lynch’s Mulholland Drive. 
URL:https://www.h-r.la/event/arthur-cooke-saudade-into-light/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/07/HR-ArthurCooke.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250610T000000
DTEND;TZID=America/Los_Angeles:20250621T235959
DTSTAMP:20260826T143310
CREATED:20250525T184926Z
LAST-MODIFIED:20250624T020917Z
UID:8854-1749513600-1750550399@www.h-r.la
SUMMARY:LA TIME | Matt Savitsky exhibition
DESCRIPTION:Reception: Friday\, June 13\, 5-7pm (Note: HRLA is in the curfew zone\, quite close to the perimeter; curfew starts at 8pm.) \n\n\n\nPerformance: Friday\, June 20\, 7-8pm \n\n\n\nGallery Hours: Wed-Sun 12-6pm & by appointment \n\n\n\nLA TIME uses live performance and video to reveal the space between headlines and lived experience.  \n\n\n\nBy using physical copies of the LA Times front pages\, stripped of images and held up to the Los Angeles landscape\, artist Matt Savitsky creates “picture windows” through which performers intervene in familiar public spaces. Here\, the news becomes a frame for queer expression\, with gestures that range from subtle (such as crossing a construction site) to bold (like stretching 200 feet of red fabric along a line of palm trees on a hilltop). \n\n\n\nStarted in 2021\, the project was developed in response to a lack of public space in contemporary life to grieve the atrocities carried out against our communities and locales. This work holds very special significance as it marks a return to public space after the pandemic and charts Savitsky’s reconnection to his community through performance work. This first staging at Human Resources will feature three of the project’s seven video works. \n\n\n\nThis project was funded by the Foundation for Contemporary Arts Grants to Artist Award\, New York\, 2022. FCA Artist Profile
URL:https://www.h-r.la/event/la-time-matt-savitsky-exhibition/
CATEGORIES:exhibition,performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/05/VideoStill_03-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250502T000000
DTEND;TZID=America/Los_Angeles:20250505T235959
DTSTAMP:20260826T143310
CREATED:20250419T190413Z
LAST-MODIFIED:20250428T164419Z
UID:8737-1746144000-1746489599@www.h-r.la
SUMMARY:other others // rehearsals in the skin
DESCRIPTION:Touch Praxis presents other others // rehearsals in the skin\, a four-day exhibition and programming series held May 2–5\, 2025 at Human Resources Los Angeles. This programming offers a collision of fleshy proximities\, felt theory (Dian Million\, 2009) and porous encounters. other others // rehearsals in the skin brings together artists\, practitioners\, and facilitators to explore how we relate\, connect\, and feel—together. \n\n\n\nImagining curation as a process of community building\, this layered project threads conversations across bodies\, decades and continents\, bringing into contact over 40 (old and new) collaborators. other others considers anti-colonial forms of touch as a method for collectively dreaming Disability justice\, ecological repair\, Palestinian liberation\, and queer futurity. \n\n\n\nRooted in an intersectional feminist “we” (Sara Ahmed\, 2018)\, other others asks: What does it mean to be in ethical contact with one another? How do we move through physical intimacies while navigating the systemic power structures that shape every encounter? \n\n\n\nThe exhibition features tactile\, sculpture\, audio\, interactive and digital works by Genevieve Belleveau\, Lauren Bon\, Vanessa Hernández Cruz\, Nat Decker\, Anne Juren\, Ericka Lopez\, Siphiwe Mbonambi\, Liz Nurenberg\, Ashton Phillips\, Teddy Pozo\, Jaklin Romine\, Laura Stinger and Touch Praxis. \n\n\n\nTouch-based performances will be held on Sunday\, May 4th from 4–6pm\, followed by an evening reception from 7–9pm. These personalized experiences are administered by a 5-person touch ensemble (Serene Bloin\, Jessica Hemingway\, Rashaida Hill\, Rachel Ho\, Nina Sarnelle\, and Selwa Sweidan). Sessions are limited and participants must sign up for a time slot in advance. Each participant will negotiate their interactions and level of contact with the ensemble; this work exists only in your body. \n\n\n\nScreening programs feature works by Basma Alsharif\, Genevieve Belleveau\, mayfield brooks\, Linda Franke\, Mona Hatoum\, Petra Kuppers\, Ericka Lopez\, Emilija Škarnulytė\, Maryam Tafakory\, Ryat Yezbick\, and Rima Yamazaki. \n\n\n\nA zine created for the exhibition collects haptic works by Rebecca Bruno\, Gabrielle Civil\, Megan May Daalder\, Alix Eynaudi\, Tala Khanmalek\, Petra Kuppers\, Courtney Mackedanz\, Kristin McWharter\, Postal Service for the Dead\, heidi andrea restrepo rhodes\, Hannah Rubin\, Cassie Thornton and Kim Upstill and Hana van der Kolk. \n\n\n\nA Palestine solidarity event featuring meital yaniv\, Basma Alsharif\, Mona Hatoum and For Your Viewing Pleasure raises funds for mutual aid in Gaza. \n\n\n\nTouch Praxis is a collective research project led by Selwa Sweidan and Nina Sarnelle exploring touch as a time-based medium and form of co-creative knowledge. The exhibition also includes videos from their archive of embodied interviews with Zena Bibler\, Vanessa Hernández Cruz\, Maeve Devine\, Jessica Hemingway\, Khalia Frazier\, Odeya Nini\, Tyby Reddy\, Jaklin Romine\, Tyra Wigg\, and Kim Ye. \n\n\n\nThe full program of screenings\, readings\, and performances are listed below. \n\n\n\nSCHEDULE OF EVENTS \n\n\n\nFriday May 2Gallery Open 12:00 – 7:00 pm \n\n\n\nSaturday May 3Gallery Open 12:00 – 6:00pmSkin of the Film (screening program) 6:00 – 8:00 pm [event link] \n\n\n\nSunday May 4Gallery Open 12:00 – 3:00 pmIndividual Touch Performances (rsvp required) 4:00 – 6:00 pm [signup link]Reception 7:00 – 9:00 pm \n\n\n\nMonday May 5Gallery Open 12:00 – 7:00 pmSkin Thickens // Touching a Free Palestine (fundraiser) 7:00 – 9:00 pm [event link] \n\n\n\nTuesday May 6Gallery Open by appointment \n\n\n\nFor more information reach out to touchpraxis [at] gmail.com
URL:https://www.h-r.la/event/other-others-rehearsals-in-the-skin/
CATEGORIES:exhibition,fundraiser,performance,screening
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2025/04/otherothers-v3.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250418T000000
DTEND;TZID=America/Los_Angeles:20250427T235959
DTSTAMP:20260826T143310
CREATED:20250325T183215Z
LAST-MODIFIED:20250408T025931Z
UID:8700-1744934400-1745798399@www.h-r.la
SUMMARY:10 DAY CELEBRATION FOR 10 YEARS OF COAXIAL FUNDRAISER
DESCRIPTION:Opening reception: April 18th\, 6-9pmGallery hours: Thu-Sun\, 12-5pm \n\n\n\nJoin us in celebrating the 10 DAY FOR 10 YEARS OF COAXIAL at HR! This 10-day event will feature a group exhibition of work by Coaxial’s past artists-in-residence and nightly programming curated by their beloved friends and community members.  The opening reception on April 18th\, 6-9pm will include performances curated by Boss Witch Productions\, vegan tamales by Coaxial’s Founders Eva and Brock and sounds by DJ Omo. Sliding scale $25-$100\, with all donations going to Coaxial’s Arts Residency Program! Purchase your tickets here.The exhibition will feature work by:Aaron Douglas Estrada Alex Pelly Amina CruzBriana Gonzales Colin Yeo Dakota Noot Derek Holguin Dulce Soledad Ibarra Dust – Stefan Cvitanic Edgar Fabián Frías Erin Demastes Jon Clark Kamau Amu Patton Maralie Armstrong-Rial Maria Maea Melo d Mica Scallion-Ford Micaela Tobin Miko Revereza Nat Decker Rachel Jones Samantha CCShelly BadalYunuen
URL:https://www.h-r.la/event/10-day-celebration-for-10-years-of-coaxial-fundraiser/
CATEGORIES:exhibition,fundraiser,music/sound
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/03/COAXIAL-10-years.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250329T000000
DTEND;TZID=America/Los_Angeles:20250409T235959
DTSTAMP:20260826T143310
CREATED:20250315T024059Z
LAST-MODIFIED:20250319T051527Z
UID:8674-1743206400-1744243199@www.h-r.la
SUMMARY:BUL
DESCRIPTION:Opening reception and book launch: Saturday\, March 29\, 6 – 9pmClosing performance: Wednesday\, April 9\, 7:30pm  \n\n\n\nBUL is a multi-media installation of Christine Yerie Lee’s experimental rock opera BUL (2023) and its newly completed sequel SWAN SONG (2025). This ongoing project is inspired by both the Korean folktale of the Bulgasari\, an iron-eating monster who liberates the oppressed by devouring the weapons of the corrupt\, and the North Korean film Pulgasari (1985)\, a Godzilla-esque work that was directed by South Korean Shin Sang-Ok while being held captive by North Korean leader Kim Jong Il. BUL reimagines the ancient monster and forms an untimely meditation on ancestry\, kinship\, and what the future owes the past. \n\n\n\nWritten in five acts\, BUL (2023) reimagines the monster as an orphan named BUL who finds herself in the throes of love in the City of Angels. Through pastiches of 20th century cultural forms such as the pop song\, black box theater\, and music videos\, BUL shapeshifts through different dimensions to survive the changing times. The project includes personal memoir\, collaborative scores\, choreography inspired by communist political gestures\, and an original soundtrack. Lyrics were crowdsourced from Lee’s community then stitched into a collective sonic love history by LA-based band muff. \n\n\n\nWhile BUL is built upon the harmonic melodies and lyricism of pop songs\, SWAN SONG gear-shifts into dissonance and glitches as modality. Conceived as an instrumental opera and visualized as a silent film\, SWAN SONG depicts an intergenerational encounter between a now world-weary BUL and her estranged human great-great-great-granddaughter\, CY at the Salton Sea in Imperial County\, California. Their transmission is expressed in a “monster language” composed of ancient and contemporary instrumentation and movement choreography. BUL’s voice is expressed through the saenghwang\, an ancient Korean free reed mouth organ said to echo a phoenix’s cry\, while CY is voiced by the harmonica\, an instrument that descends from the saenghwang. The soundscape merges the Korean folk tradition of pansori (musical storytelling) and the American blues\, and evokes an imaginative ancestral lineage and dialogue between past\, present and future. \n\n\n\nThe final act features five performers enacting shifting poetics of relations by using the languages of synchronized animal movements (starling murmurations\, ant death circles\, locust swarms)\, pop culture (the wave\, line dancing)\, traditional Korean dance\, and also choreography that references and abstracts geopolitical borders between the U.S.\, Russia\, China\, North Korea\, and South Korea. If BUL focuses on the ecstasies and tragedies of the relationship between self and other\, SWAN SONG complicates the desire to belong to something greater than oneself by asking: Where do the self and the collective body begin and end? Who defines a border? How do we become borderless? \n\n\n\nThe opening reception will also host the book launch of BUL (2025) published with FRIEND EDITIONS (New York). The exhibition closes with the open-mic event “Bulgasari LA” with permission from original event founder Lee Han-joo. Bulgasari events began in Seoul in 2003 and are an ongoing showcase of experimental music\, avant-garde art collaborations\, and improvisational performances. \n\n\n\nThe project was funded in part by the College Art Association’s Visual Arts Fellowship\, multiple grants from the California Institute of the Arts\, and the Foundation for Contemporary Arts Emergency Grant. BUL is organized by Ajani Brannum.
URL:https://www.h-r.la/event/bul/
CATEGORIES:exhibition,music/sound,performance
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250218T180000
DTEND;TZID=America/Los_Angeles:20250309T180000
DTSTAMP:20260826T143310
CREATED:20250127T150151Z
LAST-MODIFIED:20250306T173100Z
UID:8641-1739901600-1741543200@www.h-r.la
SUMMARY:Cristóbal Gracia - Paladio / Palladium
DESCRIPTION:Opening February 18\, 6-8pmGallery hours: Saturday and Sunday\, 12-5pm \n\n\n\n\n\n\n\nIn this video\, Cristóbal Gracia digs into futurist mythologies to offer a critical characterization of the identity drive: a product? an artifice? a ritual of seduction? Perhaps\, simply\, a speculative dance to captivate the gaze of the great Other. \n\n\n\nEn esta pieza de video\, Cristóbal Gracia excava en mitologías futuristas para ofrecer una caracterización crítica de la pulsión identitaria: ¿un producto? ¿un artificio? ¿un ritual de seducción? Quizás\, simplemente\, una danza especulativa para cautivar la mirada del gran Otrx. \n\n\n\n \n\n\n\n \n\n\n\nAt the beginning of this century\, a unique spectacle took place at the Palladium club in the port of Acapulco. A ritual that brought together visitors from the upper middle classes of Mexico as well as spring breakers who\, knowingly or not\, had inherited the exotizing impulse of beatnik poetry. What they witnessed was a kind of postmodern black mass\, where nostalgia for pre-Columbian grandeur and the certainty of a futuristic dystopia were intertwined. At the center of it all\, a prehispanic warrior with silver skin holding a torch in his hand. His mouth repeated a dark litany\, full of references to science fiction films\, video games and comic books. With it he prepared his body for the frenzy that lit up the night with neon lights and strobes\, merging with the decades of splendor of Acapulco\, the tourist destination par excellence of the Mexican republic; a glory that already had its days numbered. \n\n\n\nIn this video installation\, Cristóbal Gracia brings back the mythical show of the Azteca de Plata (Silver Aztec) to offer a critical characterization of the identity drive. First\, by showing the laborious protocols of prior preparation and subsequent cleaning\, it is possible to see the degree of artificiality and effort required to embody a construction of this type. As a result\, what is obtained is an ideal\, both physical and political\, impossible to sustain in a prolonged manner: the existence of this Promethean being is ephemeral by definition. On the other hand\, by recreating this spectacle on at least three levels—on camera\, replicated by one of the multiple imitators of the original show and with the presence of the action figure inspired by it—Gracia points out the impossibility of keeping intact the narratives that seek to define human groups; each iteration generates difference\, nothing remains identical to itself. \n\n\n\nLet’s be clear: this appeal to the founding myths of Mexican identity was detonated to enrich the leisure of external gazes to this tale. And perhaps the greatest confrontation of this installation takes place thanks to the silence and solitude that surround the warriors because\, in their absence\, the gaze of the Other takes on all its weight. What remains\, then\, of this founding narrative when the bodies that wear themselves out to embody it do so for external enjoyment: a product? a caricature? an artifice? a toy? a ritual of seduction? \n\n\n\nFinally\, Gracia also draws our attention to the pictorial and performative gestures involved in the production and deployment of this speculative dance. In doing so\, he reminds us of the role that art history has played in the construction of identity narratives of nation-states in the West. But\, above all\, he accurately points to the prominence that identity affirmation has in current political art. Thus\, Gracia neither condemns nor celebrates. On the contrary\, in the same way as happened during those nights in Acapulco\, he invites us to dance a silent dance with that demon that is all identity. \n\n\n\nGustavo A. Cruz Cerna
URL:https://www.h-r.la/event/cristobal-gracia-paladio-palladium/
CATEGORIES:exhibition,screening
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250102T000000
DTEND;TZID=America/Los_Angeles:20250109T235959
DTSTAMP:20260826T143310
CREATED:20241203T205616Z
LAST-MODIFIED:20250526T003102Z
UID:8580-1735776000-1736467199@www.h-r.la
SUMMARY:Underwear Shopping Spree
DESCRIPTION:Community screening: Friday\, January 3\, 7pmClosing reception: Thursday\, January 9\, 7pm \n\n\n\nOpen gallery hours: Thursday\, January 2 – Sunday\, January 5: 1 – 6pmMonday\, January 6: closed Tuesday\, January 7: 3 – 6pm \n\n\n\nSome of your underwear has holes.Protect your bone marrow! Protect your stem cells! Plug the holes!If you’re too slow\, you will become irradiated. If you’re successful\, win a shopping spree and compete for the high score. \n\n\n\nComposed of soft sculpture and interactive projection\, Underwear Shopping Spree is about fabrics that protect the wearer from extreme weather. Begun during the now yearly hottest summer on record\, the work was born from the delirious feeling of being dehydrated\, irradiated\, and overexposed.  \n\n\n\nA community screening will take place on Friday\, January 3 at 7pm. Short films about the weather and the sun from local independent filmmakers will be shown. A closing reception will be held on Friday\, January 9 from 7 to 10pm\, and will include live performance. Full lineup TBA. \n\n\n\nAnnapurna Kumar is a filmmaker based in Ventura County\, California. She is formally trained in animation\, and was taught to machine sew by her mother and grandmother. After spending a year designing digital clothing for a previous short film\, she is now sewing IRL underwear\, soft sculpture\, and quilts.Annapurna is a Visiting Lecturer at UCLA Design Media Arts and a Special Faculty Member in the CalArts Experimental Animation Department. She is an alumni of the Yaddo Residency (2023)\, Wedding Cake House Residency (2024)\, and The Independent Imaging Retreat / Film Farm Residency (2019). Her most recent short film\, Mirror Products Catalog\, premiered at the Walker Art Center. She is currently collaborating on an illustrated memoir for the experimental animator Paul Vester.
URL:https://www.h-r.la/event/underwear-shopping-spree/
CATEGORIES:exhibition,screening
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/12/Underwear-Shopping-Spree-Website-JPG.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20241206T000000
DTEND;TZID=America/Los_Angeles:20241222T235959
DTSTAMP:20260826T143310
CREATED:20241120T172153Z
LAST-MODIFIED:20250526T003332Z
UID:8554-1733443200-1734911999@www.h-r.la
SUMMARY:Structures of Feeling
DESCRIPTION:Opening: Friday\, December 6\, 6 – 9pmGallery hours: Friday – Sunday\, 12 – 6pm or by appointmentStructures of Feeling is a group exhibition featuring Jamil Baldwin\, Janna Ireland\, Arlene Mejorado\,Luis Motta\, Adee Roberson\, Polo Silk\, Jennifer Teresa Villanueva and Al-Ameen Archives organized byKeko Jackson. It considers works that are made using family photographs as material and the afterlives of these images as they move from in-to-outside the home.Historically\, photographs have played a role in affirming family values. As a tool they have beenimplicated in the standardization of the nuclear model which includes its familial structures\, roles\, valuesand aesthetics. Despite any single definition\, families can sometimes be a sustaining or punishinginstitution\, but they are always constitutive. Inside the home\, the photos may act as highly social devicesactively constructing memories and relationships in order to come to terms with one perspective of living\,eventually growing to become important sources for a material and affective understanding of history.A comprehensive history however is never the aim of the family photograph or album. Individual storiesin and of themselves aren’t right or wrong\, but we run a risk when just considering a single version. Intheir afterlives\, these images together can complement or complicate the past and bring forth insightsfrom the average and ordinary. Disconnected from their original sources they become reinterpreted ascultural texts—cultural not just informed by an economic base\, but collectively produced over time.Raymond Williams shares the phrase “structure of feeling” which helps to describe the impact of theafterlives of family photographs and how feelings are evoked in a belated but emergent stage as bothsocial and material. Feelings that suggest an incoherency that instead must be inferred by reading between the lines.The works in this exhibition challenge us to find other ways to talk about photography and the problem ofinterpretation. Together they acknowledge\, explore and trouble cultural genealogies as well as systems ofvalue\, familial and otherwise\, both locally and globally. What these images guarantee is somethingunpreservable in that they are unable to do what we want. They cannot preserve the things we want themto and at some point\, both the image and the memory will be gone.D says the image of the ocean is lodged in her\, coming from Guayaguayare at the southernmost tip ofTrinidad. Coming from the northwest corner of a four-way intersection in Wayne\, Pennsylvania\, I wonderwhat image is lodged in me. -Christina Sharpe \n\n\n\nThe exhibition will include a screening of short films organized by Andrea C. Nieto and EmiliannaVazquez exploring related topics. The screening will take place Saturday\, December 14 at 6pm\, with theprogram of titles forthcoming. It will be free and open to the public with a suggested donation of $10.
URL:https://www.h-r.la/event/structures-of-feeling/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/11/Headerimage-scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20241101T180000
DTEND;TZID=America/Los_Angeles:20241117T180000
DTSTAMP:20260826T143310
CREATED:20241015T050051Z
LAST-MODIFIED:20241107T192749Z
UID:8470-1730484000-1731866400@www.h-r.la
SUMMARY:MATTHEW LAX: A TIRED DOG IS A GOOD DOG\, PART TWO
DESCRIPTION:Opening Reception: Friday\, November 1\, 6:00–10:00 pmGallery hours: 12:00–5:00 pm; Friday – Sunday\, and by appointment \n\n\n\n* \n\n\n\nDog tag poetry no. 4\, 2023\, engraved text on stainless steel disk\, 1.6 x 1.1 inches\, edition of 25 + 4 APs.\n\n\n\nThursday\, November 14\, 7:00 pm: Historian\, writer and USC professor Andy Campbell joins Lax for a public conversation and the launch of Lax’s zine-essay THE HOUNDS OF LOVE HAVE GONE NONVERBAL\, published by Inga Books (Chicago)\, which accompanies Lax’s exhibition A TIRED DOG IS A GOOD DOG\, PART TWO\, on view through November 17th. \n\n\n\n* \n\n\n\nThis is a dog show\, it is a show about dogs; humans play like dogs and dogs play as humans. The kennel is the house\, the whelping box a stage.  \n\n\n\nMatthew Lax questions belonging\, choice\, and freedom in A TIRED DOG IS A GOOD DOG\, PART TWO (TD2\, 2024)\, the latest chapter in his long-term psychosexual investigation of canine and human behaviors initiated in 2020. A quadruplet himself\, Lax’s intimate collaborators include the artist’s family\, who breed Collies; professional dog trainers; and members of the Los Angeles and Paris pup play kink communities\, in which humans role-play as dogs.  \n\n\n\nIn this two-channel film\, Lax negotiates the interpersonal and interspecies dynamics inherent to pack-building\, searching for individual and collective liberation by intertwining animal training with BDSM. Lax learns on all fours\, attempting to initiate himself into the pup community while also ingratiating himself to a rescue dog who suffers from severe anxiety and PTSD. \n\n\n\nInfluenced by the dog writing of Donna Harraway\, Cesar Milan\, and others\, TD2’s episodic structure is also guided by excerpts from the 1982 erotic novella Les Chiens by Hervé Guibert\, as performed by the pups themselves. Translated to English for this film by Dana Lupo\, Guibert’s tale of a sadistic dom who chains up two subs in dog masks\, provides a historical touchpoint for the BDSM practices which inform contemporary puppy play. The shoot dissolves into a group processing session about consent. Interviews about pack dynamics accompany training sequences which unpack positive reinforcement as it relates to canine trauma responses and decision-making\, while domestic scenes on the family farm and elsewhere\, depict the bonds of love\, care and mourning over the course of several animal life cycles\, including that of the artist’s own dog.  \n\n\n\nProbing home and husbandry\, TD2 technically spans 4k video\, original GoPro and 16mm footage alongside traditional and 3D animations. Installed within a large dog kennel\, viewers must choose where to position themselves within a narrative that both disperses and reinforces a power game in which Lax plays participant\, subject\, student\, director\, and editor. \n\n\n\nThe exhibition is accompanied by other studies and drawings developed over the course of Lax’s research\, including a motion-capture performance made with artist Caleb Craig\, wherein Lax becomes Lassie\, the rough collie “dog star” of mid-century American film and TV.  \n\n\n\nAn ongoing project\, TD2 falls somewhere within performance and documentary\, fantasy and real life. Through Lax’s instigations\, various familial\, sexual\, and animal values are activated as the perspectives and needs of humans who “make” dogs\, humans who train dogs\, and humans who play as dogs commingle and inform a social ethic based on the importance of sharing and sharing alike. \n\n\n\nOn Thursday\, November 14 at 7:00 pm\, historian\, writer and USC professor Andy Campbell will join Lax for a public conversation and the release of THE HOUNDS OF LOVE HAVE GONE NONVERBAL\, the forthcoming zine-essay which accompanies TD2\, published by Inga Books (Chicago). \n\n\n\nPup-only event to be announced soon. \n\n\n\nSpecial thanks to Evelia Amores\, Automata\, Andy Campbell\, Caleb Craig\, Meghan Gordon\, Kieran Hound\, Mandi H\, Patrick H\, Kyle Belluci Johanson\, Andre Keichian\, Gelare Khoshgozaran\, Dana Lupo\, Jacob Lindgren\, Sean Mankiw\, PupStar Orion\, Patrick J. Reed\, and Christopher Henry Tuzon. \n\n\n\nThis project is supported in part by an Emergency Grant from the Foundation for Contemporary Arts. \n\n\n\n\n\n\n\nMatthew Lax is an experimental filmmaker\, artist and writer working between Los Angeles and New York. Lax’s films and video installations have been screened and exhibited at Viennale (Austria)\, Rencontres Internationales (Paris)\, table (Chicago)\, Los Angeles Contemporary Archive (LACA)\, and Winnipeg Underground Film Festival\, among others. Lax’s curatorial projects include those held at Anthology Film Archives\, Human Resources\, and Fellows of Contemporary Art. Lax’s writing has appeared in publications including BOMB Magazine\, MARCH Journal\, Texte Zur Kunst\, and Los Angeles Review of Books (LARB). Lax is a recipient of a 2024 Lightning Fund Grant from Los Angeles Contemporary Exhibitions (LACE) and the Andy Warhol Foundation.
URL:https://www.h-r.la/event/matthew-lax-a-tired-dog-is-a-good-dog-part-two/
CATEGORIES:exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20241005T000000
DTEND;TZID=America/Los_Angeles:20241020T235959
DTSTAMP:20260826T143310
CREATED:20240920T030259Z
LAST-MODIFIED:20240920T030637Z
UID:8456-1728086400-1729468799@www.h-r.la
SUMMARY:Conscious Tether: Art and the Internet in Los Angeles
DESCRIPTION:Opening reception: Saturday\, October 5th\, 5 – 8pm \n\n\n\nGallery hours: Tuesday – Sunday\, 12pm – 6pm \n\n\n\nConscious Tether: Art and the Internet in Los Angeles is a group exhibition of contemporary artists considering what it means to live with and through the internet.  \n\n\n\nAppearing to be both nowhere and everywhere at once\, the internet’s presence is always felt\, always there\, always just outside the bounds of perception. Parallel to the common perception within media theory that infrastructures and apparatuses only make themselves known during instances of breakdown or failure\, Conscious Tether feels out the sites at which matter\, energy\, and labor assert themselves amidst conditions of invisibility\, control\, and waste. These artists prize apart how the networked\, digitized subject might respond to the state of ceaseless onlineness; at the same time\, the exhibition also asks what role the real space of Los Angeles plays within these complex interactions.  \n\n\n\nThe internet’s inaugural message sent from UCLA’s Boelter Hall reached its destination\, but was incomplete. The four-node network crashed after the first two letters—LO—of “LOGIN.” This initial semi-failure or partial transmission seems in retrospect\, given the intervening histories and usages\, emblematic of all that is in excess of the internet and yet could no longer exist without it. The assembled artists in Conscious Tether emphasize the material and immaterial reminders of the internet’s unceasing presence\, exploring its seeming peripheries. American Artist\, ann haeyoung\, and Romi Morrison implicate systems of quantification\, control\, and extraction; LA Cryptoparty\, KCHUNG\, Danielle Dean\, Tiny Tech Zines (Rachel Simanjuntak\, Jules Kris\, Tyler Yin\, Tristan Espinoza)\, and Xin Xin consider practices of labor\, privacy\, and consent; while works by Ahree Lee\, Devin Kenny\, and Alice Yuan Zhang reveal both the realities and possible futures of gendered technology\, encryption\, and technological ruins. Conscious Tether celebrates and acknowledges these peculiar intransigences\, to stay with the trouble that rubs up against the gridded globe of the “World Wide Web.”  \n\n\n\nCo-curated by Chandler McWilliams and Audrey Min\, with public programming organized by Daniel Soto and Casey Reas\, the exhibition will take place at Human Resources Los Angeles from October 5–20\, 2024\, with additional programming venues and dates forthcoming. The opening reception will be held from 5pm to 8pm\, and will feature a performance by Kenny.  \n\n\n\nPublic programming will include performances and workshops throughout the duration of the show. For more information on public programs and artist talks related to the exhibition please visit https://conditional.arts.ucla.edu/ for updates. \n\n\n\nConscious Tether features work by Ahree Lee\, Alice Yuan Zhang\, American Artist\, ann haeyoung\, Danielle Dean\, Devin Kenny\, KCHUNG\, LA Cryptoparty\, Romi Morrison\, Tiny Tech Zines (Rachel Simanjuntak\, Jules Kris\, Tyler Yin\, Tristan Espinoza)\, and Xin Xin.  \n\n\n\nA note on accessibility: Human Resources’ front entrance has one step (approximately seven inches)\, and has a folding wheelchair ramp. The gallery has a one-person gender neutral wheelchair accessible restroom on the first floor. An additional upstairs bathroom is gender neutral and has two stalls adjacent to each other. Audio descriptions and captions will be available for this exhibition. Events may feature flashing lights and loud music. \n\n\n\nConscious Tether is among more than 70 exhibitions and programs presented as part of PST ART. Returning in September 2024 with its latest edition\, PST ART: Art & Science Collide\, this landmark regional event explores the intersections of art and science\, both past and present. PST ART is presented by Getty. For more information about PST ART: Art & Science Collide\, please visit pst.art
URL:https://www.h-r.la/event/conscious-tether-art-and-the-internet-in-los-angeles/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/09/HRLA-Banner-scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240817T000000
DTEND;TZID=America/Los_Angeles:20240908T235959
DTSTAMP:20260826T143310
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
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240802T000000
DTEND;TZID=America/Los_Angeles:20240804T235959
DTSTAMP:20260826T143310
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:20240712T000000
DTEND;TZID=America/Los_Angeles:20240714T235959
DTSTAMP:20260826T143310
CREATED:20240618T185910Z
LAST-MODIFIED:20240818T005105Z
UID:8319-1720742400-1721001599@www.h-r.la
SUMMARY:Audrey Leshay: The Science of Last Things
DESCRIPTION:Opening reception: Friday\, July 12\, 6 – 9pmGallery hours: Saturday\, July 13 and Sunday\, July 14\, 12 – 6pm \n\n\n\n\n\n\n\nAudrey Leshay (b. 1997) is a painter from and based in Los Angeles. She graduated from UCLA in 2019 with a BA in Fine Art\, and has exhibited at the Los Angeles Municipal Art Gallery\, Punto Lairs (LA)\, Piazza Palazzo (LA)\, Noon Projects\, Import/Export (LA)\, Heaven Gallery (CHI)\, and Human Resources.
URL:https://www.h-r.la/event/audrey-leshay-the-science-of-last-things/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/06/audrey-leshay-1.jpeg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240628T000000
DTEND;TZID=America/Los_Angeles:20240630T235959
DTSTAMP:20260826T143310
CREATED:20240609T195119Z
LAST-MODIFIED:20240826T164639Z
UID:8284-1719532800-1719791999@www.h-r.la
SUMMARY:David Aguirre: Los días
DESCRIPTION:Lunes\, día de luna (2024)\, oil on canvas\, 72″ x 84″\n\n\n\nOpening reception: Friday\, June 28\, 6 – 9pmOpen hours: Saturday\, June 29 and Sunday\, June 30\, 12 – 6pm \n\n\n\nDavid Isaac Aguirre (b.1992\, Fresno\, CA) is an artist who lives and works in Los Angeles. David earned a bachelor of arts degree from California State University\, Fresno in 2014 and a master of fine arts degree from the California Institute of the Arts in 2016. Their work has been shown in Los Angeles at the Ace Hotel\, Panel\, Human Resources\, and at CalArts. \n\n\n\nThis exhibition comprises seven paintings commemorating the days of the week. \n\n\n\nLos días began many years ago\, on a walk of unknown duration\, aim\, or physical destination. David Aguirre was cultivating a different kind of practice then\, one that revolved around wandering: he would tread aimlessly between unmarked points\, get lost on purpose\, scatterplot his way back home. Often\, like the wandering poets and philosophers-on-foot that came before\, these walks were a pretext for exhaustive studies or more rigorous exercises in perception: the artist would embed himself among the warm brown crags and wild sages of the California coast simply to observe interchanges of light\, from dawn until dusk. Consciously\, graciously\, he did what monks do — mastering the meditations of holding and letting go. David met and released many tentative mornings and stone-cut slants of noon. He basked in golden hours and passed through lonelier thresholds into the gloaming. Even after nightfall\, David remained to do more granular work\, digging out only the quietest and most refined notes of black and blue.The works owe their sophistication to the twin engines of David’s practice: short term maximalist additive processes and protracted editorial reductions. He indulges compositional overgrowths in anticipation of the eventual slash and burn\, eager\, later\, to recover connections between dozens of subterranean paintings. David dredges up marks that are in some breaths delicate metallurgical chain links\, in others blood cells freighted with oxygen\, or a weeping coagulation of platelets. A cluster of lily pads and jellyfish might emerge from the bottom of an expanse of water. In one particularly wine-dark composition\, David’s familiar hashed ovals reposition themselves as muddy stars or a crowd of moons\, suspended in a fused sky-sea.  \n\n\n\nThere is a mysterious presence to these years-long paintings about days\, as if something ancient lives between the compressions of time and space. While he revels in the energetic vectors and unexpected synchronicities of his underpaintings\, David manages to move within the frame in the absence of a dominant underpinning. An expert in deferral\, he constantly wavers between firm establishments of ground. Viewing begins to feel like floating\, and in the course of following each construction of light\, the eye is coaxed into weightlessness. Colors become moody in real-time\, proponents of a changing condition rather than a static terrain. The painting grows nostalgic remembering itself: every gesture is diaristic\, resting on its former lives and contexts. It’s difficult not to be swayed by their collective psychology. \n\n\n\nAs a markmaker\, David is patient\, tolerant\, generous. To be in the company of his paintings is to travel somewhere that couldn’t possibly exist\, but you can stay there as long as you’d like. Each heavily reworked surface is an intimate excavation site—a crystallized formation of many-places\, many-times\, many-feelings. In the end\, David clings to the continuum\, the slipstream\, the eddy and the whirl. He doesn’t often know how a painting will end\, but he always catches the precise moment it is finished speaking: sometimes mid-sentence\, or caught whispering in a close corridor\, the painting suddenly unburdens its heart.  \n\n\n\n– Martina Onyemaechi
URL:https://www.h-r.la/event/david-aguirre-los-dias/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2024/06/david-aguirre.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240615T000000
DTEND;TZID=America/Los_Angeles:20240623T235959
DTSTAMP:20260826T143310
CREATED:20240522T203121Z
LAST-MODIFIED:20240617T191553Z
UID:8250-1718409600-1719187199@www.h-r.la
SUMMARY:Rehearsals for A Color Play
DESCRIPTION:Anna Betbeze and HR present: Rehearsals for A Color Play \n\n\n\nGallery Hours: Thursday-Sunday\, 12 – 6pmOpening: Saturday\, June 15\, 4 – 6pmOpen rehearsals: Friday\, Saturday\, and Sunday\, June 21 – 23\, 4 – 6pmClosing Reception: Sunday\, June 23\, 6 – 8pm \n\n\n\n\n\n\n\nRehearsals for A Color Play is an experiment\, an invitation\, a painting\, a stage\, and a score. A space to consider that color is a live material\, extra-visual\, beyond optical/retinal sensation. Using dyed fabrics as its central material\, curtains\, shrouds\, veils\, clothing\, and flags become sites for color language\, expressivity\, kinetic form\, and social and political organization. \n\n\n\nRehearsals will be the first phase in an ongoing project\, A Color Play\, that interrogates the expressive aspects of color. Color here is not theoretical\, it is tethered to experience and cannot be unbound or contained\, it bounces; reflects\, seeps\, touches\, an active catalyst for all kinds of change.  \n\n\n\nEach day will perform a chapter\, each chapter an inquiry into hidden aspects of color. The first chapter\, The Swamp\, will play with color’s ruinous\, entropic\, and muddy aspects; the potential for synaesthetic landscape\, fusing ends with beginnings. Each chapter will follow the last\, improvisationally\, an open ended project designed to change course.  \n\n\n\nBetbeze invites participants and showgoers to play and intervene in the set\,  and/or to sit\, lounge\, contemplate\, listen. Rehearsals will be held 4 – 6 pm Friday\, Saturday and Sunday. The stage set will be on display for viewing during gallery hours\, 12 – 6 pm. \n\n\n\n\n\n\n\nRehearsals for a Color Play extends and bridges Anna Betbeze’s experiments with touch and the tactile sense. This project marks the beginning of experiments into the psychological\, social\, and affective registers of color\, through returning color to the tactile\, material world.   \n\n\n\nThe immediacy and honesty of sensation reveal complexities in human experience that can critique\, destabilize\, and de-center the dominance of visual perception in contemporary culture.We exist within a world that is increasingly circumscribed by the optics of digital technology\, and its concomitant limitations and expansions of the perceivable world. Centering sensation allows me to consider the fullness and ephemerality of lived experience and the true urgencies of this moment alongside the supposed deathlessness of artistic creation.  \n\n\n\nSpecial thanks to: HR\, Aimee Goeblins Gougen\, John Buttdial\, Jennifer Doyle\, Andre Keichian\, Corazón Del Sol\, Jason Gowans\, The Guggenheim Foundation\, BAU Institute\, Camargo Foundation and University of California-Riverside.  
URL:https://www.h-r.la/event/anna-betbeze-and-hr-present/
CATEGORIES:Artist in Residence,exhibition,performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/05/anna.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240529T000000
DTEND;TZID=America/Los_Angeles:20240603T235959
DTSTAMP:20260826T143310
CREATED:20240507T175445Z
LAST-MODIFIED:20240818T005230Z
UID:8199-1716940800-1717459199@www.h-r.la
SUMMARY:David Bad: all in\, win or lose
DESCRIPTION:Opening reception: Wednesday\, May 29th 6 – 9pm Gallery hours: Thursday\, May 30th through Monday\, June 3rd\, 12 – 6pm \n\n\n\nEver since I can remember I’ve been painting\, drawing\, sketching\, or coloring something. Being introduced to art at a very young age and having family members encouraging it\, is why I paint for more hours than I sleep. With art i feel as if i always need to have a sketch book around\, or pen and a napkin as I wait for the waiter to bring my food. A sort of Freedom of doing without thinking\, freedom from thinking; sort of. \n\n\n\nI do give all the credit to my mother and siblings for pushing me towards art or any creative outlet. My mother was a teacher’s assistant and would come home with fresh crayons and new books for me to draw in. We used to go to record stores and pick out CDs\, my mother was a classic rock and oldies lover. My older brother\, who was a graff writer\, had these books with amazing word style art pieces with characters in them. Some pages just scribble\, some very detailed similar graffiti pieces to the ones I’d see out on the streets. Thinking what great lengths and fun adventures these graffiti artists would go on to put up a “NAME”\, on a billboard or on risking it on some train tracks. My oldest sister use to sew her own clothes and Halloween costumes. She was also the best illustrator of all of us and taught me a lot about drawing. My sister Justine was heavy into music\, she was the one who got us to go out and buy CDs. She would collect her music off the radio by recording them on cassette tapes\, I actually got my taste in music from her. \n\n\n\nMy name is David Bad\, born and raised in Lincoln Heights\, Los Angeles\, California 90031\, five minutes from Chinatown. I’m a painter but have other various skills as well as photography\, sculpting\, and music production\, and more creative outlets i come across worth learning. This art show\, however\, is a painted series; it being my first show ever I’d like to show you my favorite thing in the whole world to do. This show is called “All In\, Win or Lose\,” which consist of 52 hand painted playing cards. The images painted represent Chicano culture\, Lucha Libre matches\, pin striped low riders\, Aztec ceremonies\, gold hoop earing with thin eyebrows\, elotes\, tamales\, tacos with tapatio\, the Zoot Zuiters\, white blank tee with greased up over sized 501s while sporting Corteze. The lifestyle I was raised in. \n\n\n\n– David Bad
URL:https://www.h-r.la/event/david-bad-all-in-win-or-lose/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/05/David-Bad.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240517T000000
DTEND;TZID=America/Los_Angeles:20240519T235959
DTSTAMP:20260826T143310
CREATED:20240501T171924Z
LAST-MODIFIED:20240818T005310Z
UID:8173-1715904000-1716163199@www.h-r.la
SUMMARY:Sculptors Painting
DESCRIPTION:Organized by Cara Chan \n\n\n\nOpening reception: Friday\, May 17\, 6 – 9pmGallery hours: Saturday\, May 18 through Thursday\, May 23\, 12 – 6pmPainting event: Sunday\, May 19\, 2 – 5pm \n\n\n\nWe often think of art in categories: new media\, performance\,  painting\, sculpture. These can become limiting identities for artists\, who must constantly challenge and renew their creativity. Sculptors Painting features 31 LA sculptors who were challenged to drop their Festools and take up the brush and palette. The artists were given complete freedom with one restriction: no 3D elements; ONLY oil or acrylic on canvas/linen/panel.  The goal was to explore a foreign medium and inspire experimentation outside of the artists’ comfort zones. The works on view should therefore be read as paintings by artists accustomed to working in three dimensions. Different questions arise: How do ideas live in 2D versus 3D? How does embodied knowledge of mass and form translate onto canvas? Do style and identity transcend medium? Sculptors Painting is an exercise in play\, breaking from the familiar and encouraging lightness. \n\n\n\nZoe Koke will be teaching a painting lesson on Sunday\, May 19 from 2 – 5pm. Participants are asked to bring their choice surface: a primed canvas/panel/paper and paint: oil paint\, acrylic paint\, or watercolor.  Limited canvas paper and materials will be available. The topic will be painting as a gesture to heal the body. \n\n\n\nParticipants:  \n\n\n\nAdrian mm AbelaBrenda BarriosDaniel Klass BeckwithCara ChanAllen Hung-Lun ChenMax ClearyGabriel CohenIvana Dama Ryan FloresLili Abdel-GhanyJulia GarderSylvia HardyNevada HardmanLouis HeilbronnMerideth HillbrandShana HoehnAlex KerrJordan Kolesnik ZZ KrebsAaron MeyersHallie McNeillGozie OjiniAryana PolatCarlos Vela-Prado Jackie RinesHope StutzmanKaren TepazDaniel Alejandro TrejoValeria Tizol Vivas Chris WarrChristopher Wawrinofsky Amia Yokoyama
URL:https://www.h-r.la/event/sculptors-painting/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/05/IMG_4423-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240421T140000
DTEND;TZID=America/Los_Angeles:20240421T200000
DTSTAMP:20260826T143310
CREATED:20240321T191322Z
LAST-MODIFIED:20240818T005348Z
UID:8025-1713708000-1713729600@www.h-r.la
SUMMARY:Dorian Wood: This is not goodbye\, it's just I won't ever see you again (a final purge)
DESCRIPTION:Dorian Wood bids farewell to Los Angeles\, her birthplace and also her home for over 40 years. To mark her transition to the East Coast\, Human Resources will host an event that features over 1\,000 of Dorian’s original art works\, t-shirts\, prints\, records and zines\, all on display and available for purchase. Attendees will also get to experience an ongoing sound installation comprised of audio recordings from all of Dorian’s past performances at Human Resources. The event will culminate with one final performance by Dorian. All proceeds from the art sale will go to the artist–to help with her moving costs – and to Human Resources.  \n\n\n\nArt sale and installation from 2pm to 6:30pmPerformance from 7pm to 8pmAdmission is free
URL:https://www.h-r.la/event/dorian-wood-this-is-not-goodbye-its-just-i-wont-ever-see-you-again-a-final-purge/
CATEGORIES:exhibition,music/sound,performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/03/Nite_image.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240329T000000
DTEND;TZID=America/Los_Angeles:20240419T235959
DTSTAMP:20260826T143310
CREATED:20240319T151943Z
LAST-MODIFIED:20250730T101917Z
UID:8014-1711670400-1713571199@www.h-r.la
SUMMARY:There in Green California / هناك في كاليفورنيا الخضراء
DESCRIPTION:Opening reception: Saturday\, March 30\, 6 – 10pm \n\n\n\nAli Eyal\, Andre Keichian\, Ignacio Perez Meruane\, Izdihar Afyouni\, Golrokh Nafisi\, Hande Sever\, Susu Attar \n\n\n\nGallery hours: Wednesday through Sunday\, by appointment. Contact info@humanresourcesla.com to make a reservation. \n\n\n\nIzdihar Afyouni\, 2024 (detail)\, oil on canvas\, 2024\n\n\n\n\nIt is difficult\, even righteously offensive\, to make art in the face of so much destruction and death which need little interpretation. The work of art (making)\, exhibition (making) and writing are never separate from their makers. And what of our “marginalized” identities if we can’t transform our lived experiences into ways of seeing and being in the world? Like grains of sand melted into a solid and fragile piece of glass\, the alchemy allows for light to be filtered through so we can be guided by it. It is through this lens that we can see life and write about living in a carceral world invested in our slow and sudden death. \n\n\n\nThe artists in this exhibition address cycles of violence and loss. From the most abstract to the figurative\, the material or psychological\, they provide embodied perspectives across experiments with material and form. A violent memory of disappearance\, dispossession and displacement etched onto a surface\, rebuilt through layers of paint; An image that self-effaces as soon as it emerges. What is the role of memory in the age of total destruction? \n\n\n\nThere in Green California brings together works by artists who have been making work with the bombs already dropping; already on the run from the kidnappers and their haunting memories; already violated and already under siege; generations displaced and memories already relived through so many stories there is no separating them from fiction. And there is no dreaming without the nightmares.  \n\n\n\nThe artists remind us of how the perceived peacefulness of our homes here is not in contrast to\, but at the price of war at home over there. Here in our (not for much longer) green California\, at the rate with which weapons are being made\, we have been living in war for as far back as we can remember. Here in green California it is our struggles against indigenous dispossession and land theft\, and our fights against the police and military industrial complex that connect us to the homes we have been uprooted from.  \n\n\n\nAs I write this text the genocide of Palestinians in Gaza is continuing in the hands of the necrophiliac Israeli government and with the direct support of the so-called United States and its allies. Here in the West where rhetoric is constantly utilized to distract us from the material reality of genocide and ethnic cleansing\, I am more wary of the art jargon. Moving away from rhetoric\, it is the material that confronts me: the layers of paint on canvas forming the guts of an animal; the paper rolling down onto the floor to keep the image of a body afloat; the pristine yet dismembered body parts replicated from the monument of a colonizer; the black and white gradients of mundane photographs as testaments to systemic removal; wet clay that fire has fixed into the shape of bullets preserved from memory; lines that connect one arm to another extended across separate sheets of paper; and glass that\, by letting light through\, makes but the process of seeing visible. \n\n\n\nThere in Green California borrows its title from Ghassan Kanafani’s 1956 Letter from Gaza. In the fictional letter\, Palestinian author and novelist addresses his comrade\, Mustafa:  \n\n\n\nI won’t follow you to “the land where there is greenery\, water and lovely faces” as you wrote. No\, I’ll stay here\, and I won’t ever leave. The choice to leave\, the choice to stay or live one’s life as defined by crossing a border and living on both its sides\, is not a question of privilege. Exile comes in its different shades and colors.  \n\n\n\n–Gelare Khoshgozaran \n\n\n\n\n\n\n\n\nHuman Resources Los Angeles commits to the Palestinian international call for Boycott\, Divestment and Sanctions (BDS). The commitment to the Palestinian Academic and Cultural Boycott of Israel is twofold. It is a refusal to participate in the normalization of occupation and apartheid by Israel and a commitment to instead bring awareness to the material realities of these structures in Palestine. We stand with our colleagues who have already joined this movement\, and who are putting their name on solidarity statements. We urge all arts organizations\, writers\, cultural workers\, and artists to take action now. This boycott is a principled refusal to participate in artwashing. Learn more: https://bdsmovement.net/pacbi.
URL:https://www.h-r.la/event/there-in-green-california/
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/2024/03/feature-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240319T000000
DTEND;TZID=America/Los_Angeles:20240323T235959
DTSTAMP:20260826T143310
CREATED:20240305T195845Z
LAST-MODIFIED:20240826T164210Z
UID:8000-1710806400-1711238399@www.h-r.la
SUMMARY:Alan S. Tofighi: Legal Fictions & Critical Bands (1993-2024)
DESCRIPTION:Alan S. Tofighi: Legal Fictions & Critical Bands (1993-2024) Traces trajectories from two ongoing work cycles; Critical Bands (2010-present) and Legal Fictions (2014-present). Respectively rooted in histories & counter histories in the performance of objects and the processes of aesthetic forms utilized to forge and manipulate social structures\, retrocausal collaboration of these separate arcs interlock and collaborate in real time. Further linking these zones is the accumulation of art adjacent remnants\, refuse\, and research repositories from past and future works in a complication of separation. Infinite game where the viewer can mine and undermine dominant culture to navigate their own counter history.  \n\n\n\nAccompanying the event will be two evenings of performances culminating with a closing performance on March 23\, as part of Tofighi’s ongoing work of collecting acoustic and architectural samples where collaborators will acoustically shift the resonant frequencies and architectural basis of the site.  \n\n\n\nAlan S. Tofighi (they/them) is an Interdisciplinary artist who lives and works in Southern California. Utilizing a background in research\, performance\, sound\, consumer products\, and video\, their work deals with analyses of the dispersion\, obfuscation\, and formation of information/history to renegotiate narratives of history & power in the present. Tofighi utilizes the infiltration of legal parameters\, social structures\, myth\, (dis)information\, folk ontologies and extensive research of these cells as they shift from fringe culture to central in their infiltration/engineering of dominant culture.  \n\n\n\nTofighi has shown work and/or performed at REDCAT\, Blum & Poe\, The Box\, LACE\, The Roxy\, The Horse Dublin\, The Bob Baker Marionette Theater\, the wulf.\, Los Angeles Contemporary Archive\, The Troubadour\, MOTOR\, The Hotel Congress\, and many other sites/spaces throughout the world and internet.
URL:https://www.h-r.la/event/alan-s-tofighi-legal-fictions-critical-bands-1993-2024/
CATEGORIES:exhibition,performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/03/Alan-s-tofighi-HR-flyer-1-Copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240313T000000
DTEND;TZID=America/Los_Angeles:20240316T235959
DTSTAMP:20260826T143310
CREATED:20240227T192526Z
LAST-MODIFIED:20240826T164257Z
UID:7972-1710288000-1710633599@www.h-r.la
SUMMARY:Devotional See-Saw
DESCRIPTION:Gallery hours: Friday\, March 15th\, 2 – 6pm; Saturday\, March 16th 12 – 5pm \n\n\n\nA collaborative show by Canción Paz and Amia YokoyamaTo read texts about the show (in English / en español)\, click here. \n\n\n\nA parade with the main material being friendship (sacred relatedness) among ceramics\, drawings\, bells and fabric dolls. \n\n\n\nWith pieces (flags) by the sexiest CDMX artists Mata Flores\, Ada Navarro\, Cheslsea Gelwarg\, Helia Mejia\, Corona\, and Carolina Berrocal; and LA artists Syd Yocom\, Carolina Hicks\, Chiffon Thomas\, Josh Cloud\, Kayla Ephros\, Lyric Shen\, Venus Wikifur\, Ellie Gordon\, Forever Soo Hoo\, Jonathan Chacon\, Sebastian Loo\, Clue Quilala\, Kate Mosher Hall\, and Aimee Goguen. \n\n\n\nWednesday\, March 13th 6pm: Opening reception  \n\n\n\nPerformance at 7pm1. Pamper routine (guided stretching warm up ) with harpist Leng Bian2. Procession ⁠commencement speech (Jonathan Chacon)3. Kayla Ephros Acapella3. Ducky banquet by Jade Sky4. ⁠Aasir Cherot (shimmy spectacle)5. ⁠A Thousand Bows Ensemble ( Forever Soo Hoo\, Aasir Cherot\, Walter Vargas and Cancion Paz) musicalized by Tigress of the Lilypad (Amia Yokoyama\, Keane Nwede\, Leti Soriano\, and Mito del Desierto)Followed by closign reception with DJ Alitlebug and DJ Negashi Armada\, 10pm to midnight \n\n\n\nFriday\, March 15th 6pm: Stretching warm-up and double-feature1. Pamper routine (guided stretching warm up)2. Friendship Speech (Gloria Galvez)Two films directed by Shūji Terayama3. Pastoral: To Die in the Country (1980) 1h 44m4. Fruits of Passion (1981) 1h 23m
URL:https://www.h-r.la/event/devotional-see-saw/
CATEGORIES:exhibition,music/sound,screening
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/02/devotional-see-saw-Copy.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240216T000000
DTEND;TZID=America/Los_Angeles:20240218T235959
DTSTAMP:20260826T143310
CREATED:20240125T173401Z
LAST-MODIFIED:20240818T005456Z
UID:7895-1708041600-1708300799@www.h-r.la
SUMMARY:Meejin Hong: Deluge
DESCRIPTION:Still from Deluge by Meejin Hong\n\n\n\n\na screening and art show with Meejin Hong opening Friday\, February 16th\, 5 – 8pmGallery hours: Saturday\, February 17th and Sunday\, February 18th\, 12 – 6pm \n\n\n\nMeejin Hong is an experimental animator deeply rooted in the fine arts. She thrives off of a stream of conscious brainstorming that propels her into the fantastic\, more primitive side of creation. In her film Deluge (2024)\, she utilizes straight ahead animation to create an ever-evolving landscape where the present inevitably coexists with the past. Memories are formed\, reshaped\, and obliterated\, relentlessly competing for space. Control is surrendered\, and mistakes and second chances are embraced. It is the slow stampede of a vulnerable mind. Hong was born in Spartanburg\, SC and currently resides with a creep of tortoises and other unruly creatures in Winnetka\, CA.  \n\n\n\nDeluge (2024) by Meejin Hong is an animation constructed from ink and 24 frames. 24 drawings\, photographed\, added to\, re-photographed repeat\, repeat\, repeat. This cycle of drawing and photographing is repeated by Hong until she reaches complete darkness. Created out of thin black ink lines sprouting and erupting\, constantly protruding and reproducing themselves. A fun-fair takes form\, a parade of ghosts and whimsy. A stream of ground and bacterial swamp matter choreographed by Hong’s cunning use of movement\, humor and transformation.  \n\n\n\nTricky twirls and balancing acts\, a sinister hand encouraging us to come inside. An interior that grows deeper and further introverted. Micro organisms become increasingly clearer and in focus\, each with their own schema\, until consumed by itself or another matter. With each cycle of 24 frames the tricks and transgressions grow more delusional\, intricately interwoven birthing new specimens and offspring. Constantly re-producing\, overlapping\, and developing until all we are left with is deep darkness\, a very pure black.  \n\n\n\nMeejin Hong’s latest animation leaves us in a void and that seems on the mark. Deluge can be read as a cross section of our own human condition with each layer wrecking havoc\, elegantly causing chaos and catastrophe. From the bodily organisms\, the body politic and the mass that is this earth.  \n\n\n\ntext by Olivia Taussig
URL:https://www.h-r.la/event/meejin-hong-deluge/
CATEGORIES:exhibition,screening
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/01/Deluge_frame7411.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240209T000000
DTEND;TZID=America/Los_Angeles:20240211T235959
DTSTAMP:20260826T143310
CREATED:20240124T192511Z
LAST-MODIFIED:20240818T005540Z
UID:7890-1707436800-1707695999@www.h-r.la
SUMMARY:Jules Garder and Nat Decker: Posturing Collapse
DESCRIPTION:Friday\, February 9th\, 6pm – 10pmPerformances: 8pm – 10pmFeaturing: Jules Chimes Gårder and Nat Decker\, Star Feliz and Cielo Saucedo\, thai Lu\, Life Em Stebbins and Jazmin Romero \n\n\n\nGallery Hours: Saturday\, February 10th and Sunday\, February 11th\,  12 – 6 pm \n\n\n\nFree admission; donations will be split between Sensi Skins and the Palestine Children’s Relief Fund. \n\n\n\nPLEASE NOTE: Masks are required for the evening of performances to protect our immunocompromised community members. Free masks will be provided. HR is physically accessible with a small ramped entrance and ADA compliant bathroom. The event will be live-streamed. Auto captions will be provided in the space and on the live-stream. A visual description of the installation will be available during open hours. Please reach out to jules.c.garder@gmail.com for additional access requests.   \n\n\n\nPosturing Collapse is a two-person exhibition featuring works by Jules Chimes Gårder and Nat Decker. The duo will present a collaborative performance and installation of sculpture and video which measures the intersections (and differences) of their histories with grief\, disability\, and sexuality. The opening will include performances by Star Feliz and Cielo Saucedo\, thai Lu\, Life Em Stebbins\, and Jazmin Romero. \n\n\n\nJules Chimes Gårder is obsessed with their dead mom. Nat Decker is a fall risk toting the weight of abjection. Together they collapse and defy gravity in moments of recognition. Tendrils reach for stable ground\, exploring the spaciousness of absence. They count distances from shock\, perpetually reconstituting themselves. They crawl on uneven terrain\, defining new functional heights. They rest still\, knowing they are changing. Pressure delivers resistance. \n\n\n\nNat Decker (they/them) is a Chicago born Los Angeles based artist interpreting the intimacies of queer and disabled experience as provocation toward collective care and liberation. Bridging digital and physical mediums\, they leverage technology as a form of access\, seeking the integration of values into tools and processes. With Cielo Saucedo and Olivia Dreisinger\, Nat is building Cripping_CG – a community archive researching and documenting the intersection of disability culture and computer graphics. Nat is also an access worker\, consulting on accessibility for various arts organizations. They were a 2023 Processing Foundation Fellow and are a current member of NEW INC. In June 2022 they graduated from UCLA with a degree in Design/Media Arts and Disability Studies. \n\n\n\nJules Chimes Gårder (b.1987) (they/she) is a Los Angeles based artist indebted to the patterns of demise and reconstruction that are prompted by loss and grief. They primarily create sculptures and videos. Much of their work engages longitudinal experiences of mourning through collaborations with their mother Eva Chimes (posthumously). They will soon hold a BA in Art from UCLA. \n\n\n\nCielo Saucedo is an access worker and artist based in Los Angeles. Their work focuses on the dispersal of ableism through cultural economies. They work to dissolve the curative aspirations of technology. Their work encompasses computer generated imagery\, sculpture and virtual reality. They received their BFA from School of the Art Institute\, Chicago\, and are currently an MFA candidate at UCLA.  \n\n\n\nStar Feliz is a Dominican-American installation artist originally from New York\, NY currently based in Los Angeles\, CA. Building upon their ancestral Afro-Taino lineage of multi-dimensional healing — Feliz employs sound\, sculpture\, film\, earthworks\, and techniques of concealment\, language\, and mapping to transverse the psychic legacy of everyday resistance and world-making. Under the moniker of Priests they create experimental devotional music. They have exhibited\, performed\, and presented commissions nationally and internationally. \n\n\n\nthai Lu is a transdisciplinary artist\, writer\, and community organizer centering their practice on the social\, cultural\, and physical effects of chronic illness. As a chronically ill\, disabled\, neurodivergent\, and gender-divergent first generation American from a family of Vietnamese refugees\, thai works at the intersections of Western bio-politics\, Southeast Asian diaspora\, post-war intergenerational suffering\, relational ecologies of interdependence\, and the concept of metamorphosis. \n\n\n\nLife Em Stebbins is a poet and geologist living in Humboldt County\, California. As a graduate student at Cal Poly Humboldt\, Life studies mud to reconstruct glaciation history and paleoclimate patterns in the Klamath Mountains. Her poems focus on dry earth\, wet dirt\, and the sacrament of mud. Life reads poems across the country and digs holes throughout the Intermountain West.Jazmin Romero is a multidisciplinary artist born and raised in Los Angeles\, CA. Her work explores memory\, family\, migration\, and labor through performance\, sound\, music and visual art. Romero’s work is interested in understanding patterns of dispossession and displacement in her personal and familial history. Through experimental modes of storytelling\, she shares her experiences in performances\, video\, and sculptural installations that center her resilient origins and create space for personal and collective meditation.
URL:https://www.h-r.la/event/posturing-collapse/
CATEGORIES:exhibition,performance
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DTSTART;TZID=America/Los_Angeles:20240119T000000
DTEND;TZID=America/Los_Angeles:20240204T235959
DTSTAMP:20260826T143310
CREATED:20240108T211621Z
LAST-MODIFIED:20240826T164052Z
UID:7876-1705622400-1707091199@www.h-r.la
SUMMARY:Minor Gaps Between
DESCRIPTION:Gallery hours: 12 – 6pmOpening: Saturday\, January 20\, 6 – 9pm \n\n\n\nfeaturing work by:0ll668Derek HolguinJiayun ChenRodolfo Sousa \n\n\n\nMinor Gaps Between is the result of several conversations about the arcane and mystical. The title of the exhibition describes the vacuous space between the beginning and end of the void\, where the inexplicable intrusion of primordial impulses and revelations hide\, and where human logic cannot reach. The artists explored themes central to their practice\, ranging from the relationship between prophecy and coincidence\, the past and the future\, and the nebulous boundary between reality and fiction. In the void\, there are no correct questions or perfect beings; only nothingness exists. \n\n\n\nClick here to read a curatorial text by Nahui Garcia.
URL:https://www.h-r.la/event/minor-gaps-between/
CATEGORIES:exhibition
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DTSTART;TZID=America/Los_Angeles:20231027T000000
DTEND;TZID=America/Los_Angeles:20231029T235959
DTSTAMP:20260826T143310
CREATED:20231010T155609Z
LAST-MODIFIED:20240818T005859Z
UID:7729-1698364800-1698623999@www.h-r.la
SUMMARY:Zori Swanegan: In suspension\, otherwise
DESCRIPTION:dubious lift-off (2023)\, pastel and graphite on yupo paper\, 5” x 7”.\n\n\n\nOpening reception: Friday\, October 27\, 6 – 9pmOpen hours: Saturday\, October 28th and Sunday\, October 29th 12 – 6pm \n\n\n\nA collection of drawings\, prints\, and one animation serving as windows before intangible subjects abbreviated in space. \n\n\n\nZori Swanegan (b. 1996\, Kansas City\, MO) is a visual artist based in Los Angeles\, CA. She earned her BA from UCLA in 2018. Her practice consists primarily of drawings that explore the association between an established visual plane and objects which aggrandize or invalidate it. Her work has been shown in Los Angeles at PSLA\, Punto Lairs\, and Human Resources.  \n\n\n\n* \n\n\n\nZori Swanegan at Human Resources \n\n\n\nDrawing is a mysterious act in which a two dimensional field meets the artist’s conscious and unconscious self. The plane on which the drawing occurs presents itself as neutral ground\, but it is not. It is charged and prepared for transformation. Zori Swanegan leans into these dormant spaces\, both in digital and physical realms\, to conjure the appearance of forms. \n\n\n\nSimple lines and shapes are summoned to create playful constellations in Swanegan’s drawings. At times these suspended forms are brought down to depict a landscape or settle in a stage-like arrangement. Some forms are gently rendered and pushed to the foreground as protagonists\, while others accompany them or outline the surrounding scape. \n\n\n\nThese drawings are simple and abstract\, they oscillate between complete ambiguity and suggestive interactions of pictoric components. The most descriptive work is perhaps the animated image that anchors the exhibition. Here\, a mountainous form glides in space as two shapes hover above casting shadows. The two floating shapes function like clouds\, but they come to a point on each side and are transparent against a black background. These are not clouds. Like much of Swanegan’s work\, they are indefinable but allude to the world. \n\n\n\nMany of the images in the exhibition were made digitally\, defying materiality in their making while mimicking physical mark making. In some ways digital spaces work the way human minds do\, storing away information\, ready to be pulled into consciousness when drawn out. The source of the drawings comes from within the digital apparatus as from within the artist. \n\n\n\nSwanegan’s digital prints\, handmade drawings\, and animation effortlessly compose forms into scenes. They speak both the language of contemporary illustration and abstract painting\, refusing to surrender fully to either. Forms act as characters and gestures in open\, untouched fields. In this suspended world of soft pinks\, reds\, and yellows – lines\, scratches\, blobs\, and cloud-like figures meet to render a parallel reality. In this alternate domain\, each mark embodies a unique role and follows a logic of its own. – Luz Carabaño
URL:https://www.h-r.la/event/zori-swanegan-in-suspension-otherwise/
CATEGORIES:exhibition
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DTSTART;TZID=America/Los_Angeles:20231007T000000
DTEND;TZID=America/Los_Angeles:20231022T235959
DTSTAMP:20260826T143310
CREATED:20230830T215820Z
LAST-MODIFIED:20240818T005825Z
UID:7660-1696636800-1698019199@www.h-r.la
SUMMARY:Carlos Agredano: Smog Check
DESCRIPTION:Gallery hours: Wednesday through Sunday\, 12 – 6pmOpening: Saturday\, October 7\, 7 – 9pm \n\n\n\nSmog Check is an exhibition of new sculptures and research by Carlos Agredano about the air-quality around Chinatown\, which sits adjacent to the Harbor (I-110) Freeway and is the location of Human Resources Los Angeles.  \n\n\n\nThis exhibition focuses on the legacy of two discriminatory housing practices – racially restrictive covenants and redlining.  These two interlocking private and federal practices aided in the development of Los Angeles’ public freeway system in the 20th century and systematically destroyed and polluted racially diverse communities such as Bunker Hill\, Chavez Ravine\, Boyle Heights\, and Chinatown.  \n\n\n\nAgredano’s sculptures actively document Los Angeles’ air pollution and respond to ongoing environmental racism in the city. For this exhibition\, Agredano placed a canvas on the rooftop of HRLA for exactly one month to collect the ambient air pollution that exists in the neighborhood. He also engaged with the community of Chinatown by trading readymade objects such as window air conditioners and street vendor parasols\, objects which collect polluted air particles on a daily basis. By rolling balls of clay around different streets in Chinatown\, Agredano created single-layered stones coated in debris left behind by vehicles and humans alike. Flanking the entrance of the gallery are two Corsi-Rosenthal Boxes\, DIY air purifiers that aid in cleaning indoor air.  \n\n\n\nOther works reside outside the gallery space. Installed on the facade of HRLA is a nylon flag\, part of the Federal EPA Air Quality Flag Program\, which is designed to inform the public about the air quality in the local area. On the nearby I-110 freeway\, a vinyl banner reads “Keep Los Angeles Beautiful” designed after a Los Angeles initiative to clean and “beautify” littered and polluted neighborhoods. On various telephone poles and freeway exit ramps are blank “music” posters\, coated with an adhesive designed to collect debris and reveal a gradient of Los Angeles’ pollution.   \n\n\n\nThese process-based and ready-made sculptures all function as evidence of the environmental conditions that Chinatown is subject to on a daily basis due to its proximity to the Harbor I-110 Freeway.
URL:https://www.h-r.la/event/smog-check-carlos-agredano/
CATEGORIES:exhibition
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DTSTART;TZID=America/Los_Angeles:20230922T000000
DTEND;TZID=America/Los_Angeles:20230929T235959
DTSTAMP:20260826T143310
CREATED:20230906T195842Z
LAST-MODIFIED:20240826T163115Z
UID:7665-1695340800-1696031999@www.h-r.la
SUMMARY:Michael Kennedy Costa: Mirror Area
DESCRIPTION:Gallery hours: 12 – 6pmOpening: Friday\, September 22\, 6 – 8pm \n\n\n\nA selection from an ongoing series of line drawings. This exhibition includes two events: a concert with Los Angeles Wood Wind Skill Share & Wells Leng on Wednesday\, September 27 at 8pm; and a closing launch/reading for Kennedy Costa’s book Mirror Area (published by Holoholo Books) on Friday\, September 29 from 6 to 8pm. Kennedy Costa will be joined by artists Alexandra Noel\, Naoki Sutter-Shudo\, Aimee Goguen\, Dakota Higgins\, Keith J. Varadi\, and Merideth Hillbrand\, each reading a selection of their own work. \n\n\n\nClick here to read a brief writing on Mirror Area by artist Sydney Acosta. \n\n\n\nMichael Kennedy Costa (b. 1982\, Northampton\, MA) is an artist and poet who lives and works in Los Angeles. His work is primarily rooted in drawing. Kennedy Costa received an MFA from Virginia Commonwealth University in 2011. His work has been exhibited at Hunter Shaw Fine Art\, Los Angeles; Bad Water\, Knoxville; Simian\, Copenhagen; Franz Kaka\, Toronto; u’s\, Calgary; and Sydney\, Sydney. He will be included in a forthcoming group show at CAPC Musée d’art Contemporain de Bordeaux.  His book of poems\, Mirror Area\, will be published by Holoholo Books in September 2023. \n\n\n\nThe Los Angeles Wood Wind Skill Share (LAWWSS) is a horizontally organized learning project that provides space for participants to learn about wind instruments through free improvisation.  \n\n\n\nWells Leng (1994-) is a multi-instrumentalist performer/composer/improviser based in Los Angeles\, graduated from USC with a BM in Composition and a BA in Piano Performance and CalArts with an MFA in the Performer-Composer program. As both a performer and composer\, Wells has collaborated with many other artists all over the world. Wells is part of House on Fire Trio\, stickytack\, and Quartet Friends\, and has performed in such venues as Carnegie Hall\, REDCAT Theater\, Aratani Theatre\, among others. Wells is currently the associate music director and collaborative keyboardist at Neighborhood Unitarian Universalist Church.
URL:https://www.h-r.la/event/michael-kennedy-costa-mirror-area/
CATEGORIES:exhibition,music/sound,reading
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