BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Human Resources - ECPv6.17.3//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Human Resources X-ORIGINAL-URL:https://www.h-r.la X-WR-CALDESC:Events for Human Resources REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/Los_Angeles BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20140309T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20141102T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20150308T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20151101T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20160313T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20161106T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20170312T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20171105T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20180311T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20181104T090000 END:STANDARD END:VTIMEZONE BEGIN:VTIMEZONE TZID:UTC BEGIN:STANDARD TZOFFSETFROM:+0000 TZOFFSETTO:+0000 TZNAME:UTC DTSTART:20150101T000000 END:STANDARD END:VTIMEZONE BEGIN:VTIMEZONE TZID:America/Los_Angeles BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20150308T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20151101T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20160313T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20161106T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20170312T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20171105T090000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;VALUE=DATE:20170318 DTEND;VALUE=DATE:20170328 DTSTAMP:20180725T231459Z CREATED:20170220T224713Z LAST-MODIFIED:20180725T231459Z UID:2535-1489816800-1490594399@www.h-r.la SUMMARY:Making Plans DESCRIPTION:Opening reception: March 18\, 7-10pm\nGallery hours: Tuesday – Sunday\, 12-6pm \nMAKING PLANS brings together a coalition of artists engaging with issues of labor\, access\, invisibility\, and power through various actions. In the introduction to Working: People Talk About What They Do All Day and How They Feel About What They Do (1974)\, a transcription of interviews with working people\, oral historian Studs Terkel begins by likening work to violence. This “daily humiliation\,” is at the root of a Capitalist condition which\, as Marx wrote many years prior\, “uses up its material factors\, its subject and its instruments\, consuming them\,” yet continues to endure\, despite an established discourse and data all but exhausting its systemic flaws and troubled histories. \nThis violence also emphasizes a search for daily meaning\, rationale for the empty hours\, dissent and hopelessness of that condition. In MAKING PLANS\, new economies of production emerge or return in retaliation\, deliberately positioning life and practice in such a way that acknowledges complicity\, yet still consistently working to eradicate that which does not work. \nIf we accept that Capitalism has failed us\, but that a true Communism cannot [yet?] be achieved\, how do we proceed? As Paulo Freire’s writes\,“only human beings are praxis;” a constant and vigilant re-examination of the pervasive\, endangering methodologies are needed\, so that something else\, something better\, might arise. \n“I’m not so much despairing as asking a question about making plans.”\nFred Moten \nArtists in the exhibition include: Astrovandalistas (Rodrigo Frenk\, Lleslie Garcia and Thiago Hersan)\, Di?az Lewis (Alejandro Figueredo Diaz-Perera and Cara Megan Lewis)\, Ishi Glinsky\, Nuttaphol Ma\, Jimena Sarno\, Aram Han Sifuentes and Kim Zumpfe. \nMAKING PLANS is organized by two artists\, Kyle Bellucci Johanson and Matthew Lax. An additional essay by Clara Lo?pez Mene?ndez accompanies the exhibition in a book designed by Gia Ahn (online version available here). \nADDITIONAL PROGRAMMING:\nSaturday\, March 25 @ 4PM Participatory workshop by artist duo Di?az Lewis\nSunday\, March 26 @ 6PM Film screening of work by Nuttaphol Ma\, Behrouze Rae and others\n \nstill from “A Grain of Rice Under A Microscope\,” 2013\, Nuttaphol Ma\n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\nphotos by Christopher Wormald URL:https://www.h-r.la/event/making-plans/ 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/2017/02/unnamed-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20170311T200000 DTEND;TZID=America/Los_Angeles:20170312T170000 DTSTAMP:20181026T195428Z CREATED:20170306T200252Z LAST-MODIFIED:20181026T195428Z UID:2545-1489262400-1489338000@www.h-r.la SUMMARY:Inside You Is Me - Jaqueline Gordon DESCRIPTION:A dynamic sculpture with moveable walls\, multichannel sound pieces\, and a staged performance SATURDAY EVENING\, featuring FAY and Jon Mandabach.\nhttp://jacquelinegordon.net/ \nHOURS:\nSaturday Night:\n6:00 – 8:00 Visiting Hours\n8:00 – Jon Mandabach\n9:00 – FAY\nSunday:\n11:00 – 5:00 Visiting Hours \nFAY:\nFAY will be premiering her new record “Deal” (release date: February 24\, 2017) within the sculptural infrastructure of Inside You Is Me.\nForging an idiosyncratic musical language\, told through striking rhythms and adventurous wordless vocal explorations\, ‘Deal’ is FAY’s boldest work yet. A conversational interplay between drum and voice is at the center\, highlighting an alluring human element. A loose\, primal urgency guides these compelling and playful electronic compositions that favor intuitive sense perceptions over self-expression. The voice acts as a beacon throughout the record\, leading the rhythms and arrangements towards their next move. Each moment is deliberate and precise\, while simultaneously being executed with a pulsing of life energy.\nhttps://www.facebook.com/FAYshadows/ \n“Inside You Is Me” was originally installed at The Lab (SF) during the month of October 2016. http://www.thelab.org/projects/2016/10/1/jacqueline-gordon URL:https://www.h-r.la/event/inside-you-is-me-jaqueline-gordon/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/03/DSC01599.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20170210 DTEND;VALUE=DATE:20170220 DTSTAMP:20170111T012419Z CREATED:20170111T005040Z LAST-MODIFIED:20170111T012419Z UID:2494-1486706400-1487483999@www.h-r.la SUMMARY:Yann Novak: Repose DESCRIPTION:Opening Reception: February 10\, 7 – 10pm\nClosing Performances: Rebecca Bruno\, Sarah Rara\, & Geneva Skeen\, February 18\, 8 – 10pm\nGallery Hours: February 11 – 12 & February 15 – 18\, noon – 5pm\nCurated by Suzy Halajian \nRepose is a solo exhibition of new work by Yann Novak that explores how context changes perception. \nRepose consists of an audiovisual installation and series of seven chromatic prints. The installation presents a monolithic sound piece\, comprised of purely synthetic timbres devoid of traditional compositional elements\, accompanied by a projected field of light that continually shifts in color\, hue\, and saturation. \nThe series of prints\, titled Repose.Heptaptych\, is fabricated on acoustic absorption panels and installed in the gallery foyer. Each print represents one of the seven fundamental colors in the installation. The acoustic properties of the material serve to dampen the ambient sound outside the gallery as the audience enters the more sonically excited environment of the installation. \nThe first iteration of this project began as a performance commissioned for the 2014 AxS Festival and was performed in Cocky Eek’s inflatable SPHÆRÆ. The performance was an examination of the inseparability of sound from context\, and its effects on our perception of time\, space and subjectivity. In that piece\, Novak proposed that our experience of sound is highly dependent upon the listening environment\, and that the modernist notion of “reduced listening” introduced and championed by Pierre Schaeffer is problematic as our ability to understand and decode sound is always produced as a negotiation between phenomenon and context. For the listener\, there is never an opportunity to decouple the phenomenon of listening from the personal\, structural\, and political context within which the sonic field exists. \nWhile structurally similar to the 2014 performance\, Repose reframes the original inquiry into the relationship between sound and environment by extending it into the world outside the gallery. While the original performance asked\, “How does a simple shift in color influence our experience of sound?”\, Novak asks the audience to allow their own experiences as a witness of the recent US election debacle to precede their interpretation of the work\, and further asks\, “How do the economic\, political\, and social problems of the United States recode our collective listening experience? What does it mean to come together as participants\, as subjects\, and allies in this context?” \nThe exhibition’s closing will present performances by Rebecca Bruno\, Sarah Rara\, and Geneva Skeen. Rebecca Bruno will offer a choreographic response to Novak’s Repose.Heptaptych. A gestural run-on sentence performed in four orientations meditating on the relationship between movement\, subjectivity\, and repetition. Sarah Rara will present Separating the Air\, a new performance which involves games of listening and learning between voice and computer at the boundary between music and speech. Each part is a device to punctuate silence\, divide time\, move the air. Geneva Skeen will present Pop Song\, a temporal response to Novak’s drone work\, and a cultural response to our times. In harmonizing with Novak’s loop – divided into 3-4 minute segments (the average acceptable length of a pop song) – Skeen’s Pop Song acknowledges that populist times call for populist measures\, but refuses populist comfort\, acceptance\, and pale standards of beauty as means of resistance. URL:https://www.h-r.la/event/yann-novak-repose/ 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/2017/01/Repose-Promo.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20170203 DTEND;VALUE=DATE:20170207 DTSTAMP:20170204T213237Z CREATED:20170110T091232Z LAST-MODIFIED:20170204T213237Z UID:2492-1486101600-1486360799@www.h-r.la SUMMARY:Statues And Attitudes DESCRIPTION:STATUES AND ATTITUDES\nAn imagined feminist vision\nJade Gordon and Megan Whitmarsh with guests \nFRI FEB 3 – Opening Event 7pm-10pm\nSAT/SUN FEB 4/5 – Exhibition Open to the public 1pm-8pm\nplus WORKSHOPS\, SCREENINGS\, and PERFORMANCES (see below for details) \nOpen during all exhibition hours: A Wider Net\, reading room curated by F.L.O.W. (Feminist Library on Wheels); also GIANT fabric magazine\, masks and sculptures. Singing with Becky Stark. Everything is participatory! \nRSVP for workshops: jagangormarsh@gmail.com\n \n\nFriday Feb 3 OPENING EVENT \n7pm Live music with Von Doog\n8:30pm VIDEO SCREENING – New Developments\, Inc (5:30 mins\, 2017)\, The Open Door (6 mins\, 2016)\, Women on the Edge of Time (5:55 mins\, 2015)\ncomplimentary cocktails by The Spirit Guild Distillery\n\n\nSaturday Feb 4 \n11am – 1pm: How Do You Stand In Relation To These Many Realms? Somatic workshop with Anne Howland – Feel into the wisdom contained inside your own body. Participants are invited to bring something (an issue in their lives) that is important and emotion provoking and alive for them in the moment. No one will be required to share this with the group. (RSVP Required)\n\n1pm – 8pm: Exhibition OPEN TO PUBLIC\n\n2pm – 4:30pm: Rainbow of Desire – Theatre of the Oppressed Workshop with Jade Gordon – Part of Brazilian director and activist Augusto Boal’s liberatory political theater methodology\, Rainbow of Desire is a range of exercises\, games and techniques to identify\, analyze and respond to internalized oppression. (RSVP Recommended)\n\n4:30pm – 5:30pm: CO-OP SPUTNIK: How to start a babysitting co-op. Talk by Rachel Allen – This workshop will outline the benefits of babysitting cooperatives\, for babies and their parents; describe a couple different kinds; and provide a guide on how to start one for yourself\, your family and your community\, and close with a few tips on how to sustain it over time. We may also have some testimonials from members of the Northeast LA Babysitting Cooperative\, aka Co-op Sputnik. (RSVP Required)\n5:30pm – 8pm: Light on The Path\, drop-in sewing workshop with Megan Whitmarsh – Resist branding by external forces by creating and broadcasting the message that you want to send. Claim the political space of your chest / breast by making a (fabric) message button.\n(No RSVP required)\n\n\nSunday Feb 5 \n11am-1pm: The Heart of The Matter\, Query-based workshop with Dorothy Henderson – We will use deep listening and clear questions to help participants gain deeper understanding of a concern\, inquiry\, or decision that they bring to the workshop. (RSVP Required)\n\n1pm-8pm Exhibition OPEN TO PUBLIC\n\n2-4pm: Activating the Feralscape: Somatic Plant Writing Ceremony with Amanda Ackerman and Saewon Oh – Working with time traveling plants\, we will explore the language embodied by each: by ingesting plants\, we’ll be sharing our bodies and co-creating a feral language to uncover stories of shifting timelines\, ancestral recovery\, and collective remediation. (RSVP Required)\n\n5pm: VIDEO SCREENING – New Developments\, Inc (5:30 mins\, 2017)\, The Open Door (6 mins\, 2016)\, Women on the Edge of Time (5:55 mins\, 2015)\n\n5:30-6:30pm: PERFORMANCE: Aaron M. Olson’s Musical Tracing Project – Taking familiar songs and musical pieces and reinterpreting them through a filter of naïveté via an unsuspecting large musical ensemble. This performance will feature the work of female composers.\n\n6:30-8pm: Past Lives Crystal Guided Meditation & Workshop with Azalea Lee of Place 8 Healing – Crystal healing is a form of metaphysical energetic healing facilitated by the vibrations in crystals and stones. (No RSVP required)\n\n \n \nWe will not know our own injustice if we cannot imagine justice. We will not be free if we do not imagine freedom… Dislodge the mind from the lazy\, timorous habit of thinking that the way we live now is the only way people can live.\n— Ursula K. Le Guin \nStatues and Attitudes is a three day exhibition and series of free public workshops and events; an imaginary educational institute and retreat center; a portal and a liminal space. Examining 1970s feminist speculative science fiction and themes such as environmentalism\, aging\, consumerism\, and time travel\, Statues and Attitudes investigates the trope of the futuristic female-only utopia as an exploration of female agency and liberation from patriarchy. Society faces a sudden catastrophic event. At this moment even the hope of human survival seems like a utopian desire. We seek to create a ritualized\, aesthetic space within which we will consider strategies for collective healing\, self-critique\, and social change. Metaxis is a Greek word that means an in-betweenness\, a way to exist in two different worlds at once. We visit astrologers and crystal healers. We have a sense of humor and a sense of responsibility. We find ways to protect and love each other. Statues and Attitudes gathers a chorus of women’s voices\, past and present\, that sings of things to come beyond the terrifying immediate future and of old possibilities that were never allowed to exist. We can make things happen. \nWe invite you. You are not a consumer but a participant. We want to uncover our connections and reveal our communities. What are you are thinking? How are you feeling? There is no outside where you can simply stand and watch. We travel through time. We are laughing and crying. We are listening and reaching out. Anyone willing to participate is invited. Climb the ladder and throw it away. The body is engaged with our process of thinking. Thinking takes place simultaneously in the brain\, the body\, and the world around us. The universe is participatory. The universe is relational. The space from here to there is fixed. Those are the riverbanks. But the space between is unforeseeable. The river you enter is always new. URL:https://www.h-r.la/event/statues-and-attitudes/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/01/SA-invite.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20161202 DTEND;VALUE=DATE:20161220 DTSTAMP:20161209T174717Z CREATED:20161116T021015Z LAST-MODIFIED:20161209T174717Z UID:2310-1480658400-1482127199@www.h-r.la SUMMARY:Rocket Rain موشک باران DESCRIPTION:December 2 – December 18\, 2016\nOpening Reception: Friday\, Dec 2\, 7pm-10pm\nGallery Hours: Wednesday-Sunday\, 12pm-6pm \nRocket Rain borrows its title from the second chapter of the Iran-Iraq War\, known in the West as “The War of the Cities”\, which Iranians refer to and remember as ???? ????? mooshak-baran: “Rocket Rain.” Initiated by the Iraqi Air Force in 1984\, and quickly retaliated by Iran\, this was a series of systemic air raids over major cities densely populated by civilians. The artist was born in 1986 during the Rocket Rain of Tehran and currently lives in Los Angeles as a refugee. \nThe Exhibition was inspired by revisiting the 1985-1986 archives of Iranian Newspaper Kayhan (Cosmos) from the nine months the artist’s mother was pregnant with her\, her second child during the war. From the banality of crossword puzzles\, published in the wartime newspaper for the “leisure” of those living under the bombs and rockets to the three instances the U.N.General Assembly unanimously voted for the end of the Iran-Iraq War in 1982\, 1986 and 1988\, the exhibition juxtaposes the different abstractions of war. Drawing from the most intimate to the most generic imagery\, Rocket Rain provides a lens through which to grapple with the political landscape of the Iranian nation state\, while reflecting on the state of perpetual\, imminent war in the U.S. \nThe images\, archives and objects that were visited as research and material in this exhibition were shipped from Tehran\, Iran by the artist’s parents during the harshest economic sanctions over the span of three years. \nCurated by Vardui Sharapkhanyan\, the exhibition runs from December 2 to December 18 and will include public programming. A companion publication with essay contributions by Dan Bustillo\, Hrag Vartanian and Gelare Khoshgozaran will be available for purchase. URL:https://www.h-r.la/event/rocket-rain-%d9%85%d9%88%d8%b4%da%a9-%d8%a8%d8%a7%d8%b1%d8%a7%d9%86/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/11/final_small.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20161118T180000 DTEND;TZID=America/Los_Angeles:20161120T230000 DTSTAMP:20161116T012909Z CREATED:20161111T164836Z LAST-MODIFIED:20161116T012909Z UID:2301-1479492000-1479682800@www.h-r.la SUMMARY:Femmebit DESCRIPTION:Femmebit is a curated festival showcasing an all-female roster of LA-based creators cultivating the field of video art and new media. \nFriday 11/18\n6pm: Gallery and VR room opens\n6:30pm: Livestream: VR demo with Casey Kauffmann\n7pm: Panel: Joanne McNeil on Virtual Reality + Empathy with Natalie Sun\n8pm: Screening: Video as Anatomy\n10pm: Performance: Pellyvision and Callie \nSaturday 11/19\n2pm: Panel: Rebecca Allen\, JJ Stratford\, Holly Willis and Candace Reckinger\n6pm: Performance and Screening: Anne Bray presents Dis…Miss\n8pm: Screening: Heterotopias \nSunday 11/20\n11am: Pre-Panel: Brunch\n12pm: Panel: Artists as Brand Strategists\, with Samantha Culp and Siegel + Gale\n2pm: Screening: Artists as Cooperatives \nFeaturing work by: \nAlex Brown\nAlex Pelly\nAmanda Joy\nAmanda Siegel\nAnn Hirsch\nAnna Wittenberg\nAnne Bray\nAnnapurna Kumar\nCamella Kim\nCasey Kauffmann\nClaire L. Evans\nClaire Marie Vogel\nDanielle Parsons\nEileen Cowin\nEva Aguila\nGiselle Zatonyl\nThe Institute For New Feeling\nIsabelle Albuquerque\nJaqueline London\nJane Chang Mi\nJeanette Bonds\nJeepneys\nJenny Sayaka Nono\nJJ Stratford\nJulieta Gil\nJulie Weitz\nKate Hollenbach\nKate Parsons\nKim Ye\nKristel Brinshot\nKyttenjanae\nLaura Darlington\nMaria Lynch\nMitra Saboury\nPetra Cortright\nRachel Mason\nSarah Manuwal\nSarah Zucker\nSam Vernon\nSelwa Sweidan\nSuzy Poling\nYo-Yo Lin \nFeaturing panels with: \nSamantha Culp (Co-Founder Paloma Powers)\nJoanne McNeil (writer and former editor of Eyebeam and Rhizome)\nHolly Willis (Chair of the Media Arts + Practice Division\, USC)\nCandace Reckinger (Professor of the Practice of Cinematic Arts\, Director of the Jaunt Cinematic VR Lab)\nRebecca Allen (Founding Chair of UCLA Design Media Arts\, Founding Director of Nokia Research Lab)\nCasey Kauffmann (Artist and Creator of Uncannysfvalley)\nNatalie Sun (Creative Technologist and Founder of Next Art). \nOrganized by: \nKate Parsons (Co-Founder\, FLOAT)\nSharsten Plenge (Founder\, WOAH – http://woahis.us/)\nJanna Avner\nGiselle Zatonyl\nJulieta Gil \nWith support from: \nElectric Objects\nDublab\nNavel.live URL:https://www.h-r.la/event/femmebit/ 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/2016/11/14500617_104037220061821_2201699528439188729_o.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20161029T120000 DTEND;TZID=America/Los_Angeles:20161029T210000 DTSTAMP:20161026T224611Z CREATED:20161026T224302Z LAST-MODIFIED:20161026T224611Z UID:2259-1477742400-1477774800@www.h-r.la SUMMARY:John Wiese: Battery Instruments DESCRIPTION:BATTERY INSTRUMENTS\n• 4-channel video/4-channel sound (2016 version) *Debut\n• 4-channel video/2-channel sound (2012 version)\n• 8-channel sound (2009 version) \nOpen from noon to 9pm. Reception from 7 to 9pm.\nFree \nEditions available at the event. More info TBA. \n \n  \nThe cinema of ‘pure means’: John Wiese’s Battery Instruments as history lesson.\nBruce Russell \nJohn Wiese’s Battery Instruments is a work that provokes a lot of thought. And ?rst among these thoughts for me is to consider what it might mean to designate him\, on the evidence presented in this installation project\, as a ?lm maker. \nThere was a tedious fashion a few years ago for composers to produce sound tracks for imaginary movies. Barry Adamson did a few once he had no gainful employment while waiting for the new wave of New Wave to pick up Magazine again. In a cultural sense this kind of thing is pure ‘makework’\, like setting the unemployed to dig holes and ?ll them again. It’s also in my opinion an illegitimate extension of one art form into the territory occupied by another\, and moreover one that tends to arise from a ‘narrative’ understanding of music. This seems to me one of the most pernicious pretensions of a jumped-up art form — the idea that music can communicate narrative meaning is pure Wagner\, and that way lies\, if not madness\, at the very least the Nuremburg Rallies. \nBut if\, on the other hand\, we are willing to let sounds ‘be what they are’ — what can be ‘said’ — what can be ‘said’ with them? \nOne way to approach an answer to this question begins by ‘unpacking’ Battery Instruments to reveal what deeper meanings may be implicit beneath its austere surfaces. This process begins with the experience of getting into a box in which a media work is presented. This is what got me thinking about the cinema in the ?rst place. \nOnce inside this ‘magic lantern show’ of sound; the stuttering\, glooping\, belching and tapping that comprise the radically edited phonemes of the piece (circulating in their eight channels like planets in an endless dance of conjunction and epicyclical enjambment) instantly evoked references to both sound poetry\, and then (when considered alongside Wiese’s practice as a typographer) one of the twentieth century’s less well-known but unimpeachably radical aesthetics of rejection — Lettrism. \nAnd the business of Lettrism\, apart from provoking scandals in a time when this was still possible\, was mainly concerned with poetry and the cinema. Their approach to both was instructively thorough-going. As Serge Berna put it in 1952 with regard to film: \nToday\, faced with the imperatives imposed upon us by the cinematographic tradition\, we must smash the double magic circle that protects this citadel. The ?rst is the sacred barrier within which one guards the credo: ‘Cinema-is-images’. \nThe radicality of these questions posed to art forms and media by the ?rst Lettrists remains substantially un-recouped in 2009. Isidore Isou’s strict requirement remains in force: that after its initial elaboration in the ‘amplic phase’\, every form of expression should be puri?ed by ‘chiselling’ out the content of the form in order to reveal what is truly essential in it. And very clearly what is least essential to the cinema is the image. \nOf course this kind of paradoxical mangling of concepts is easily done — saying that an artist unconcerned with moving images is engaged with the cinema! What pish — it’s the conceptual equivalent of shooting ?sh in a barrel: which is proverbially understood to be opposite of meaningful sport. But my sport here is decidedly meaningful\, as will become apparent when we consider what really constitutes what we call ‘media’. \nUnderstanding the process through which media arise is the key to Berna’s ‘smashing of the double magic circle’. Jonathan Sterne’s magisterial work The Audible Past examines exactly this question: ‘what makes media?’ \nThis is so basic it is almost never asked\, or even understood to be question-able. Sterne makes plain the way that what we accept as media appear to be so natural precisely because they are uniquely pervasive forms of rei?cation. And rei?cation is only perceptible as such by a somersault of the mind precisely because it has the appearance of natural inevitability. These social realities may not be questioned precisely because the prevailing social and economic relations assert that they can ‘be’ in no other way. \nWe generally assume that media are identical with technologies. Yet as Sterne makes plain\, media are much more than this\, they are “recurring sets of contingent social relations and social practices” which cohere around technologies. In Bourdieurian terms they are technologies in association with a speci?c habitus. \nSterne explicates this by showing how sound technologies in their earliest phases have very loose connections with media — the telephone\, for instance\, at some periods was used for broad.casting and seemed to have a great future in that realm. At the same time the radio was used primarily for point-to-point communication\, and even once it became articulated within broadcasting networks\, it had an almost complete allergy to recorded music — to a degree which today seems quite inexplicable. Yet today we cannot conceive of a broadcasting telephony or a point-to-point radio network — which is why cell phones and Blackberry-type PDAs are considered ‘phones’ (albeit with additional characteristics)\, even though they are actually radios\, because the social practices that structure their use make them so. Witness the branding of one of the most fully-featured and least ‘telephone-like’ of these devices as the iPhone. The actual technology which makes these work is not constitutive of their social reality qua media\, but their ‘mode of use’ is — in this case point-to-point communication in a telephone network. \nMy point here is that Isou’s Lettrists (and by extension\, John Wiese) are historically vindicated in conceiving a cinema which is not visual — for quite some time in the nineteenth century the sound recording was socially received as a concert performance media analogous to the soon-to-be-invent.ed cinema. People gathered together to hear phonographic performances. This tradition was of course revived in France following the invention of electro-acoustic music. And much later a group of French mavericks promoted a series of recorded works on the Metamkine label as ‘Cinema for the Ear’. Their meaning was not that these were ‘soundtracks’ or adjuncts to visual narratives\, but that they were\, in and of themselves; ?lms. \nWhich brings us back to Battery Instruments. The other characteristic of Wiese’s work that stakes its claim as cinematic is its emphasis on editing and repetition. Giorgio Agamben has written of Debord’s cinematographic work that its virtue lies in its wholehearted emphasis on the real core of cinema\, which he de?nes as montage. In this Debord exposes his debt to his ?rst master\, Isidore Isou. And what\, Agamben asks\, are the ‘transcendental conditions’ (to borrow a Kantian terminology) on which montage relies? They are: ‘repetition and stoppage’. \nAnd the same may be said of Wiese himself. His work to date has proven that he is an ‘editor’s editor’ — he builds by dissection\, cutting down to tiny blocks of sound which he then reassembles to create sound work which cannot in reality exist. Sounds don’t behave acoustically the way they behave in the work of John Wiese. Like all great artists he makes the world conform totally to his vision — or perhaps I should say: to his audition. \nAnd this is certainly true of Battery Instruments. By recon?guring the classic audible elements of a rock band: guitar\, bass\, drums and voice — into independent channels of tightly edited ‘phonemes’\, which chance then remixes into an impossible sound ?eld of sequential spatially distributed noise events presented within the miniature auditorium that is his cinematheque\, Wiese simultaneously evokes the Lettrist cinema without images\, and its reduction of poetry to far less even than words or syllables — to letters. And as Agamben has also observed: “stoppage shows us that cinema is closer to poetry than to prose”. It can counter syntactical limits with acoustic and metrical limits\, as poetry does. \nAnd as Battery Instruments does. Dissolving the form of rock music in the acid of montage\, it then precipitates it again into the form of a poetic cinema of the ear. This is the cinema that Agamben has argued is a ‘pure means’ because\, contrary to the prevailing Hegelian conception that the medium must disappear into the expression\, it uses repetition and stoppage to draw attention to the medium\, to prevent the false disappearance of the image into the absolute. \nAnd John Wiese’s work is his medium — sound — rather than any illegitimate message grafted onto the waves which carry it to us. The message\, which is shown in the form rather than signi?ed in the content\, is the time-dissolving wager of audition itself\, the kinematos which is implicit in all life. \n(Essay from the original 2009 Battery Instruments monograph) \nJohn Wiese “Battery Instruments” (Score\, 2009) URL:https://www.h-r.la/event/john-wiese-battery-instruments/ 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/2016/10/battery-instruments-poster.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20161007 DTEND;VALUE=DATE:20161025 DTSTAMP:20161001T084942Z CREATED:20160928T231157Z LAST-MODIFIED:20161001T084942Z UID:2238-1475820000-1477288799@www.h-r.la SUMMARY:Seduction of a Cyborg DESCRIPTION:Exhibition Dates: October 7-23\, 2016\nOpening Reception: Saturday\, October 8\, 7-10pm \nSeduction of a Cyborg explores intimacy\, sex\, and desire as related to technocratic fantasies of futurity\, (re)production of bodies\, and fractured selfhood in the digital age. The fictional and the virtual intersect\, exposing narratives that activate\, transform\, and deconstruct our understanding of the networked and plugged-in subject. The exhibition springs from an engagement with the work of Lynn Hershman Leeson\, a foundational feminist artist whose work has explored selfhood and technology for over fifty-years. The exhibition places special focus on Hershman Leeson’s feature-length film Teknolust (2002)\, in which a female bio-geneticist downloads her own DNA to produce cyborgnetic clones that subsist on sexually obtained Y-chromosomes and act as “portals” on the internet where users fulfill fantasies and dreams. \nSeduction of a Cyborg considers this and other early works by Hershman Leeson as a point of inception in examining a range of practices by artists\, which include video\, photography\, installation\, and web-based projects. The exhibition presents historical and contemporary works that call on critical ideas of and around technofeminism\, queer theory\, and disembodiment. The erotic innuendo inherent in the politics and possibilities of nascent technologies\, as well as a longing for an era of low-fi and analogue\, mark points of interest that extend from the 1990s to today. Other works realize fantastical and futuristic (gender) identities\, presenting body parts that have been biotechnologically produced and avatar identities that assume mutable identities online. In the realm of the virtual\, the imaginary knows no limits. \nArtists in the exhibition include: Sadie Benning; Hannah Black; Johanna Breiding; Shu Lea Cheang; Linda Dement; Ricardo Dominguez\, Francesca da Rimini\, and Michael Grimm; Deanna Erdmann; Lynn Hershman Leeson; Faith Holland; Juliana Huxtable; Martine Neddam; Alexei Shulgin; Vertical Blanking (Kim McKillip and Michael J. Masucci); and Pinar Yoldas.\nSeduction of a Cyborg is curated by David Evans Frantz\, Hannah Grossman\, and Simone Krug\, 2017 MA Candidates in Curatorial Practices and the Public Sphere Program at the USC Roski School of Art and Design. \nGallery hours are Wednesday through Sunday\, 12-6pm\, October 7 – 23\, 2016. An opening reception will be held on October 8 from 7-10pm. \nA screening of Lynn Hershman Leeson’s film Teknolust (2002)\, presented in collaboration with a shorts program curated by Dirty Looks LA\, will be held at Human Resources on Sunday\, October 16 from 6-8pm. URL:https://www.h-r.la/event/seduction-of-a-cyborg/ LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012 CATEGORIES:exhibition ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2016/09/unnamed.png END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160927 DTEND;VALUE=DATE:20161004 DTSTAMP:20161106T211936Z CREATED:20160914T040628Z LAST-MODIFIED:20161106T211936Z UID:2224-1474956000-1475474399@www.h-r.la SUMMARY:Jakob Brugge DESCRIPTION:Laoshou Mountain in southwestern China was quarried for more than two decades. Shortly after the quarry’s closure\, the Funnin County Forestry department decided to reconcile the barren mountainside with its surrounding foliage. The conclusion they reached was to paint the mountain. Workers sprayed the section of land a bright\, vaguely chemical green\, tracing the exact outline of the quarry. This decision\, whether simply a dishonest attempt at “greening” or the result of a more substantial bureaucratic drama\, presents a startlingly incongruous failure of representation\, but also\, perhaps\, a development in the potential of authenticity and redescription. The true reasons behind Funnin County’s decision are largely unknown; however\, they provide a methodology of well reasoned foolishness through which to view this exhibition. \nThe exhibition consists of the failed execution of a DIY design and the ensuing attempts to reconcile its deficiencies. A set of Adirondack furniture was mistakenly built out of drop ceiling tiles\, accidentally broken\, and then recast out of plastic to ensure its structural stability. This reformatting establishes a logic of compromise from which the rest of the work emerges. Each element appears in mediated and codependent forms\, functioning ultimately as a staging of uncertainty. \nJakob Brugge (b. 1990\, Los Angeles) Studied at Washington University in St. Louis and the Gerrit Rietveld Academie (Amsterdam\, NL). \nOpening: September 27th\, 7—10pm\nExhibition on view from September 28th—2nd October (12pm-6pm daily) URL:https://www.h-r.la/event/jakob-brugge/ 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/2016/09/Img-for-Press-Release.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160927 DTEND;VALUE=DATE:20161004 DTSTAMP:20160917T214130Z CREATED:20160909T202312Z LAST-MODIFIED:20160917T214130Z UID:2216-1474956000-1475474399@www.h-r.la SUMMARY:Lina Hermsdorf “A Biologically Immortal Living Being Can Still Die” DESCRIPTION:Performed by Henry Babbage\n\nPerformance September 27th\, 8pm\nExhibition on view from September 28th—2nd October (12pm-6pm daily) \nHydras never die of old age. In the ancient Greek myth\, the Hydra is a multi-headed serpent\, with a specific organic talent. As soon as one of its heads is decapitated\, the serpent regenerates the missing body part. Hydra is also the name of a freshwater animal with similarly extraordinary regenerative abilities. Stem cells from this genus of Hydra have a capacity for indefinite self-renewal. \nIn the multidisciplinary exhibition “A Biologically Immortal Living Being Can Still Die“ at Human Resources Los Angeles\, Frankfurt-based artist Lina Hermsdorf examines the varying philosophical and scientific meanings of ageing and confronts them with the seemingly ubiquitous desire for eternal youth. \nHermsdorf is concerned with rhetorical strategies and modes of narration. Through employing intertextuality as a device\, she hints at the very foundation of language and the instability and unreliability of the voice of the artist. She uses the exhibition space as a stage on which language\, the mind and the body exercise\, testing ways that one perceives and processes information as a cognitive being in stimulation-rich environments.\nHer ongoing interest in the characteristics of living organisms as systems that receive\, store\, exchange energy and information in all forms – food\, oxygen\, heat\, signals and are subject to the irreversible time of the second law\, since they are dying entities\, has also shaped the form and content of this exhibition. \nOriginally commissioned by BlockUniverse\, London\, this iteration of the work will open with a lecture performance on September 27th\, 8pm and transform into an exhibition\, surveying the subliminal structures regarding questions of preservation\, ageing and temporality at the intersection of performative and object-based practices. \n“What is an organism? A sheaf of times. What is a living system? A bouquet of times.”\n– Michel Serres \nLina Hermsdorf studied Theatre at the University in Giessen and Fine Arts at the Städelschule in Frankfurt. Her performative works and installations have been shown at Museum Abteiberg Mönchengladbach (2016)\, BlockUniverse\, London (2016)\, Minibar\, Stockholm (2015)\, Yvonne Lambert\, Berlin (2015)\, Kunsthalle Baden-Baden (2015)\, Rowing\, London (2015)\, and Taylor Macklin (2015)\, Zurich among other venues. Upcoming and current projects include: Salon Kennedy\, Frankfurt\, Atlas Economy at Mélange\, Cologne and Rowing\, London (2017). She will be Artist in Residence at Gasworks\, London from October 2016 on. \nProduction Assistant Carl Marion \nsupported by Goethe-Institut\, Munich \n  URL:https://www.h-r.la/event/lina-hermsdorf-a-biologically-immortal-living-being-can-still-die/ 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/2016/09/8.-Lina-Hermsdorf-Maintenance-2016.-Oak-table-glass-cube-flatscreen-living-specimen-hydra-Video-6min-©-Courtesy-of-the-Artist.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160918 DTEND;VALUE=DATE:20160926 DTSTAMP:20160913T021723Z CREATED:20160913T012717Z LAST-MODIFIED:20160913T021723Z UID:2221-1474178400-1474783199@www.h-r.la SUMMARY:Noon Tran & Hannah Mjølsnes: Road River Gust DESCRIPTION:After driving for hundreds of miles\, \npast mountains\, cliffs\, boulders\, and gravel \ndust\, you will find a field of white dunes surrounded by blue mountains. \nCurrents of wind move through this landscape\, continuously shaping and rearranging it. When lakes and rivers dried out due to climate changes\, the wind swept up the exposed bottom sediment of dry sand. The sand brushed against cliffs and rocks\, before piling up at the foot of a mountain ridge that barricaded it from traveling further with the winds. For the past 2\,500 years or more\, fine grains of golden quartz and feldspar have accumulated into 600 feet tall dunes. \nYour feet sink into the side of the dune and soften the sound of your steps\, but as thousands of small rocks begin cascading down\, you can hear them reverberating around you. You leave clear imprints in the surface but as you look back at your tracks they have already been smoothed over by the wind and are almost gone. The booming echoes fade back into complete silence. \nThroughout our work with the site\, a migration of materials occurs. Ceramic sculptures are taken to the site and field recordings are brought back. The materials break apart before coming together in a new form. The site is compressed by the act of recording it\, and reassembled in the gallery. The recordings are altered through digital processes that mirror the natural process of erosion. \nAudio recordings are adapted using granular synthesis: a method by which sounds are broken into tiny grains\, smaller samples of sounds are then redistributed and reorganized to form other sounds. \nThe soundscape is a five-channel sound piece that is experienced differently according to your position in the space. Individual sound recordings from ceramic vessels set up an acousmonium of collected recordings. \nThe video component of the installation uses software that employs an optical flow algorithm to read the motion of the sand. This data is subsequently fed into a video feedback system that resynthesizes the footage. \nƨɘnƨloႱM ʜɒnnɒH bnɒ nɒɿT nooИ         ƚƨuᎮ bɒoЯ ɿɘviЯ \nƨɘlim ʇo ƨbɘɿbnuʜ ǫnilɘvɒɿƚ ɿɘƚʇA\nɒ bniʇ ɘw \,ƚƨub lɘvɒɿǫ bnɒ \,ƨɿɘbluod \,ƨʇʇilɔ ʜǫuoɿʜƚ\n.ƨniɒƚnuom ɘuld yd bɘbnuoɿɿuƨ ƨɘnub ɘƚiʜw ʇo blɘiʇ \n.ɘqɒɔƨbnɒl ɘʜƚ ƚuo ɘvɿɒɔ ƨƚnɘɿɿuɔ bniW\nɘʜƚ ƚuo bɘiɿb ɘǫnɒʜɔ ɘƚɒmilɔ nɘʜw \,ƚɒʜƚ wonʞ ɘW\nƨniɒɿǫ ɘniʇ \,ƨɿɒɘy 005\,2 ɘdyɒm ɿoᖷ .ƨƚnɘmibɘƨ\nmoɿʇ bɘƚɒlumuɔɔɒ ɘvɒʜ ɿɒqƨblɘʇ bnɒ zƚɿɒup ʇo\n.ƚɘɘʇ 006 ƨɒ llɒƚ ƨɒ\,ƨɘnub ƚnɒiǫ mɿoʇ oƚ noiƨoɿɘ\n\n\,ƨɘnub ɘʜƚ ǫniʞlɒw ƚɿɒƚƨ ɘw ƨA\nllɒmƨ ʇo ƨbnɒƨuoʜT .bnɒƨ ɘʜƚ oƚni ʞniƨ ƚɘɘʇ ɿuo\nnɒɔ ɘW .ƨɘnub ɘʜƚ nwob ɘbɒɔƨɒɔ oƚ niǫɘd ƨɘnoƚƨ\nllɒmƨ ɘʞil ƨu ʜƚɒɘnɘd ɘƚɒɿɘdɿɘvɘɿ ƨɘnoƚƨ ɘʜƚ ɿɒɘʜ\nɘɿuƨ ɘʞɒm ɘw oƧ .ʞɘɘƨ-bnɒ-ɘbiʜ ǫniyɒlq ƨlivɘb\n\,ǫnolɒ oǫ ɘw ƨɒ bnɒƨ ɘʜƚ ni ƨƚniɿqƚooʇ ɿuo ʞɿɒm\nbɘqqoƚƨ ɘv’ɘw wonʞ ƨlivɘb yɘnoƚƨ ɘʜƚ oƨ ƚƨuႱ\n.ǫniʜɔɿɒm ɘɿɒ ɘw ɘʞil ƨʞool ƚi \,ɿɒʇɒ moɿᖷ .yf\nbɘʞool bɒʜ ɘw ʇi \,ƚɒʜƚ ƨi ƚɘy wonʞ ƚ’nob ɘw ƚɒʜW\n.ƨʞɔɒɿƚ ɿuo ʇo ynɒ nɘɘƨ ɘvɒʜ ƚ’nbluow ɘw \,ʞɔɒd\nƨɘiɔnɘbnɘƚ ɔiƚƨilɒiɿɘqmi ɿuo ʇo ƨuoiɔƨnoƆ\nƨbniw ɘʜƚ \,ƨlivɘb yɘnoƚƨ ɘʜƚ moɿʇ qlɘʜ ɘlƚƚil ɒ ʜƚiw\nɿuo bɘwɘivɘɿ bɒʜ ɘw ʇI .ƨƚniɿqƚooʇ ɿuo ǫniʇluǫnɘ ɘɿɒ\n⁏ƨqɘƚƨ ɿuo noiƚƨɘup oƚ bɘƚɿɒƚƨ ɘvɒʜ bluow ɘw \,liɒɿƚ\nɘno ɘʜƚ ƨuƨɿɘv \,ʞooƚ ɘw ƚʜǫuoʜƚ ɘw ʜƚɒq ɘʜƚ\nbluow ɘw ƚʜǫuoʜƚ ɘw ɘno ɘʜƚ ɿo \,ʞooƚ yllɒɘɿ ɘw\n\,ɘɔɒq ɿuo ǫninoiƚƨɘup bɘƚɿɒƚƨ ɘvɒʜ bluow ɘW .ɘʞɒƚ\nnɘvɘ ⁏ʜƨɘlʇ ɿuo ʇo yɔnɘɿɒqƨnɒɿƚ ɘʜƚ \,ƚʜǫiɘw ɿuo\n\,noiƚɒɔol ɿuo ƚnioqniq oT .ƨɘibod ɿuo ʇo yƚivɒɿǫ ɘʜƚ\nɘʜƚ ni ƨʞɿɒmbnɒl ɿoʇ bɘʞool ɘvɒʜ bluow ɘw\nǫniƨoqmoɔɘb ɘmoƨ ɿo ʜƨud yɿb ɒ ɿoʇ ɘdyɒm \,ƨɘnub\n.ɘɔnɘƚƨixɘ ɿuo ƚɿoʇmoɔ oƚ ǫniʜƚynɒ \,ʜƨɒɿƚ \nƚnɘmɘlƚƚɘƨ ɒ ɘʞɒm oƚ ɘbiɔɘb ɘw bɒɘƚƨnI\nbɘiʇƨiƚɒƧ .ɿɘʜƚɿuʇ nɘvɘ ɘƚiƨ ɘʜƚ ƚidɒʜni bnɒ\nɘƨoqoɿq ɘw \,ƨɘnub ɘʜƚ ʇo ǫniʞɿɒm ɿuo ʜƚiw\nwɘn ƚɿoqmi bnɒ ɘƚiƨ ɘʜƚ moɿʇ ƨlɒiɿɘƚɒm ƚɿoqxɘ oƚ\nƨɘɿuƚqluɔƨ ɔimɒɿɘɔ ǫniǫniɿd ɘniǫɒmi ɘW .ƚi oƚ ƨɘno\nɿoʇ quɘʞɒm oƚ ǫniɿɘʇʇo nɒ :ɘǫnɒʜɔxɘ nɒ ƨ’ƚI .ɘɿɘʜƚ\n\,llɘw \,bnɒ \,ƨɘɿuƨɒɘɿƚ ɿiɘʜƚ ǫniƚool \,ƨɘnub ɘʜƚ ǫniziɘƨ\nɘɘɿǫɒ ƨu ʇo llɒ ƚoИ .ƨlivɘb yɘnoƚƨ ɘʜƚ ǫnidɿuƚƨib\nƨbniw ɘʜƚ bnɒ lliƚƨ bnɒƚƨ ƚ’nƨɘob ɘmiƚ ƚud ƨiʜƚ oƚ  .ƚoʜƨ ɒ ƚi ɘviǫ oƚ ɘbiɔɘb ɘw \,oƨ ⁏ɿɘǫnoɿƚƨ woɿǫ \n.ƨɘqɒʜƨ wɘn ni ƨɘnub ɘʜƚ ɘǫnɒɿɿɒɘɿ ɘW\nɘƚiƨ ɘʜƚ ʇo ƨƚɘɿɔɘƨ ɘʜƚ ɿɘʜƚɒǫ ɘW\nɘǫɒnɒm ɘw ʇi \,ƚɒʜƚ bɘɔnivnoɔ \,ƨǫnibɿoɔɘɿ ʜǫuoɿʜƚ\nɘvɘiʜɔɒ bnɒ mɘƚƨyƨ oibuɒ ɘƚɒɿodɒlɘ nɒ ƚɔuɿƚƨnoɔ ɘW\n\,”ǫninɘƚƨil ɘɿuq oƚ bɘƚovɘb ɒiqoƚu wɘn“ ɿɘwɘn ɒ\n’muinomƨuoɔɒ‘ ƨ’ɘlyɒᙠ yd bɘnoiƨivnɘ ƨɒ\nƨǫnibɿoɔɘɿ ɿɘʜƚɘǫoƚ ǫniɿd lliw ɘW .ƨbnuoƨ ʇo\nylƚnɘɿɘʇʇib bɿɒɘʜ ɘɿɒ ƚɒʜƚ ƨlɘƨƨɘv ɔimɒɿɘɔ moɿʇ\nɿɒlunɒɿǫ ǫniƨU .ɘɔɒqƨ ni noiƚɒɔol ɿuo oƚ ǫnibɿoɔɔɒ\n\,ƨniɒɿǫ yniƚ oƚni ƨbnuoƨ ƨʞɒɘɿd ƚɒʜƚ \,ƨiƨɘʜƚnyƨ\n.bnuoƨ ʇo ƨɘlqmɒƨ ɿɘllɒmƨ ɘɿuǫiʇnoɔɘɿ lliw ɘw\n.noiƚɒllɒƚƨni bnuoƨ ɿuo ɿoʇ ƨoɘbiv ɘƚɒɘɿɔ ɘW\nɘƨnɘƨ ƚɒʜƚ ƨmʜƚiɿoǫlɒ wolʇ lɒɔiƚqo ɘƨu ɘW\n.ƨɘʞɒm ƚi ɘƨion ɘʜƚ bnɒ bnɒƨ ɘʜƚ ʇo noiƚom ɘʜƚ  \nʜǫuoɿʜƚ noiƨiv ɿuo ǫniɘɘƨ ɿɘƚʇA\n\,nɒlq bnɒɿǫ ɿuo oƚ ƨɘnub ɘʜƚ ǫniƚɔɘႱduƨ bnɒ\n.ƨɘnub ɘʜƚ ʇo ƨɘiɿɘƚƨym ɘʜƚ bɘʞɔɒɿɔ ɘvɒʜ lliw ɘw  \noƚ ǫnivom ɘd bluow ɘw ƨA\nɘɔnɘƨƨɘ ɘʜƚ ɘɿoƚƨ bluow ɘw \,ƨɘɿuƚnɘvbɒ ƚxɘn ɿuo\nɘmoƨ ƚƨɒɘl ƚɒ ɿo( ɘɔɒqƨ yɿɘllɒǫ ɿuo ni ƨɘnub ɘʜƚ ʇo\nɘnoɘmoƨ liƚnu \,ɘmiƚ ɘmoƨ ɿoʇ )ƨlivɘb yɘnoƚƨ ƨƚi ʇo\nmɿɘƚ-ǫnol ɒ bɘɘn ƚʜǫim ɘw \,ɿɘƚɒ⅃ .ƨniɒlqmoɔ\nǫnizɘɘupƨ ɿo ƚinu ɘǫɒɿoƚƨ ɒ ǫniƚnɘɿ ɘdyɒm \,nɒlq\n.yɿoƚƨ ɿɘʜƚonɒ ƨi ƨiʜƚ ƚuᙠ .ƨɘxod bɿɒodbɿɒɔ ɘbiƨni ƚi \nƚɒʜW\nɘw ƨɒ \,ƚɒʜƚ ƨi ɿɘdmɘmɘɿ oƚ ǫniƨƨɘɿq ɘɿom ɘd ƚʜǫim\nbnɒƨ ɘʜƚ ǫniʞɿɒm \,ƨɘnub ɘʜƚ ʜǫuoɿʜƚ ǫniʞlɒw ɘɿɒ\n.ʞɔɒd bɘʞool ƚ’nɘvɒʜ lliƚƨ ɘw \,ƨƚniɿqƚooʇ ɿuo ʜƚiw\nƨƚɿoʇʇɘ ɿuo ƚɒʜƚ nwonʞ ɘvɒʜ bluow ɘw \,bɒʜ ɘw ʇI \n.ɘɘɿʇ ƚɘƨ nɘɘd ǫnol ɘvɒʜ ƨɘnub ɘʜƚ :niɒv ni ɘɿɒ \n  \nNoon Tran and Hannah Mjolsnes \nContributors: Daniel Hynds\, Michael Leisz\, Chenhui Mao\, Sara Gomez\nOpening Sunday\, September 18th 7 – 9pm performance at 8:30pm\nGallery hours everyday: 2 – 8pm URL:https://www.h-r.la/event/noon-tran-hannah-mjolsnes-road-river-gust/ 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/2016/09/sands.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20160911T170000 DTEND;TZID=America/Los_Angeles:20160911T220000 DTSTAMP:20160909T195616Z CREATED:20160904T180100Z LAST-MODIFIED:20160909T195616Z UID:2205-1473613200-1473631200@www.h-r.la SUMMARY:9/11 Fifteen Years DESCRIPTION:9/11\nFifteen Years \nA one-night exhibition happening on the fifteen year anniversary of\nSeptember 11\, 2001. \nA paradigm shift. Airplanes as weapons. America attacked. In the\nimmediate aftermath\, we saw people rush to hospitals to donate blood\,\nand strangers talking on the street to figure out what was going on.\nPeople wanted to help. But\, in the months and years that followed\, the\nevent was used to incite wars\, foster racism and xenophobia\, and\nstoke small-minded\, nationalistic thinking. \nSome of the works in this show address September 11th specifically\,\nbut many do not. The works address isolation\, absence\, destruction\,\npolitics\, religion\, collapse\, terrorism. They depict falling\, burning\,\nvoids\, paper\, ash\, smoke\, skyscrapers\, airplanes. The works are smart\,\nsombre\, elegiac. And this show is uncomfortable. Often an anniversary\nis something celebrated\, as is the opening of an art show. But not in\nthis case. Is it a commemoration of the event? A memorial? \nSam Contis\nNikki Darling\nNicole Eisenman\nTony Feher\nDavid Gilbert\nDevin Kenny\nMark McKnight\nElieen Myles\nJohn Purtle\nVincent Ramos\nGuan Rong\nSamantha Roth\nMark So\nCody Trepte\nRosha Yaghmai\nSamira Yamin \nCurated by Closing URL:https://www.h-r.la/event/911-fifteen-years/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/09/IMG_4426.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20160903T210000 DTEND;TZID=America/Los_Angeles:20160904T210000 DTSTAMP:20160909T195616Z CREATED:20160820T074004Z LAST-MODIFIED:20160909T195616Z UID:2193-1472936400-1473022800@www.h-r.la SUMMARY:Internet Discount Bedroom 2 DESCRIPTION:Opening Saturday\, September 3rd at 9pm\, the exhibition will be on view for the duration of 24 hours\, closing Sunday\, September 4th at 9pm. \nContributing artists include:\nMatt Damhave\, Emma Kohlmann\, Dennis Wornick\, Shay Semple\, Suzanna Zak\, Cali Thornhill DeWitt\, Madison East\, Elijah Funk\, Taylor Doran and ”Prank Line” from Local Outreach (Van Robinson & Jake Hjortland). \nPerformances by:\nVIP\, Doses\, Sage Caswell\, Colorways\, A.B.S.\, Naturalized\, and Free The Land \nSo Fine Arts and Internet Discount Mall present Internet Discount Bedroom 2\, an immersive installation examining the distance between art and commodity and the role of the artist in self-promotion. Modeled after stock environments and film sets\, the constructed space resembles a teenage bedroom from the late 1990s\, or the functional equivalent of one. With those few elements\, the artists engage in the act of refusal as a generative form of art-making\, as seen within the circumscribed boundaries of the traditional domestic space\, where the walls are half sex half war. URL:https://www.h-r.la/event/internet-discount-bedroom-2/ 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/2016/08/idm.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160804 DTEND;VALUE=DATE:20160816 DTSTAMP:20160809T045006Z CREATED:20160722T232349Z LAST-MODIFIED:20160809T045006Z UID:2124-1470290400-1471240799@www.h-r.la SUMMARY:Nikki Darling - Temple of the Dawg DESCRIPTION:Opening Thursday Aug 4th\, 7:00-9:30pm\nOn view August 5th-14th\, 12-6pm \nAn exhibition of art therapy works by Nikki Darling\, Temple of The Dawg includes 26 works on paper and a video installation. \n“There’s a new man\, a new love\, trying to come into your life. Right now he might be just a whisper\, but it is likely that you already know him. This new situation is rooted in reality\, the material world\, enjoyment of everyday life together (rather than on family legacies\, past hurts\, anxieties\, psychological illnesses\, etc). We see this same figure again in your final outcomes\, where he will manifest as a real\, flesh and blood man\, the Knight of Cups. But in order to get this person to fully manifest\, there’s a lot of work that needs to be done. Luckily\, it’s fun and beautiful work\, so that’s good news. But it will also take time and effort\, and it looks like you might have a tendency to be impatient. The cards are asking you to do the work\, pay attention\, and allow things time to grow. “Stay the course\,” might be a good motto for you right now. \nSo what is the work? Your main objective now should be to overcome your family legacy. Chances are that if you don’t do this work now\, you will be confronted with the same situations again and again until you do\, and these situations do not look fun at all. In order to begin your new life\, which from what you’ve said\, you’re already doing (great job!! this is hard work and you are making great progress!)\, you need to stop running away\, stop focusing on what else might be out there\, stop turning away from what is right in front of you.” – The Oracle of Los Angeles 2014 \n“John\, the show is something like this: February 18th 2006 I got on a bus at Port Authority headed for Moton Pennsylvania where I would spend a month at the Caron Recovery Center/Rehab\, to deal with a decade of drug and alcohol addiction. I was 25. Since I left Caron I have not had an alcoholic beverage. While there I opened myself to the idea of Recovery. The process of trying to lead my best life\, one that supported my highest potential and worth and in turn could be of greatest service to myself and others. Recovery became an all encompassing process/motif in which I have tried to live in accordance with my ideals\, ethics and faith. A power greater than myself. During this process I have come in contact with therapists\, psychiatrists\, anti-depressants\, exercise\, self help books\, AA\, MA\, Ala-non\, fallen back into marijuana addiction and the ramifications of that and now\, finally\, Magic. Each stage of this self discovery process has pushed me deeper into my Hero Journey. I have gone back to college\, gotten an MFA and am now starting a dissertation which will culminate in a PhD in Literature. Through this work I have had to let go of shame based coping mechanisms\, welcome grief and embrace parts of myself that used to frighten me. \nIn this last and final leg\, Magic\, which I encountered in 2014 during a birthday reading with the Oracle of Los Angeles\, I have finally gotten the courage to shake off the last vestiges of what has held me back. I am more than just a writer\, I am also and have always been an artist. \nThese water color collages\, bricolage\, instigated by a romantic break up- the thing I needed to truly step outside my comfort zone and face the frightening unknown- have been instrumental in this final leg of the Hero Journey. Once this show is presented\, I will have cycled through this process of grief and growth and emerged as my true self. If it happens in 2016 it quite literally will have been a decade long process starting at 25 and ending at 36. My journey will of course not be over\, but I will have shed an old and useless skin and come into my true identity. I am a queer mixed race feminist artist and writer. \nEach piece\, made using what was available to me\, nail polish\, computer paper\, magazines\, old books\, staples\, was created with the intention of being a gift to a friend\, each piece represents a part of this struggle to inhabit this self. Once worked through and processed in the piece\, it is intended to be given away with love\, transformed. Nothing will be for sale. In this way\, the recipients also become a part of the process\, they are my community\, my support system\, and themselves as integral to this process as the creation of the piece itself. A symbol of the healing power of friendship. \nI have never presented myself as a visual artist and this fact is one of the main cruxes of the project. I am a performance artist and experimental writer\, but in this work I am trying to initiate a dissolving of binaries. A freedom to be who I say am\, not just for myself\, but others who might also live in fear and shame.” – Email to John pitching this show\, 2015 \n“I guess I seem to be saying that if you were to treat love like work\, there would be no way you could be going about it the wrong way. It would be impossible for you not to come to the table full of romance and insight and surprise. If anything\, it seems to me to be about building a grounded foundation first\, coming at the bare facts of it plainly as soon as you can\, expressing what you want in big picture terms\, so that you can set up a house\, literally and figuratively\, where you and the Other can bathe in the formless\, timeless\, ecstatic waters of life.” – Email from Stuart Krimko about my astrological chart\, 2016 \n“Hey Nikki\, Just tried to give you a call\, but the phone line was not connected. You still wanna? Let me know.” – The Universe URL:https://www.h-r.la/event/nikki-darling-temple-of-the-dawg/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/07/nikki-darling.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160701 DTEND;VALUE=DATE:20160802 DTSTAMP:20160731T221409Z CREATED:20160628T181953Z LAST-MODIFIED:20160731T221409Z UID:2108-1467352800-1470031199@www.h-r.la SUMMARY:Apeirophobia / Aporia DESCRIPTION:Wed-Sun 12-6pm\nOpening Fri July 1 7:00-9:30pm \n\n\n\n\n\n\n\n\nApeirophobia \n\nMathematician Georg Cantor realized that there could be small or large infinities. He invented a way to demonstrate that the infinity made up of real numbers (which are uncountable) are larger than the infinity made up of natural numbers. \nLet us imagine a small infinity enframed by a larger infinity. Within this frame\, the smaller infinity pours out an infinity that seems as expansive as the larger one. What is the perceptible threshold to recognize the difference between two horizonless expanses? \nMise en abyme \nThe image framed out of the totality of things is delineated by an artist’s subjectivity. A painting’s frame or a camera frame or a time frame is each a delimitation of the world\, a delimitation which contain within it the possibility of infinite recursions\, a small infinity. The universe frames human history\, which frames a subjective experience\, which\, in turn\, frames an artist’s work. Within each graded step of nested framing there exists their respective graded infinities which ripple out boundlessly\, each infinity as robust as the next. We adopt a deliberate myopia in order to delineate the frame. At times\, however\, this myopia blurs out the recursive expansiveness of what is inside and outside of the frame\, and we forget.\nWho’s afraid of eternity? It’s always been here. Don’t worry about it. \nWith:\nMichel Auder\nJulie Becker\nDavid Bernstein\nJennifer Bolande\nCliff Borress\nQuynh Dong\nShahab Fotouhi\nUlrik Heltoft\nJoel Holmberg\nHassan Khan\nLaura Owens\nMaria Taniguchi\nAsha Schechter\nDineo Seshee Bopape\nAlice Wang\nBrent Watanabe \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAporia \n\nOne thing could be two things at the same time\, and then it could be many more things. The art work is generative\, and is not bounded by the organizational principle\, which is more effective when taxonomic\, and otherwise it’s arbitrary – which does not imply irrelevance\, but rather as valid as any other point of entry\, or framework. As such\, issues regarding instrumentalization are at best optimistic\, at worst paranoiac. This might seem to legitimize or advocate the notion of the work’s indeterminacy\, which could appear to be permission for further complicity in this post-integrity moment\, if there is even room for further collusion. But the supposed indeterminacy is not neutral and neither is the organizational principle\, as such it remains political. The politics is rehearsed in this constitution\, with its passionate neutrality and practiced inconsequentiality. Yet what remains out of the realm of instrumentalization within these prescribed boundaries\, is functional design and propaganda. The artwork politicizes the notion of the universal after globalization. This includes a moment of strategic and reflexive post-identity\, one that is not essentialist on the one hand and is restrained on the other; it includes a materiality that engages with the stuff of the culture and commodity; it includes virtuosity after deskilling; that does not dismiss of class consciousness for kitsch futurity.  The notions of image saturation\, of visual overabundance\, of our digital overload\, post-internet all sound tedious and lazy as it merely echoes the years before the turn of millennium. Yes\, all of this happened\, Debord’s worst nightmares are reality and there’s no reason to rub it in any further. We need to celebrate the dawn of a new visual literacy. Boring is also the self-congratulatory reflexive clever complicity\, as it stinks of affect and privilege. A certain internal dialectic that might sound cliché at this point is paired with specificity with relation to medium\, and is then bifurcated; the index is a decoy\, identity is material\, context is contingent. We need to do at least two things at the same time\, as one at a time is not enough. The aesthete’s radicalism\, Sontag writes\, is “to be multiple\, to make multiple identifications…” \nOrganized by Sohrab Mohebbi and Miljohn Ruperto URL:https://www.h-r.la/event/apeirophobia-aporia/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/06/unnamed.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160622 DTEND;VALUE=DATE:20160628 DTSTAMP:20160729T011211Z CREATED:20160617T100814Z LAST-MODIFIED:20160729T011211Z UID:2101-1466575200-1467007199@www.h-r.la SUMMARY:Exit Interview DESCRIPTION:Drawing credit: Class of 2016\, Courtesy of CalArts \nOpen Daily June 22—26\, 11am to 6pm\nReception June 25\, 2016 6-10pm \nExit Interview\, the culminating exhibition by the California Institute of the Arts (CalArts) School of Arts’ 2016 MFA graduates\, departs from the strictly bureaucratic associations of its title. The group exhibition highlights the dialogic dimension of two years of thinking and working in relation to one another. Acknowledging the paradoxical quality of institutionalized art education\, the show is conceived as a field of interferences and counterpoints\, the aftermath of a vital encounter and commitment to critical discourse. \n \ndownload / view program as PDF\n  \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n\nSchedule of events: \n\nJune 22 – Wednesday 10am-5pm \nKyle Johanson and Tim Tsang\n“2 people\, 3rd space\, 5th wall: a long form activity practicing engagement with Exit Interview and each other in the forms of live and recorded talking and listening and looking”\nTim and Kyle walk and talk and listen and look with each other through the works of Exit Interview. The activity is recorded on two head mounted cameras and later replayed in an audio/video/text format. \n  \nJune 22 – Wednesday 7pm-9pm\n \nGloria Galvez\n“Soft Drink Social”\nSoft Drink Social bringing you soft drinks and soft tunes during hard times. A gathering and function hosted by Gloria Galvez in collaboration with hoops\, delivering a soft strike to the social pyramid. \n  \nJune 23 – Thursday 7pm-9pm\nScreenings:\n\nArtur Da Silva\n“St. Lazarus” (Running Time: 12:22)\n“Winter in America” (Running Time: 7:45) \nAy?e Melis OKAY\n“Fetish” (Running Time: 16:00) \nJohn Alexander\n“On Magic Mountain” (Running Time: 4:48) \nJuhee Han\n“Redroom” (Running Time: 13:30)\nA day in her red room. \nNebras Hoveizavi\n“Sometime in January\, Nakhodka Mammad was singing his songs while smuggling fabrics. It was sometime in June when I was born out of fabrics made by a loom.” (Running Time: 16:59)\nTime and Place are in snooze mood\, and the sleeping zone brought realistic form of talking about smuggling in Iran. The question is how one could talk about smuggling and the economy of the country which had been dealing with sanctions for decades. \nCarlos Diaz-Sullivan\n“Take Care of You (Running Time: 35:00) \nJulio Orta\n“Movie Trailer: El Chapo”\n(Running Time: 4:55)\nMovie Trailer for “El Chapo” Guzman movie. Starring Sean Penn and Kate del Castillo.\n“The Players” (Running Time: 4:00)\nA baby and a grown-up having a tennis match. \nShaoyu Su\n“Hongshan Relic: 4700 BC to 2014″ (Running Time: 0:07)\nMachine version of the history in Hongshan Relic Site. \n  \nJune 25 – Saturday 6-10pm\nReception \n  \nJune 25 – Saturday 6:30pm-6:50pm\nPerformance: \nRachel Yezbick\n“For Purposes Hereof”\nFor Purposes Hereof is a performance piece written for a group of readers. Created from a documentary film contract between Jeff Harmes – a homeless man\, gardener and panhandler – and a L.A. production company – Motiv8 Media – the piece highlights the obfuscating uses of legal language. \n  \nJune 26 – Sunday 12:00pm\nPerformance and Readings:\n\nKarley Sullivan\n“Venus Rising”\nPerformance/Mark-Making\, with Charmaine Bee\, Jonathan Molina-Garcia\, Brandon Rhoads\, and Karley Sullivan. \nErica Palmiter\n“Scenic Papers”\nA reading from a series of short stories that describe the artist’s family history. The stories speak to generational memory gaps and the recreation of narrative through a distanced cultural lens. \nB Neimeth\n“Josephine”\nJosephine weaves together a poetic narrative with genetic information. It is a mother-daughter relationship described in distance and the lasting residuals that lie in the body. \nKarley Sullivan\n“Snake Stories”\nReading\, opening\, erasing\, recasting. \nJuliana Lujan\n“Goodbye Flavia”\nA farewell letter to a spider-friend. \nGeorgia Lassner\n“Last Exit”\nDescription: A reading of excerpts from essays on art and art shows\, both real and imagined. URL:https://www.h-r.la/event/exit-interview/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/06/tumblr_o7qy1dzehA1vvck9bo1_1280.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160602 DTEND;VALUE=DATE:20160620 DTSTAMP:20161029T235243Z CREATED:20160518T205203Z LAST-MODIFIED:20161029T235243Z UID:1645-1464847200-1466315999@www.h-r.la SUMMARY:The Distance Plan - Climate and Infrastructure DESCRIPTION:Opening Thursday June 2nd\, 2016\, 7-10pm. \nExhibition on view June 3rd – June 18th\, Wed-Sun 12-6pm or by appointment. \nArtist talk – Bjarki Bragason and Sarah Rara in conversation with Abby Cunnane & Amy Howden-Chapman Saturday June 11th\, 2016\, 3pm. \n  \nBjarki Bragason\, Carolina Caycedo\, Fiona Connor\, Ryan Jeffery & Boaz Levin\, Steve Kado\, Susannah Sayler & Edward Morris for The Canary Project and Sarah Rara. With a new text by Lina Moe. Organized by Abby Cunnane\, Amy Howden-Chapman and Luke Fischbeck. \nThe Distance Plan: Climate and Infrastructure brings together work by 10 practitioners that address major infrastructural forms of the present – energy generation\, digital frameworks and mass transport networks – in relationship to future alternatives. Providing a diagram of our carbon-intensive era\, these works look at the ideologies driving development\, and how today’s infrastructure determines both the means by which natural resources are consumed\, and the ability of communities to change patterns of carbon consumption by redefining the built environment. \nThe politics of infrastructure is often caught in the fraught terrain between strategies for mitigating climate change and those promoting adaptation. The Distance Plan: Climate and Infrastructure thereby responds to the concept of ‘path dependency’ – the idea that the choices available to us in the present are contingent on knowledge and decisions made in the past\, and that future capacity for change is substantially determined by our current planning. \nWorks consider the energy use of data centers (Ryan Jeffery & Boaz Levin); Colombian dams being built to power extractive industries (Carolina Caycedo); and the energy use of arts institutions (Fiona Connor). The Canary Project’s work\, The American River Archive (Water Gold Soil) tells the story of a single flow of water in present-day California from origin to end-use. The project is a form of historiography\, an allegory in which one strand of California’s vast waterworks becomes a broader exploration into an Age of Extraction that appears near its culmination. \nWork by Steve Kado tracks the aesthetics and paraphernalia of global mobility\, while Bjarki Bragason’s project considers the relationship between geo-engineering and emissions reductions. Through documentation of ‘CarbFix’ Bragason presents images of a project in which Icelandic scientists work with industry to mineralize Co2 by funneling it deep into basaltic rock hundreds of meters below the earth’s surface\, accelerating a process which would otherwise take dozens of millennia. Sarah Rara’s work Broken Solar [Accumulator] is a meditation on natural resources\, human-built environments\, and the aesthetics of renewable energy. The work studies photo-voltaic surfaces and strategies for converting light into electricity and heat\, traversing sites of production from the skeleton of a blue whale to Biosphere 2\, from the riparian hills of Ukiah to Arizonan solar farms. \nThe soft infrastructures of institutions are also considered\, as attempts to manage the present effects of climate change are confronted by municipal and national governments and local community organizations alike. In a new text by Lina Moe about the closure of New York City’s L train for post-Sandy repairs she observes how issues of inclusion\, equity\, and efficiency play out at all institutional levels. The line’s closure is an example of the increasing vulnerability of civic infrastructure and Moe asks if retreat\, rather than rebuilding should be the goal\, concluding that the latter directly reflects the present state of denial about the increasing environmental precarity of the system. \nFor further information visit TheDistancePlan.Org\nor contact info@thedistanceplan.org \nBjarki Bragason Ten Thousand and One Years (one year of emissions at 449\,5 meters) detail for installation. 2016.\nSarah Rara “Broken Solar” Still from single-channel video\, 2016.\nThe Distance Plan: Climate and Infrastructure (installation view)\nThe Distance Plan: Climate and Infrastructure (installation view)\nThe Distance Plan: Climate and Infrastructure (installation view) URL:https://www.h-r.la/event/the-distance-plan-climate-and-infrastructure/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/05/TDP-HR_Caycedo-Dammed-Landscape-Paisaje-Respresado.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160523 DTEND;VALUE=DATE:20160531 DTSTAMP:20160522T195021Z CREATED:20160522T195021Z LAST-MODIFIED:20160522T195021Z UID:1710-1463983200-1464587999@www.h-r.la SUMMARY:Too Much Information DESCRIPTION:Please join CLOSING for a week of presentations that invite 8 artists to play with form of public address and take on the task of communicating a substantial amount of information to an audience. \nMonday\, May 23rd – Suzy Newbury\nTuesday\, May 24th – Samantha Roth\nWednesday\, May 25th – Elana Mann\nThursday\, May 26th – Patrick Staff\nFriday\, May 27th – Jennifer Moon + laub\nSaturday\, May 28th – Patricia Fernandez\nSunday\, May 29th – Rosten Woo \nat Human Resources\nDoors and Cash Bar at 7:30pm\nPresentations begin at 8:00pm \nPublications and printed matters by Gilda Davidian\, David Gilbert\, Paul Pescador\, and Samantha Roth–produced by CLOSING–will be available for purchase at all events.\nhttp://closing.la/ URL:https://www.h-r.la/event/too-much-information/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/05/closing-tmi.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160520 DTEND;VALUE=DATE:20160523 DTSTAMP:20160523T022058Z CREATED:20160522T201552Z LAST-MODIFIED:20160523T022058Z UID:1773-1463724000-1463896799@www.h-r.la SUMMARY:LACHSA: NEX(T)US DESCRIPTION:Works by Seniors in the Visual Arts program at L.A. County High School for the Arts. Opening Reception: Fri\, May 20 5:30 – 8:30pm with gallery hours Sat\, May 21 noon-5pm URL:https://www.h-r.la/event/lachsa-nextus/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/05/lachsa.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160513 DTEND;VALUE=DATE:20160517 DTSTAMP:20160522T233613Z CREATED:20160522T232728Z LAST-MODIFIED:20160522T233613Z UID:1934-1463119200-1463378399@www.h-r.la SUMMARY:James Gamboa: 50/50 DESCRIPTION:OPENING FRIDAY MAY 13\, 6-9 PM\nMAY 13 – 15\, 2016 \n50/50 presents the question\, given the chance to peer into the future of your health\, would you opt in or out? \nUsing the artist’s personal screening and diagnostics\, 50/50 examines and abstracts the predictive genetic screening process\, and brings the private experience into a public space. \nThe installation and performance encourages viewers to question their cultural relationships with health and to reflect upon their personal conceptions of uncertainty and corporeality. \n____________________ \nSCHEDULE \nFRIDAY\, MAY 13 \n6-9 PM\nOPENING + PERFORMANCE \nSATURDAY\, MAY 14 \n12-2 PM\nPERFORMANCE \n2:30 PM\nSCREENING | THE LION’S MOUTH OPENS \nThis verité documentary is about confronting life’s most daunting moments with purpose and grace\, the impact of genetic bonds and genetic testing on the people we love\, and how we face our destiny. Stunningly courageous young filmmaker-actress Marianna Palka gathers her friends around her as she finds out whether she has inherited Huntington’s disease\, an incurable degenerative disorder which took her father and now has a 50% chance of taking her body and her mind. (2014\, dir. Lucy Walker\, color\, 28 min.) \n3:15 PM\nCONVERSATION | POLY-PERSPECTIVE \nAs modern medicine continues to rapidly advance\, we now have the option to peer into the inner workings of our bodies\, gaining insight into what may lie ahead for the future state of our health. But do we want in or out—why or why not? \nA Panel including filmmaker-actress Marianna Palka\, LA-based multi-genre artist Travis Read-Davidson and Dr. Arik Johnson from the UCLA HDSA Center of Excellence discuss the implications of these questions amid the ever-evolving socio-political. Moderated by Samantha Goodman. \nSUNDAY\, MAY 15 \n12-2 PM\nPERFORMANCE \n2-6 PM\nOPEN SPACE \nFor more information please email fiftyfiftylosangeles@gmail.com. URL:https://www.h-r.la/event/james-gamboa-5050/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/05/jamesgamboa.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160503 DTEND;VALUE=DATE:20160513 DTSTAMP:20180404T063802Z CREATED:20160522T231522Z LAST-MODIFIED:20180404T063802Z UID:1926-1462255200-1463032799@www.h-r.la SUMMARY:DecolonizeLA DESCRIPTION:Between May 3 and May 11th\, HRLA will host an exhibition of work from artists who applied to the DecolonizeLA call for proposals. The work will be shown in the lobby\, and second floor space. This project is made possible in part by a grant from the City of Los Angeles\, Department of Cultural Affairs. \nOpen daily 12pm – 6pm till May 11th \nIn addition to events listed here on HRLA’s websites and happening at HRLA\, DecolonizeLA’s calendar includes off-site events: the annual Retomemos La Noche on April 22\, and the Critical Resistance’s Mother’s Day (May 8) intervention against Lynwood women’s jail\, and a QT*POC Run on May 20. \n*There will also be a series of performances\, discussions and events (between April 22 and May 20)\, please check this site and the DecolonizeLA facebook page for more info. \n**download / view the Decolonozie_the_White_Box zine as pdf \nArtists in the exhibition: \nIsabel Avila\nCyrstal Liu – The Crop Project\nAvelardo Ibarra\nLiberated Arts Collective\nRaze the White Box: A think tank of change \nAbout Artists: \nIsabel Avila\nAs society increasingly moves towards the commodification of all aspects of life\, I find it personally enriching to look at contrasting values such as “the sacred” through the art process. In my recent installation\, Shifts in Perspective\, I present images that address cultural preservation and confront the sacred through beliefs and practices of traditional Native ways of gathering medicine (sacred plants). The viewer is informed and confronted with the idea that a supernatural happening may have interrupted the photographic process and resulted in the light leaks on the film. \nCrystal Liu – The Crop Project\nThe Crop Project’s exhibition includes an installation of the cornfield’s digging process and found objects from underground. Join members of The Crop Project on May 11\, 7:30-9:30 p.m for some corn snacks and drinks! \nThe Crop Project is a public art piece that invites people to grow corn in USC Roski School of Art and Design from April- July 2016. The project includes a 15-square-foot corn field\, educational corn growing workshop\, corn cooking lessons and a group harvest event in June when corn fully matures. Through a group effort of cultivating a staple food\, corn\, and sharing the unprocessed product in a city that consumes but rarely grows corn\, we can be closer to nature\, and closer to each other. \nLiberated Arts Collective\nThe Liberated Arts Collective is a collaboration between recently\nliberated term-to-life prisoners a teaching artist\, invested in art as\na tool for personal liberation\, cultural expression and social change.\nFormerly incarcerated members come to the collective with a range of\nart experience and interests; some of us began our art practice years\nbefore being incarcerated\, some began making art in prison\, while\nothers haven’t made art previously. While on the inside\, we used art\nas a tool to make money\, remain sane in solitary or steer away from\nprison politics. Now on the outside\, we use art to recognize our\npower & potential\, engage in leadership\, build notoriety and lift each\nother up. Through art we gain a platform for our collective voices\,\nspeak to younger generations\, address the “crisis on the streets” and\neducate the public about our experiences in California State Prisons\nand the probation system. \nRaze the White Box: A think tank of change\nI wear this fools hat connected to the others. Others following as such family can only do. Blessed are the fools that know no ill. Bless the suffering that they don’t know the root of… \nThe Act of decolonization is a complex action. This is problematic since we are all now part colonized and colonizers despite our heritage. The act of colonizing has stayed alive in the co-opted ideas of free spirit and sewing your wild oats. This philosophy is now inherent in the culture of the west\, the culture of north America and of course the culture of the golden coast. What is this culture? It is a culture of searching for new land to conquer and experience ignoring its consequences. Swung at the opposite end of a club\, the reaction to a colonized state is a mirrored response. Knee jerk flawed and beautiful such is human thought. \nAvelardo Ibarra URL:https://www.h-r.la/event/decolonize-la/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/05/decolonizeLA.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160414 DTEND;VALUE=DATE:20160418 DTSTAMP:20160412T090337Z CREATED:20160412T090248Z LAST-MODIFIED:20160412T090337Z UID:1604-1460613600-1460872799@www.h-r.la SUMMARY:Telémachos Alexiou: The Culture of Refusal DESCRIPTION:EXHIBITION HOURS\nThursday\, April 14\, 6-9pm\nFriday\, April 15\, 12-6pm and 8-11pm\nSaturday\, April 16\, 12-6pm \nSCREENING: Queen Antigone followed by conversation between Alexiou and Zackary Drucker\nFriday\, April 15\, 8-11pm \nTelémachos Alexiou is an artist whose medium is pictures. They can move as videos\, they might flicker as movies or just attempt to freeze a moment for a posterity they will never know – but they all share a power whose intentions aim straight for the heart and mind.\nIn his films – most notably “Queen Antigone” (Germany\, 2014)\, a road movie about contemporary Greece that is as political as it is personal in the way that only tragedies can be – a world of symbols and allusions clash with reality. Hostile to the lyricism of truth\, preferring to remain addicted to its own legends\, life becoming a teetering diva whose self-inflicted demise becomes a final act as necessary as it is unavoidable.\nThis need to reach catharsis\, to find closure\, to achieve conclusion is a constant theme in the work of Alexiou – no statements are left half-said\, everything and everyone has a defiant stance in the play of life and death: sex\, relationships\, emotions\, thought\, wants\, needs\, frustrations and happiness are all equal on a stage that dares you to ignore the spectacle.\nFull of bodies bearing witness\, his work is fiercely confrontational\, in both format and content – brutally direct video installations document the exuberant uniqueness of icons such as Vaginal Crème Davis or the artist and curator Dimitris Antonitsis; experimental in subject but crystal-clear in form photographs associate random visions that lurk between fetish and lyricism; texts violate the reader with ancient rage and contemporary seduction; everything about his visuals is meticulously meant to explode in the retina like a burst of a strong yet sophisticated mind-altering substance\, subtle in effect yet effective in distortion of consciousness.\nTelémachos Alexiou is a next generation artist\, discussing his temptation to exist beyond the sarcasm and idolatry that has been dominating the main discourses in the contemporary art world – he arrives with a declaration of belief whose self-definition is as defiant as the ancient culture his work is a part of.\nThe culture of refusal to compromise one’s freedom. \nPanagiotis aka Otis Chatzistefanou (Mr.)\nEditorial Director for www.nakedbutsafe.com \n———————————————————– \nQueen Antigone\nTelémachos Alexiou’s second feature length film “Queen Antigone” is a sumptuously visualized allegory of the current\, dismal\, geopolitical situation of his fatherland. Framed in exquisitely aestheticized vignettes and fusing allusions that refract references from Sophocles to Gregory J. Markopoulos and from Michelangelo Antonioni to Jack Smith\, the scenario of this intense and stylish movie follows a disenfranchised young woman and her teenage brother as they desperately attempt to escape the double burden of historical inheritance and contemporary bankruptcy. An elegy about the spiritual breakdown of a nation\, the narrative resonates with barely contained rage\, unfolds at a meditative pace and ultimately ignites the screen with a volatile combination of existential emergency\, languid lyricism and spectacularly modern photography. \nABOUT THE ARTIST\nTelémachos Alexiou is a twenty-something filmmaker and artist who\, during his childhood and teens\, received formal ballroom dance training and won several national titles. At the age of 17\, he moved to London to study Communications and Visual Culture at the London Metropolitan University and three years later to Berlin\, where he studied Film Theory at the Freie Universität and started working as a filmmaker and artist. His diverse body of work includes narrative feature films\, media installations\, performance art and photography. Among other places\, his work has been hosted by the Berlin IFF\, the Thessaloniki IFF\, the Arsenal Institute for Film and Video Art in a mini-retrospective of his films\, the Temporäre Kunsthalle Berlin\, the HAU Berlin\, the Los Angeles Outfest\, Queer Lisboa 16\, etc. \nApart from his own films\, Alexiou has worked with other filmmakers and artists\, including Bruce LaBruce\, Zackary Drucker and Vaginal Davis. \nQueen Antigone (2014)\nDirected by Telémachos Alexiou\nProduced by Jürgen Brüning & Telémachos Alexiou\n93 min. \nWith:\nAthena Mathiou\nKristof Lamp\nAlexandros Vardaxoglou\nGiorgos Makris\nAristotelis Varytimidis\nPanayotis Evangelidis\nKostas Alexiou\nPepi Tinoglou \nMusic: Sergei Rachmaninoff\nFILM TRAILER URL:https://www.h-r.la/event/1604/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/04/12916714_864814892005_4176989269207780546_o.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160325 DTEND;VALUE=DATE:20160403 DTSTAMP:20160412T085409Z CREATED:20160113T194133Z LAST-MODIFIED:20160412T085409Z UID:964-1458885600-1459576799@www.h-r.la SUMMARY:alice wang DESCRIPTION:Opening Reception: Friday March 25\, 2016 7-10pm \nHours: Weds – Sun 12-6pm or by appointment URL:https://www.h-r.la/event/alice-wang/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/01/alice-megawatt-microwave-mit1.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160317 DTEND;VALUE=DATE:20160323 DTSTAMP:20160522T210856Z CREATED:20160113T194133Z LAST-MODIFIED:20160522T210856Z UID:962-1458194400-1458626399@www.h-r.la SUMMARY:Ruth Angel Edwards "Derivatives and Futures" DESCRIPTION:New AV works and a live performance in collaboration with Jos McKain \nOPENING RECEPTION + PERFORMANCE: March 17\, 8-10PM performance begins at 8:30PM \nGALLERY HOURS: March 17-21\, noon-6PM \n“I’d just like to point out that if anybody cares to look at the video evidence\, at no point was my bare backside revealed. So therefore the fact he says he’s seen it totally negates the credence of what he said in the previous part of the answer….I’m glad I’ve got that off my chest – it’s been bothering me\, that.” \nThe work simultaneously inhabits multiple time frames in dance music’s cultural past and present\, re-contextualising them as a way of exposing their failures and flaws as well as any latent positive potential\, exploring hedonism and spectacle in popular culture\, and the role it plays within capitalism. \nABOUT THE ARTIST\nRuth Angel Edwards is a multimedia artist currently living and working in the UK. She originates from Nottingham\, England\, and studied Fine Art at Central Saint Martins in London. Her work draws from pop culture – looking at mainstream and subcultural youth movements both past and present\, and within these\, the ways audio and visual content are used to manipulate an audience and to disseminate information. \nMost recently her work has concentrated on dance subcultures from the late 1980s into the 90s and early 2000s\, and mainstream genres popular today such as EDM\, Dubstep and House. She examines lyrical and sonic qualities\, alongside the visual content\, including graphic design\, fashion and music videos\, reflecting on the trajectory of dance and rave music as an illustration of the changing politics of music subcultures\, both overt and concealed. Working between music\, sound\, moving image\, sculpture\, printed collage and online work\, subcultural and mainstream youth cultures are referenced\, appropriated and subverted\, creating sensual and disorientating environments. ‘Female’ physicality (body and voice) appear as a motif within the practice. Used to imply pleasure\, sensuality\, freedom\, spirituality\, love\, excess\, the mass produced sexualised female body has become a visual code for hedonism. Alongside this\, the work draws on and openly references ‘Techno Shamanism’\, a theory pioneered by new age philosophers such as Terrence McKenna in the late 80s\, most popular in the UK and Californian rave scenes. Techno Shamanism incorporated aspects of New Age and Environmentalist thinking\, and predicted that electronic music\, psychedelic drugs and new technologies such as the internet would be instrumental in bringing about radical changes in society\, entering a new era around the dawn of the millennium in 2000. ​ URL:https://www.h-r.la/event/ruth-angel-edwards-installation-performance/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2016/01/unnamed.png END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160206 DTEND;VALUE=DATE:20160229 DTSTAMP:20161113T225527Z CREATED:20160113T194133Z LAST-MODIFIED:20161113T225527Z UID:953-1454738400-1456639199@www.h-r.la SUMMARY:Martine Syms "Black Box" DESCRIPTION:Opening Reception Saturday February 6\, 7-10pm \nOn View February 6 – 27\, Wednesday thru Sunday 12-6pm or by appointment \nBlack Box is an exhibition of sixty new and recent videos by Martine Syms. These works are part of a long\, incomplete poem in 180 sections titled Lessons. Each lesson is exactly thirty seconds in duration. \n“Syms simulates flipping through television channels\, repurposing advertisements and listings culled from TV Guide. The flickering\, repetitive sensation of moving from one neatly contained narrative to the next creates a glut of signifiers through which to wade. The edges of visual memory become less resolute and are subject to confusion and total collapse. The televisual presents a multiplicity of entries and departures\, which Syms puts in the service of defining possibilities for a culturally specific aesthetic tradition. That definition\, however\, remains assertively porous.” — Ayesha B. Jones \nMartine Syms is an artist based in Los Angeles\, born 1988. She is the founder of Dominica\, a publishing imprint dedicated to exploring blackness in visual culture. Her artwork has been exhibited and screened extensively\, including presentations at the New Museum\, The Studio Museum in Harlem\, Museum of Contemporary Art Los Angeles\, MCA Chicago\, Green Gallery\, Gene Siskel Film Centre\, and White Flag Projects. She has lectured at Yale University\, SXSW\, California Institute of the Arts\, University of Chicago\, Johns Hopkins University\, and MoMA PS1\, among other venues. Syms’ recently presented the exhibition Vertical Elevated Oblique at Bridget Donahue Gallery\, New York. Forthcoming exhibitions include Electronic Superhighway 2016-1966\, Whitechapel Gallery\, London and COM PORT MENT at Karma International\, Los Angeles. URL:https://www.h-r.la/event/martine-syms/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/01/SYMS_LESSON-V.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160108 DTEND;VALUE=DATE:20160126 DTSTAMP:20160523T010655Z CREATED:20160311T093557Z LAST-MODIFIED:20160523T010655Z UID:1484-1452232800-1453701599@www.h-r.la SUMMARY:Sille Storihle: ONE MAN SHOW DESCRIPTION:Opening reception: January 8\, 2016 – 7-10pm\nExhibition dates: January 9 – 24\, 2015 – Thursdays-Sundays\, noon-6pm \nONE MAN SHOW is Berlin-based artist Sille Storihle’s first solo exhibition in Los Angeles. The show centers on two documentary shorts\, The Stonewall Nation (2014) and The Tomorrow Show (2015). Drawing on archival material from the ONE National Gay & Lesbian Archives\, the exhibition examines the performative potential of archival documents. Using the interview format as a framework\, ONE MAN SHOW engages in the telling and retelling of history by examining utopian ideas and myths concerning sexual liberation in California in the 1970s. \nInvested in the transmission of history across generations\, Storihle has worked closely with the accomplished Los Angeles-based actor Michael Kearns. In The Stonewall Nation (2014)\, Kearns impersonates the activist Don Jackson\, revisiting his aim to establish a gay settlement in Northern California. The film portrays a man yearning for community and belonging\, while questioning the ideological framework of his idea of a promised gay land. \nThe Tomorrow Show (2015) takes Michael Kearns’ own story as its starting point. Shot in his own bedroom\, the film focuses on Kearns’ life as the The Happy Hustler in the mid-70s\, a fictional role he took on and acted out both on and off screen. It recounts Kearns’ memory of a trick he turned before going on the talk show\, The Tomorrow Show – a return to a role that unsettles narratives of identity and history. \nSunday Jan 17\, 2pm – Conversation: ONE MAN SHOW \nArtist Sille Storihle invites curator at ONE National Gay & Lesbian Archives David E. Frantz and actor Michael Kearns for a conversation on her current exhibition at Human Resources in Los Angeles. The conversation will contextualize the exhibition and discuss questions of queer archives\, transmission of history and community. \nThe exhibited works include print and video material from the ONE National Gay & Lesbian Archives at the USC Libraries and the UCLA Film & Television Archive. \nABOUT THE ARTIST \nSille Storihle is an artist and researcher based in Berlin\, working mainly with short films and publications. Her central areas of interest include gender politics\, nationalism\, and history. With Liv Bugge\, she runs the Oslo based platform FRANK\, aiming at building community\, showing contemporary art and generating discussions addressing hegemonic structures in society relating to gender and sexuality. Her artistic and curatorial projects have been shown at The Norwegian Museum of Contemporary Art (2014)\, ONE Archives (2014)\, MoMA PS1 (NYABF\, 2014)\, Manifesta 10 (On Board\, 2014)\, The Jerusalem Show VII (2014)\, Kunsthall Oslo (2013)\, Bergen Assembly (2013)\, Performa 13 (2013)\, 11th Sharjah Biennial (2013)\, Unge Kunstneres Samfund (2013)\, and Kunstnernes Hus (2012). She holds a BA in Fine Art from Trondheim Academy of Fine Art and an MA in Aesthetics and Politics from California Institute of the Arts. \nThe exhibition is supported by OCA (Office for Contemporary Art\, Norway) URL:https://www.h-r.la/event/sille-storhile-exhibition/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2016/03/Storihle_Image.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20151224T000000 DTEND;TZID=America/Los_Angeles:20151228T000000 DTSTAMP:20160522T205554Z CREATED:20160311T093557Z LAST-MODIFIED:20160522T205554Z UID:1482-1450915200-1451260800@www.h-r.la SUMMARY:JEFFZILLA WORLD DESCRIPTION:Jeffzilla presents JEFFZILLAWORLD\, a three-night installation and performance series that will transform HRLA into a fantasy fun house from beyond the pumpkin. \nJeffzilla\, aka Jeff Galvan\, is an an LA based multi-disciplinary artist\, musician and co-founder of the infamous Coolworld Party LA. \n**** \n*A queer little pumpkin\, a jolly fat fellow\,\nStood close to his mother so rotund and yellow.\n“What a stupid old place! how I long to aspire\,”\nCried he\, “I was destined for something much higher.”\n“My son\,” said the mother\, “pray do be content\,\nThere’s great satisfaction in life that’s well spent!”\nBut he shrugged up his shoulders\, this pumpkin\, ‘t is true\,\nAnd acted just like some bad children will do. \n \n**** \nThursday Dec 24 \nOpen 5pm-midnight\nFriday Dec 25 \nOpen 12pm-10pm\nSaturday Dec 26\nOpen 12pm-7pm & Closing Celebration 9pm\nfeaturing live music and performance by Scourge & Coolworld Djs + More TBA URL:https://www.h-r.la/event/jeffzillas-christmas-wonderland/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/03/jeffzilla.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20151218T000000 DTEND;TZID=America/Los_Angeles:20151220T180000 DTSTAMP:20180727T222112Z CREATED:20160311T093557Z LAST-MODIFIED:20180727T222112Z UID:1481-1450396800-1450634400@www.h-r.la SUMMARY:Mark Golamco: Ghostlight DESCRIPTION:Mark Golamco founded and hosted a monthly performance cabaret called Ghostlight at the infamous (and now shuttered) Cafe Dancer bar in New York City. Ghostlight is an eclectic night of performance featuring exceptional artists and DJs. Each night is grounded by an intimate solo performance by Golamco self-accompanied on the viola. \nGhostlight has now become a nomadic series\, recently staged aboard the steamboat SS Lilac on the Hudson River and at Judson Memorial Church in NYC. Mark is thrilled to bring this performance series to HRLA. He will be joined by musical guests Michael Gerald Bauer\, Oscar Santos and DJ Earthen Oxytocin. The performance will also include some installation magic by Felisa Funes from Of The Flowers and Travis D of Project Rage Queen. Special guest appearance on Saturday night by Gorgeous Vermillion and Beast Nest featuring Alexander Brown and John Brumley. \nThese artists will be charging the space with energy before and during the performances through art making\, installation and elemental ritual. The public is invited to see the remnants of these occurrences as well as impromptu performances during open gallery hours. \nFriday\, December 18th\nDoors 8PM Show starts at 9PM\nPerformance -Evening One: The Dance of Ted Dragon\nNew York City Ballet Dancer\, Lover\, Muse and Outlaw. Ted Dragon was all these things. Through original songs and choreography\, artist Mark Golamco tells the story of Ted Dragon’s passionate existence among the Hampton’s social elite and artist circles and how his eccentricities led to certain consequences. \nSaturday\, December 19th\nDoors 8PM Show starts at 9PM\nPerformance -Evening Two: Night at Cafe Dancer\nSince it’s establishment in 2013\, Mark Golamco has been performing monthly as a singer\, self-accompanied on the viola at Cafe Dancer. This is an artist’s space in the Lower East Side of Manhattan. Mark brings Cafe Dancer to HRLA by presenting elements of the space (a projection of the street window\, a portion of the bar) as well as the music he performs there live. \nSunday\, December 20th\nGallery Hours 11AM-6PM \nMark Golamco is an artist that lives in New York. He is a classically trained violist from San Francisco who grew up playing in Orchestras\, but went solo as he began to study and practice visual art at UCLA. Later\, he received an MFA in Painting from RISD. His work combines music performance and art installations that are reflective of his personal history. He has performed at The Whitney Museum of American Art\, NY\, The Metropolitan Museum of Art\, NY\, and The Redcat Theater\, LA. URL:https://www.h-r.la/event/mark-golamco-a-night-at-cafe-dancer-performance/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/03/mark_golamco.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20151121 DTEND;VALUE=DATE:20151215 DTSTAMP:20160703T022610Z CREATED:20160311T093557Z LAST-MODIFIED:20160703T022610Z UID:1479-1448085600-1450072799@www.h-r.la SUMMARY:The Closer I Get To The End The More I Rewrite The Beginning DESCRIPTION:The Closer I Get to the End the More I Rewrite the Beginning \nCurated by Suzy Halajian \n with Basma Alsharif\, Doa Aly\, Gilda Davidian\, Mariah Garnett\, David Horvitz\, Hiwa K\, Mark Leckey\, Klara Liden\, Christine Rebet\, Julie Tolentino\, Erika Vogt\, and Hanna Wildow\ntexts by Doa Aly\, Janine Armin\, Shoghig Halajian\, and Litia Perta\n& a video program organized with Clara López Menéndez \nOpening Saturday\, November 21\, 7-10pm\nNovember 21-December 13\, 2015 (Gallery Hours: Tue-Sun\, 12-6pm)\nVideo program and performance info below \nBodies are moving\, swaying\, spinning\, coming together in ecstatic relief\, only to come apart in Mark Leckey’s 1999 video work\, Fiorucci Made Me Hardcore. The video mashes up found footage of British youth culture in various underground dance scenes from the 1970s\, ‘80s\, and ‘90s with a single soundtrack unifying the images. Serving as a starting point to the project\, the work presents a timeless social experience that celebrates the party as a political tool in its diehard resistance to the capitalistic workweek\, as well as transcendence found through the act of ‘getting lost’ in subcultural dance codes and ultimately\, in fatigue. \nThe Closer I Get To The End The More I Rewrite The Beginning (1) presents works by Basma Alsharif\, Doa Aly\, Gilda Davidian\, Mariah Garnett\, David Horvitz\, Hiwa K\, Mark Leckey\, Klara Liden\, Christine Rebet\, Julie Tolentino\, Erika Vogt\, and Hanna Wildow to explore the state of exhaustion\, through the time and space that make it possible. The project questions the appearance and contours of social spaces that enable this condition\, and locates instances within these sites that allow for new forms of sociability. By considering both individual and collective states of being together situated within a neoliberal and mutating model of capitalism\, the exhibition asks how these spaces may be realized in a state of nonstop action and renewal and how their potentials may unfold over time. The works in this exhibition reimagine\, re-perform\, consume\, and even obliterate images and places set in motion. They refuse to remain static or meet at the center\, but continue to turn and shift\, only to begin again. \nThe exhibition brings together artists’ works\, a video program\, and writings that respond to spaces found within relentless states of operation. It takes into account more recent political insurgencies and sites of dissent; refusal and/or withdrawal from work\, action\, and participation; a lack of physical tenacity due to the durational; and the effects of these on cultural and historical imagination that define both the personal subject and public event. Further expanding out from the exhaustion of space due to withdrawal and protest\, the project stresses the position of indefinable bodies in the social sphere\, as well as an all-consuming understanding of institutional frameworks in a move away from the authorial. It does not advance the notion that once an option disappears its potential is lost; but rather it is in the act of clearing out\, the voiding of\, that allows for new possibilities to come into fruition or to be made visible. Once emptied\, fields of echo\, repetition\, and perpetual reflection can prove useful. \n1. Part 1 of this project\, The Recorder Was Left On\, Or The Closer I Get To The End The More I Rewrite The Beginning\, was on view at LACA (www.lacaarchive.org) from August 7 to September 26\, 2015. Both exhibitions partially borrow their titles from Alejandro Cesarco’s installation\, The Streets Were Dark With Something More Than Night Or The Closer I Get To The End The More I Rewrite The Beginning (2011). \nVideo program  \nPart 1. Screening & Discussion at 1009 N. Madison Ave. LA\, 90029  \nSaturday\, November 14\, 2-9pm \nScreening of Peter Watkins’ La Commune (Paris\, 1871)\, 2000\, 345 min. \nSunday\, November 15\, 5:30-9pm \nScreening of Jasmina Metwaly and Philip Rizk’s Out on the Street\, 2015\, 71 min\, followed by a discussion on both films. \nNote: The screenings above are scheduled before the exhibition opens at Human Resources. \nPart 2. Screening at Human Resources\n \nFriday\, December 11\, 7-9pm: Screening featuring works by Malin Arnell\, Phil Collins\, Harry Dodge and Stanya Kahn\, and Basim Magdy followed by a Q&A with Malin Arnell\, Harry Dodge\, and Stanya Kahn.\n \n\nPerformance by Julie Tolentino \nSaturday\, December 5\, 11pm \n\nThanks to the support provided by the Cultural Services of the French Embassy in the United States. \nImage: Klara Liden\, Bodies of Society\, 2006\, DVD\, color\, sound\, 5:08 min\, courtesy the artist\, Reena Spaulings Fine Art\, New York and Galerie Neu\, Berlin. URL:https://www.h-r.la/event/the-closer-i-get-to-the-end-the-more-i-rewrite-the-beginning-exhibition/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/03/Closer-I-Get-to-End-Klara-Liden.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20151017T000000 DTEND;TZID=America/Los_Angeles:20151114T000000 DTSTAMP:20160522T194311Z CREATED:20160311T093556Z LAST-MODIFIED:20160522T194311Z UID:1471-1445040000-1447459200@www.h-r.la SUMMARY:Sabrina Chou DESCRIPTION:HR \nSabrina Chou \nft. Great States Reel Lawn Mower\n(available for rent: reellawns@gmail.com) \nOctober 17 – November 14\, 2015\nOpening reception October 17th 7-10pm \nFrom the manufacturer: \nThe power source behind our mowers hasn’t changed much in 100 years. It’s still readily available on demand. You can still fuel it for the price of a banana and a glass of milk. It always works when you want it to\, and it doesn’t leave any residue for the environment to absorb other than a couple of footprints in a perfectly cut lawn. People—the power behind our mowers in 1895\, and the power behind them today. What has changed is the product available to the people. At Great States\, we’ve applied a century of technology to a good old-fashioned idea: the reel lawn mower. Today’s reel mowers are lightweight and easy to maneuver. They’re ideal for today’s smaller lawns\, and today’s hectic lifestyles. They’re always ready when you’re ready\, and they’re almost maintenance free with no spark plugs to foul or engines to clog up. They’re good to the environment and they’re good to the lawn\, snipping the grass for a clean\, precise cut. A cut that’s helped us carve our niche as the nation’s largest manufacturer of in-demand\, on-demand reel mowers. We’ve spent 100 years of perfecting our reel mower designs\, streamlining our production processes and searching for the best possible materials to build the best reel mowers possible. And we’re proud of all that. But more important still\, we’ve spent the last 100 years\, and we’ll spend the next 100 more\, keeping America Green. \nDid you think it was going to be easy? \nLook down. The astroturf beneath your feet is melting. \n– \nHuman Resources presents HR\, an exhibition of new work by Sabrina Chou consisting of backdrops\, equipment\, furnishings\, and clothing. The exhibition proposes an ambiguity around these objects\, and how they might oscillate between aesthetic proposition\, functional use\, and absurd adaptation. Assembled around us\, the works outline open-ended sets\, figurative utopias\, and allegorized landscapes. Somewhere between the field\, the court\, the lawn\, the desert\, the discotheque\, and the office\, our unattributed bodies can find vaguely open seats and space to move. \nPerformances and events during the exhibition to be announced. \nSabrina Chou (b. Los Angeles) is an artist based in Rotterdam\, the Netherlands. She is the founder of GOODxPRACTICE\, a subscription-based clothing line. HR is the second in a series of solo exhibitions in three acts. Act I was presented at Pracownia Portretu in ?odz\, Poland and Act III will be presented in Rotterdam\, the Netherlands. This series of exhibitions is supported in part by Centrum Beeldende Kunst Rotterdam. URL:https://www.h-r.la/event/sabrina-chou/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/03/Sabrina.Chou_.jpg END:VEVENT END:VCALENDAR