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DTSTART;VALUE=DATE:20190614
DTEND;VALUE=DATE:20190620
DTSTAMP:20260608T043210
CREATED:20190517T183935Z
LAST-MODIFIED:20190517T183935Z
UID:4465-1560492000-1560923999@www.h-r.la
SUMMARY:Stalgia Grigg: is a weapon and we
DESCRIPTION:opening reception: fri june fourteen : seven to ten\non view sat june fifteen—tues june eighteen : noon to six \nThe ideological ground that Logic and Rationality stand on is slipping away. Liberalism has rallied to defend the sacred ground of “truth\,” while slowly realizing it may have been a constructed fiction all along. At the same time\, a reactionary Right (including a nascent fascist movement) has weaponized fuzzy logic\, finding a unified front in the incomprehensible. In this cultural space\, the Left struggles with the stasis generated by an inability to resolve a contradictory multiplicity\, much less shift this resolution into a true consensus. \nIn his first US solo show\, Stalgia Grigg exhibits work which draws upon a long lineage of artistic practices that reject sense-making. He extends this tradition with game engine simulations\, emergent non-human intelligence\, and machine-generated political outrage. This is not for its own sake\, but towards an understanding of how contradiction\, incoherence\, and looping logic can serve the Left in escaping the stasis of history.
URL:https://www.h-r.la/event/stalgia-grigg-is-a-weapon-and-we/
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/2019/05/final.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190619
DTEND;VALUE=DATE:20190623
DTSTAMP:20260608T043210
CREATED:20190614T011454Z
LAST-MODIFIED:20190620T203403Z
UID:4494-1560924000-1561183199@www.h-r.la
SUMMARY:Brian Getnick: Poem for the community
DESCRIPTION:Poem for the community \nsculptures and works on paper by Brian Getnick \n  \nExhibition dates: Wednesday\, June 19—Friday\, June 21 \nGallery hours: 5pm-9pm or by appointment (call 773.351.1888) \n  \nIn the fall of 2018\, artist Brian Getnick presented Punishment’s Place—an ensemble performance wherein the shattered pieces of a monument to Prometheus Bound were assembled to the beat of a chant. At the core of that script was the “Poem for the community\,” a premonition of impending violence against artists. On June 19th through the 21st\, Getnick presents a display of ceramics\, large tapestries and works on paper that further explore the precarity of artists working within an era of punitive logic. The monument to Prometheus Bound will also be on display. This event is a preview of a solo show and performance debuting at HRLA in the fall of 2019. \nArtwork will be up for sale with proceeds supporting the artist’s project and HRLA.
URL:https://www.h-r.la/event/brian-getnick-poem-for-the-community/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2019/06/POEM2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190623
DTEND;VALUE=DATE:20190701
DTSTAMP:20260608T043210
CREATED:20190612T092544Z
LAST-MODIFIED:20190620T204219Z
UID:4490-1561269600-1561874399@www.h-r.la
SUMMARY:Look Who's Talking Now
DESCRIPTION:Opening: Sunday\, June 23rd  6-10pm \nGallery Hours: Monday\, June 24 – Saturday\, June 29   12-6pm \nPerformances by Malinche and Figgy \nDJ Set by Paxico Records \nThe more intricately connected that people are to one another\, the more their ideas and projects appear to follow similar patterns. Look Who’s Talking Now focuses on painting as its principal medium and challenges homogeneity in an increasingly globalized world. By showcasing the work of artists based in Mexico City and Los Angeles\, the exhibition proposes that the ability to share diverse perspectives not only helps dismantle cultural stereotypes but also encourages a revision to the ever-evolving definition of Latinx Art. The featured artists in this exhibition have roots in Mexico\, Guatemala\, Puerto Rico\, and El Salvador. Together they explore a variety of mediums and illustrate the wide range of interests and cultural influences in their work. \nLook Who’s Talking Now begins by showcasing abstract works of art that allude to a historical break from hyper-realistic paintings\, followed by works that portray universal archetypes such as family units\, romantic relationships\, as well as contemporary mass-media images like soccer teams and fashion brand logos. The exhibition then transitions into a unique selection of portraits depicting people who have played significant roles in the lives of the artists\, including friends\, classmates\, and even strangers. Finally\, the show concludes with experimental works that move away from the canvas altogether. The artists in the last section demonstrate color theories used in modern art\, explore bodily fluids to create pigments\, and experiment with interactive video work. As the viewer progresses through the exhibition\, they will experience the disintegration of paintings that will evolve into more experimental works. \n\nThe exhibition suggests that globalization does not need to equal homogeneity and that the possibility to expand the definition of Latinx Art is endless. It views history as a living entity that requires constant reappraisal in order to present art that does not belong to a single genre or medium. \nFeaturing work by: Liza Feurtado\, Bryan Valdez\, Maria Fragoso\, Angela Leyva\, Marek Wolfryd\, Francisco Palomares\, Circe Irasema\, Jackie Amezquita\, Derek Holguin\, Ginger Quintanilla\, and Lauren D’Amato \nCurated by Nahui Garcia
URL:https://www.h-r.la/event/look-whos-talking-now/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2019/06/0-2.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190703
DTEND;VALUE=DATE:20190712
DTSTAMP:20260608T043210
CREATED:20190626T200610Z
LAST-MODIFIED:20190702T163244Z
UID:4535-1562133600-1562824799@www.h-r.la
SUMMARY:RIDDIMS
DESCRIPTION:RIDDIMS a solo exhibition of Adee Roberson\, organized by independent curator Essence Harden. \nOpening Reception Wednesday July 3rd 6—9pm\nGallery open Thursday—Sunday 12—6pm \nRIDDIMS Block Party Sunday July 7th 1—6pm\nBBQ\, snacks\, and drinks all day. Throw what you want on the grill!\nAdee Roberson and Essence Harden in conversation 2—3pm\nPerformance by Thurmon Green at 4pm\nSounds by DJ Micah James and Designer Imposter throughout the day \n  \n  \nRIDDIMS \nWhere does spelling get us? \n  \nEcho\nGombay \n  \nVibrating tones are “of” the body rather than “of”’ sound.\nWhat are memories to this sensory experience? \n  \nwho do you come from?\nwhere do you come from? \n  \nHow far are “you” from “from”?\nHow do black/queer people come to know genealogy? \n  \nRHYTHM IS A SOURCE OF LOVE\nLOVE IS A SOURCE OF POWER\nPOWER IS A SOURCE OF FREEDOM \n  \nRhythm (vibratorial feeling)\, love (emotive feeling)\,\npower (autonomy interior/exterior)\, freedom (non language). \n  \nVISION \n  \nWhere/how do you “see”? \n  \nONE WITH THE SUN \n  \nWhat is this journey? \n  \nNEON TEMPO \n  \nIs this our sun? \n  \n“I do as my mind tells me to do”- Nellie Mae Rowe \n  \nWhere does your mind land you? \n  \n“Spiritual unfoldment” – Joseph Yoakum \n  \nWhat do you see? \n  \nAncestor telephone \n  \nwhat nigga is on the line
URL:https://www.h-r.la/event/riddims/
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/2019/06/RIDDIMS.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190829
DTEND;VALUE=DATE:20190911
DTSTAMP:20260608T043210
CREATED:20190819T183217Z
LAST-MODIFIED:20190819T190913Z
UID:4639-1567058400-1568095199@www.h-r.la
SUMMARY:Josefina — An Installation by Fabián Guerrero
DESCRIPTION:Opening August 29\, 6-10pm\nScreening at 8pm followed by music and drinks\nOrganized by Fabián Guerrero and Clara López Menéndez \nJosefina is for and about my grandma\, Josefina. I wanted to document\, in short clips\, not only my grandma but also my family: the sounds\, movements and the house that I was raised in as a kid in Valle Hermoso\, Tamaulipas\, Mexico. This video is an introduction into filming and photographing my family’s history in my grandma’s house\, La Casa de Limón\, following a desire to keep track of their everyday living\, the survival\, the hopes and dreams and the stories of immigration that comes with it\, with us. It is also an attempt to reflect on the memories that will continue to inspire and build me\, the roots of me and my grandma Josefina––the beginning of my history. \nI am Fabián Guerrero\, a queer\, first generation Mexican American based in Los Ángeles\, born in Valle Hermoso\, Tamaulipas\, MX\, and raised in Dallas\, TX. I work with film and photography to document\, creating images that reflect on pasts\, presents and possible futures of our generation. My work both reflects and is inspired by my upbringing as first generation migrant and a queer brown individual; taking from fashion\, film\, poems and music\, the lifestyle and everyday survival\, to shed light into my family’s history and the meanders of the brown and queer communities. \nimage: Fabian Guerrero\, Sin Título (under my grandma’s portrait)\, 2019
URL:https://www.h-r.la/event/josefina/
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/2019/08/IMG_5156.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20191011
DTEND;VALUE=DATE:20191015
DTSTAMP:20260608T043210
CREATED:20190927T191525Z
LAST-MODIFIED:20191010T212842Z
UID:4707-1570773600-1571032799@www.h-r.la
SUMMARY:Alexandre Dorriz - Consciousness is Code in the Occidental Vacuum
DESCRIPTION:Opening Friday October 11th 7-10pm \nOn view Saturday 10/12 and Sunday 10/13 12—6pm \n  \nConsciousness is Code in the Occidental Vacuum is part of an ongoing investigation of fiber and its relations to time\, memory\, and optics through museology and dramaturgy practices. Dorriz works with the historical discovery of synthetic and semi-synthetic fibers\, and their respective chemical and organic compositions and applications in order to interpret various fibers through rhetorical lens and optical-based systems. By looking at the properties of silkworm fiber as raw protein\, Dorriz interprets the accumulation of woven amyloid fibrils in the brain which are known to cause Alzheimer’s disease through the accidental discovery of rayon (“artificial silk”) by a French chemist’s work in a darkroom. There\, there remain chemical congruences in French chemical company DuPont’s (Dow Chemical) first patents for nylon (PA-66) and the company’s concurrent development of Panchromatic Negative Film cellulose (nitrocellulose) and non-cellulosic bases and emulsions. Using new cuneiforms to interpret optical memory through these empirical findings\, Dorriz works with optical agents\, chemicals such as film developers and fixers and a noxious plant\, Syrian rue (esfand)\, historically used to ward off evil eyes in family homes\, as well as producing the dyes for carpets responsible for hallucinations occurring in weaving circles\, which has led to the expression\, ‘magic carpet.’ \nDuring the three day installation\, Dorriz triangulates these rhetorical fiber exercises through dialogical and dramaturgical interpretations of a 1975 Richard Tuttle exhibition curated by Marcia Tucker at the Whitney Museum of American Art. While Tuttle’s postminimal bodies of work would lead to strong negative reviews of the exhibition and question Tucker’s curatorial expertise by critics\, Dorriz looks to Tuttle’s fiber work\, “Ten Kinds of Memory and Memory Itself” (1973) presented in Tuttle’s first of three rotating installations for the exhibition\, as a retrocausal lens into the events following the exhibition. Tom Armstrong\, then museum director of the Whitney\, would seem to be coerced by critics\, boardmembers\, and trustees into the wrongful termination of Marcia Tucker’s employment following the Tuttle exhibition; where\, Tucker would subsequently found The New Museum in 1977. \n1. Blanc\, Paul David. Fake Silk: The Lethal History of Viscose Rayon. New Haven; London: Yale University Press\, 2016.\n2. “Our History | DuPont.” DuPont. DuPont\, n.d. https://www.dupont.com/about/our-history.html.\n3. Whitney firing\, 1976 + Corres.; Marcia Tucker Papers; Getty Research Institute Special Collections; (Box 3\, File 20; 1976) \nImage: Robert Fludd\, Ars Memoriae\, 1619
URL:https://www.h-r.la/event/alexandre-dorriz-consciousness-is-code-in-the-occidental-vacuum/
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/2019/09/unnamed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20191018
DTEND;VALUE=DATE:20191029
DTSTAMP:20260608T043210
CREATED:20191004T212643Z
LAST-MODIFIED:20191018T030012Z
UID:4720-1571378400-1572242399@www.h-r.la
SUMMARY:Why You So Negative?
DESCRIPTION:Opening Reception: Friday\, October 18th  8pm \nExhibition Dates: Friday\, October 18—Sunday\, October 27th \nGallery Hours: Wed-Sun\,  12-5pm \nPerformance by Nikhil Chopra: Sunday\, October 20th  7pm \n  \nWhy You So Negative? responds to institutional rebranding and removal of work by artist\, Chiraag Bhakta. The solo exhibition features the original work—an installation which examines the commodification of yoga in Western culture—in its entirety. Programming for Why You So Negative? will include a durational performance by artist Nikhil Chopra and a night of yoga.  \nThe artist’s statement and supporting essays can be found here.
URL:https://www.h-r.la/event/why-you-so-negative/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2019/10/0-1.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200117
DTEND;VALUE=DATE:20200127
DTSTAMP:20260608T043210
CREATED:20200106T204533Z
LAST-MODIFIED:20200119T172625Z
UID:4917-1579240800-1580018399@www.h-r.la
SUMMARY:LAURA PARNES: TOUR WITHOUT END
DESCRIPTION:SCREENING OF TOUR WITHOUT END (92 min.) AND LIVE PERFORMANCES INCLUDING RACHEL MASON AND BRONTEZ PURNELL\nFRIDAY\, JANUARY 17\, starting at 8\, Suggested donation $10 \nSCREENING OF TOUR WITHOUT END (92 min.) AND CONVERSATION WITH CHRIS KRAUS AND LAURA PARNES\nON FRIDAY\, JANUARY 24\, starting at 8\, Suggested donation $10 \nGALLERY HOURS: Wednesday through Sunday\, noon-6:00pm and by appointment. \nPRESS PREVIEW LINK AVAILABLE UPON REQUEST\nOrganized by Jeanne Vaccaro\nPress contact: jeannevaccaro@gmail.com or tourwithoutend@gmail.com \nLOS ANGELES\, CA- Human Resources is pleased to present Tour Without End (2014-2019)\, a multi-platform installation that casts real-life musicians\, artists and actors as bands on tour\, and expands into a cross-generational\, Trump–era commentary on contemporary culture and politics. It features members of Gang Gang Dance\, LeTigre\, The Julie Ruin\, MEN\, Eartheater\, MGMT\, Light Asylum\, and more. \nShot in real environments and situations\, the core group of players improvised based on semi-scripted scenes. Because many of these performers are legends themselves in the New York City downtown scene\, they are archetypes playing archetypes.  The work revels in the sometimes hilarious — but always complex — band dynamics that the characters endure while touring\, collaborating\, and aging in a youth-driven music industry. As the players move in and out of character\, blending fiction and real life\, the film moves in and out of non-linear narrative and historical document.  Shot from 2014–2018 at over 15 DIY music spaces in and around New York City — many of which have since shuttered their doors — the film acts as an urgent time capsule for the rapidly gentrifying city.  \nThe installation version highlights the extensive and growing archive of live performance in NYC shot during the four-year production schedule and the raw footage from the improvised scenes. These include more than thirty musicians and ten underground music venues. The archive expands as the project is shown. Portraits of performers taken By Justine Kurland are central to the installation.  The feature film (92 min) will screen everyday at 12\, 1:32\, 3:04\, 4:36. The installation is travelling and was just exhibited at Burchfield Penney in Buffalo\, NY. \nThe film’s multitude of characters include:  Wooster Group founder Kate Valk\, Jim Fletcher (The NYC Players)\, musicians Lizzi Bougatsos\, (Gang Gang Dance)\, Kathleen Hanna (The Julie Ruin)\, Brontez Purnell (The Younger Lovers)\, Eileen Myles\, Alexandra Drewchin (Eartheater)\, Nicole Eisenman\, K8 Hardy\, Johanna Fateman (Le Tigre) Shannon Funchess (Light Asylum)\, JD Samson (MEN)\, Gary Indiana\, Kembra Pfahler\, (Voluptuous Horror of Karen Black)\, Rachel Mason\, Tom McGrath\, Matthew Asti (MGMT)\, Becca Blackwell\, Christen Clifford\, Alessandra Genovese (Crush)\, Rogelio Ramos (Love Pig)\, Kenya Robinson (Cheeky LaShae) and Neon Music (Youth Quake). \n Laura Parnes’ critically acclaimed films and installations address counter-cultural and youth-culture references where the music is integral to the work. Her work has been screened and exhibited widely in the US and internationally\, including at the Whitney Museum of American Art\, NY; MoMA PS1\, NY; Miami Museum of Contemporary Art\, FL; Brooklyn Museum; Deste Foundation for Contemporary Art\, Athens; The International Film Festival Rotterdam\, Rotterdam\, Netherlands; and Museo Nacional Centro De Arte Reina Sofia\, Madrid; and NY and on PBS and Spanish Television. Recently she had solo exhibitions at LA><\, LA\, Participant Inc.\, Fitzroy Gallery; and solo screenings at the Museum of Modern Art\, and The Kitchen\, New York City. Parnes is a 2013 John Simon Guggenheim Memorial Fellow\, a 2014 NYFA recipient\, and a 2016 Creative Capital Awardee. Video Data Bank published a box set of her work\, and Participant Press published a book of her scripts titled ‘Blood and Guts in Hollywood: Two Screenplays’ by Laura Parnes with an introduction by Chris Kraus. She has also directed music videos for The Julie Ruin and Le Tigre. \nTour Without End is made possible with funds from The John Simon Guggenheim Foundation\, Creative Capital and the New York State Council on the Arts in Partnership with Wave Farm: Media Arts Assistance Fund\, a regrant program of the New York State Council on the Arts\, Electronic Media and Film Program\, with the support of Governor Andrew Cuomo and the New York State Legislature.
URL:https://www.h-r.la/event/tour-without-end/
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/2020/01/Laura-Parnes-Tour-Without-End.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200131
DTEND;VALUE=DATE:20200218
DTSTAMP:20260608T043210
CREATED:20200116T185159Z
LAST-MODIFIED:20200213T235050Z
UID:4948-1580450400-1581919199@www.h-r.la
SUMMARY:KEN EHRLICH: DYSFUNCTIONAL FURNITURE
DESCRIPTION:Opening Friday\, January 31: 7–9pm\n\nClosing event Sunday\, Feb 16: 4-6pm\nMusic by Adam Samuel Goldman\, toasts\, conversation about living with dysfunction.\n\n  \nGallery Hours: Thursday-Sunday noon-6pm\nand by appointment [contact ken at kenehrlich dot net]\nnote: the Firecracker 5K/10K  goes right down Broadway on 2/16\, but should have finished before noon.\n\n  \nHuman Resources is pleased to present Dysfunctional Furniture\, an exhibition of new work by artist Ken Ehrlich. The show presents a range of works that are at once sculptural and in direct conversation with furniture design. Made from gleaned building materials\, objects range from playful to aggressive\, displaying a rough\, informal aesthetic and refined craftsmanship. Many balance precariously and pose a slight sense of danger: Glass juts out at unexpected angles\, sharp edges lean uncomfortably\, and weight and balance seem unsteady. The installation toys with the tension between the utility of furniture and the perceived uselessness of sculpture.\n\n\n  \nIn the months preceding the exhibition\, the artist asked Los Angeles writers to ‘host’ one of the dysfunctional furniture pieces in their home for a period of time and reflect on daily life with that object. The exhibit includes a pamphlet of their writings and a series of diptychs\, which present the works in situ alongside a portrait of each host.\n\n\n  \nIn conceiving the project\, the artist was inspired by several texts from 1972\, which is also the year he was born. In that year both The Power of Women and the Subversion of the Community by Mariarosa Dalla Costa and Selma James and the seminal exhibition catalogue  Italy: The New Domestic Landscape were published. In The Power of Women and the Subversion of the Community\, a collaboration between an American and an Italian thinker\, the writers begin by analyzing the role of the housewife in the political and economic context of Italy in the 1970’s. This text eventually offers an expansive critique of the dynamics of housework\, the family\, care work and the politics of gender more broadly within a capitalist economy. Texts by designers Gae Aulenti and Enzo Mari in the catalog from Italy: The New Domestic Landscape question to what extent design can meaningfully alter behavior in a capitalist context and examine the ways that experimentation in design circulates around economic questions. Putting feminist critiques in conversation with radical Italian design from the same period generates a series of questions that move back and forth along the edge of contemporary art and design\, placing the fine grain of individual daily life against the backdrop of broad social and political dynamics.\n  \nWriters who participated in the project include Gabrielle Civil\, Andrew Culp and Eva Della Lana\, Jennifer Doyle\, Amy Gerstler and Benjamin Weissman\, Maya Andrea Gonzalez\, Maya Gurantz and Allison Yasukawa. Copies of the pamphlet will be available at the exhibition. \n  \nKen Ehrlich was born in Taos\, NM and received a BA from New College of California and an MFA from CalArts. His wide ranging practice in sculpture\, photography\, video and performance has been presented internationally\, including at the California Pacific Triennial at the Orange County Museum of Art\, Los Angeles County Museum of Art\, The Hammer Museum and High Desert Test Sites. His writing has been published widely\, including mostly recently a text on networks\, infrastructure and logistics in Blind Field Journal as well as a forthcoming text on networks in Drain Magazine. He co-edited the Surface Tension book series for Errant Bodies Press. He currently hosts the bi-monthly radio show *segments* on KCHUNG Radio and is on the organizing committee of The Public School\, Los Angeles. He has taught at UC Irvine\, Woodbury University\, CalArts and UC Riverside.
URL:https://www.h-r.la/event/ken-ehrlich-dysfunctional-furniture/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2020/01/gurantz-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200220
DTEND;VALUE=DATE:20200303
DTSTAMP:20260608T043210
CREATED:20200125T012139Z
LAST-MODIFIED:20200223T013510Z
UID:4985-1582178400-1583128799@www.h-r.la
SUMMARY:Lúcia Prancha: CASA DO SOL
DESCRIPTION:Opening: Thursday\, February 20th\, 8–10pm \nExhibition Dates: February 21st–March 1st\, 2020 \nGallery Hours: Wed-Sun\, noon-6pm and by appointment \nThe Body of the Text\, a reading circle & seminar: Saturday\, February 22\, 2-5pm \nHuman Resources is pleased to present CASA DO SOL\, an exhibition of new work by artist Lúcia Prancha. \nPrancha’s installation explores the work and legacy of Brazilian writer Hilda Hilst (1930-2004). Often described as the Marquis de Sade of Brazil\, her astonishing work takes up mysticism\, insanity\, embodiment\, eroticism\, and female sexual liberation. Hilst is one of the most important Portuguese ­language authors of the twentieth century. Nevertheless\, her work is virtually unknown in our community. \nCASA DO SOL is the name of Hilst’s home. During her lifetime\, her residence was an important gathering site for writers\, artists and intellectuals. Today\, CASA DO SOL holds her archive\, and hosts an intimate residency program which allows writers and artists to breathe in the compound’s earthy magic. \nPrancha’s video installation\, CASA DO SOL\, was shot on location at Hilst’s house and gardens during summer of 2019 and uses the text of one of Hilst’s short stories. This experimental video explores sexuality and the colonial through the political and poetic militancy of Hilst’s writing. \nAs a part of this exhibition\, HRLA will host The Body in the Text on February 22\, a reading circle & conversation about writing\, sex\, transgression and Hilst’s writing. \nLúcia Prancha (1985\, Portugal) obtained her MFA from CalArts (USA) in 2015\, after completing BA studies in Lisbon (PT\, 2009) and MA in São Paulo (BR\, 2012). Lúcia Prancha explores the tensions between aesthetics\, perception and politics\, often by rethinking specific historical and social sites through sculpture\, video and printed matter. Her work has been exhibited at LACA–Los Angeles Contemporary Archive\, Los Angeles\, USA\, Hordaland Kunstsenter\, Bergen\, NO\, Serralves Foundation\, Porto\, PT; Galeria Leme\, Sao Paulo\, Brazil and Galeria Baginski\, Lisbon\, Portugal. In 2016\, her film SEBASTIAN\, THE GHOST was screened at Les Rencontres Internationales Nouveau Cinéma et Art Contemporain in Paris and\, at Haus der Kulturen der Welt\, Berlin; and the 24th Curtas Vila do Conde – International Film Festival\, Portugal. In 2017\, Prancha was in residency at the Jan van Eyck Akademie in Maastricht\, NDC. During the Spring of 2020\, Lúcia is a Visiting Artist Faculty at CalArts–California Institute of the Arts. Lúcia Prancha lives and works in Los Angeles. \nThis show is possible with the kind support of Calouste Gulbenkian Foundation\, Portugal.
URL:https://www.h-r.la/event/lucia-prancha-casa-do-sol/
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/2020/01/Lúcia-Prancha_CASA-DO-SOL_2020-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200313
DTEND;VALUE=DATE:20200319
DTSTAMP:20260608T043210
CREATED:20200218T085044Z
LAST-MODIFIED:20200314T225720Z
UID:5041-1584079200-1584511199@www.h-r.la
SUMMARY:Marcia Bassett\, Alison O' Daniel\, Kathleen Kim\, Angel Chirnside\, Varese Group
DESCRIPTION:so·cial res·i·den·cy\nthe fact of living in a place with living organisms   \nDue to public health concerns around the spread of coronavirus\, Human Resources has made some adjustments to upcoming programing.  Social Residency will proceed with an opening Friday March 13 from 8-11pm. We have cancelled the performances that were a part of that event. \nBy appointment only\, until 3/20\, pending further notice.  \nIdeas as inventions\ncalled artifacts [Buckminster Fuller]\nSocial Residency is an artifact\nCalled ideas as notes \nRevealing threads\, bleeds\, crossings\, streams of conscience\nFrom a group of artists housed virtually\nExchanging notes\nProcessing\na single part\na reference point\na collective meeting\na window into\nan inter-related experience\nPresently formulating\nan error\, a filter\, a trial\, a misunderstanding\, a slur\,\na natural and artificial sound colliding\nTrying to relate\nconfusion\, vision\, miscommunication\nliteracy\, clarity\, exposure\nA variable non-static artifact \nuntune and Human Resources present Social Residency\, March 13 – 17 – an all new iteration of what initially began in 2017 at untune with Alison O’ Daniel\, Kathleen Kim\, Marcia Bassett\, and Angel Chirnside.  Joined by Fiona Connor and other members of the Varese Group\, artists reconstruct separate ideas involving tone\, slur\, entropy\, action\, and residency under the binding umbrella of Social. \nSocial Residency attempts to shift the structure of an artist residency into a process – one that develops\, much like a group exhibition does – through ongoing conversations\, discussions\, feedback\, and exchanges\, with emphasis placed on the interactions between individual process and group interventions that have formulated remotely. \nMarcia Bassett\, given the concept Social Entropy\, explores the idea of social theory where social and natural worlds have constantly shifting relationships.  Sound collected from participants and the environment will be assembled\, collaged\, processed and transformed into a quadraphonic sound installation.  She will be activating her installation with a live performance on Saturday March 14th\, 9pm. \nThroughout the exhibition (at times TBA)\, Alison O’ Daniel\, given the term Social Tone\, will be processing a series of Skype sessions – a live collaboration with hard of hearing friends where repeated\, indecipherable\, and filtered communication of parts of her film script will then be utilized as new text\, dialogue and sound within the script. \nSocial Slur presented by Kathleen Kim\, a prolific advocate for civil and immigration rights\, will present an impromptu dialogue on social justice themes present in her work while allowing for sound improvisation involving audience participation to blur and bleed into the conversation – a starting point for communication about social issues.  This will take place on Sunday March 15\, 4-6pm followed by a cosmic grooving with an Avant Jazz ensemble later in the evening at 8pm\, providing a capstone to Social Slur. \nAnd as most stories have a beginning\, middle\, and end\, Angel Chirnside will prove otherwise. Intercepting with Bassett’s relational intersections\, Chirnside provides the most significant building block to Social Action – literacy.  In a participatory intergenerational (kid-friendly) reading room\, she will facilitate storytelling with visitors\, with special attention to kids\, utilizing colorful felt cutouts she has made\, with no scripted story in mind\, that can be rearranged by visitors to tell new stories with varied outcomes.  The felt pieces provide catalysts for a variety of narratives. You’ll be able to find her in the reading room at various times between 11am and 1pm on the 14th\, 15th\, and 16th. \nBringing forth and integrating the very essence of the term Social Residency\, we are also extending a warm welcome to the Varese Group\, founded in 2017 by Fiona Connor with an intention to meet consecutively until 2021 in Northern Italy.  Taking the form of one-week symposiums\, the group consists of artists\, designers\, architects\, writers\, and curators\, engaging in dialogue and conversation about ideas and their projects\, intercepted by shared meals and excursions. The materiality of location is a central aspect to their exchanges.  Every year a press release is produced (as the only public presentation) – this years iteration will be presented in this show as well as a screening of Ten Minutes in Binio by Sasha Portis that is comprised of a collection of 1 minute videos taken by members of the group when they met last year.  The screening will take place Saturday\, March 14 – stay tune for exact time. \nBios \nMarcia Bassett is a NYC-based musician and multi-media artist. An artist whose alternately shimmeringly beatific and uncannily intense work has resonated through the underground world\, Bassett is the exterminating and vivifying force defying boundaries of noise\, free drone and dark psychedelia to arrive at a place of heavenly radiance and hellish intensity. Working with synthesis\, processed field recordings\, electric guitar\, electronic experimentation and acoustic instruments\, under the moniker Zaïmph\, she seeks to transform\, re-imagine and find new meaning within established structure. Her solo recordings appear on a number of independent USA and European record labels\, as well as her own private-press label Yew Recordings. Bassett frequently collaborates and records one-to-one with musicians living in the USA and Europe; collaborators include Samara Lubelski\, Bridget Hayden\, Barry Weisblat\, Bob Bellerue\, Helga Fassonaki\, Jenny Graf and Margarida Garcia. Additionally\, Bassett is an active participant in ensembles that explore improvised sound and visual scores.  She has been an active member of Andrew Lafkas’ large ensemble Alternate Models; the group presented “Two Paths with Active Shadows Under Three Moons and Surveillance\,” at Experimental Intermedia and Eyebeam\, NYC; Bassett has also contributed to “Gen Ken’s Supergroup” performing at PS1 Solid Gold and Experimental Intermedia. \nRecent solo and collaborative presentations of her work include “Transitory Freezing of Perpetual Motion” collaborative improvised sound performance with Jenny Graf and dancers at Here-10 Evenings Festival\, Sweden; “Field Recording with Zaïmph”\, BOMB magazine; “Out of Line: Narcissister” live improvised sound interaction with the performance\, High Line\, NYC; “Ed Atkins: Performance Capture” at the Kitchen NYC; composition and performances of the score “One Two Sides Dirty\,” part of Helga Fassonaki’s Khal project presented at galleries in the US and New Zealand; and “Ten Ways of Doing Time”\, 2013\, Single Channel Video\, written and directed by James Fotopoulos and Laura Parnes with original soundtrack by Marcia Bassett. \nhttp://www.marciabassett.org/ \nAlison O’Daniel is a visual artist and filmmaker. She has exhibited internationally at the Hammer Museum\, Los Angeles; Garage Museum of Contemporary Art\, Moscow; Centre Pompidou\, Paris\, FR; Centro Centro\, Madrid\, Spain; Bemis Center for Contemporary Arts\, Omaha; Shulamit Nazarian\, Los Angeles; Art in General\, New York; Samuel Freeman Gallery\, Los Angeles; Centre d’art Contemporain Passerelle\, Brest\, France; Tallinn Art Hall\, Estonia. She is a recipient of the 2019 Louis Comfort Tiffany and Creative Capital awards\, and has received grants from the Rema Hort Mann Foundation; Center for Cultural Innovation; the California Community Foundation; and Franklin Furnace Fund. She has attended residencies at the Wexner Center Film/Video Studio Program\, the Fine Arts Work Center in Provincetown\, and the Skowhegan School of Painting and Sculpture. Writing on O’Daniel’s work has appeared in The New York Times Magazine\, Artforum\, Los Angeles Times\, BOMB and ArtReview. Her film\, The Tuba Thieves\, was supported by the Sundance Creative Producing Lab and she was included in Filmmaker Magazine’s 25 New Faces of Independent Film. She is represented by Commonwealth and Council in Los Angeles. \nKathleen Kim is an experimental musician and composer who creates solo work as well as collaborative work with LA Fog and SheKhan. She has performed in joint projects in museums\, galleries and venues\, nationally and internationally. She co-founded Human Resources Gallery with her brother Eric Kim along with Giles Miller\, Dawn Kasper and Devin McNulty. Kathleen is also a full-time professor of law at Loyola Law School and a nationally-recognized scholar of critical theory perspectives on immigration and human trafficking. She is co-author of the leading casebook on human trafficking. From 2013-2016 she served as a Los Angeles Police Commissioner and was a gubernatorial appointee to the first statewide California Anti-Trafficking Task Force. In 2014\, Los Angeles Magazine named her one of Los Angeles’ ten most inspiring women. In 2016\, The National Jurist selected her as one of twenty law professors “Leaders in Diversity.” She was a recipient of the Judge Takasugi Public Interest Fellowship\, Skadden Fellowship and Immigrants’ Rights Teaching Fellowship at Stanford Law School. \nFrom Auckland\, New Zealand\, Angel Chirnside has been making queer noises in fits and starts for the past twenty years. They have had various aliases throughout that time\, most notably Jane Austen\, their long-running solo sound project which at various times has referenced animal noises\, anxiety and accordions. Born under a Libra stellium\, Angel prefers to collaborate and many of their happiest times musically have been in bands\, including: P.U.S.H\, Avanti Maria\, It Hurts\, Currer Bells and Tea Dust. In the early-mid 2010s they got into soundtracking archival film\, co-curating a series of live cinema events with Nga Taonga Sound and Vision\, the New Zealand Film Archive. This was a joyous convergence of their various interests in archival research\, amateur filmmaking and background music. These days\, Angel is pretty happy just staying cool and getting by in their job as a children’s librarian in Vancouver\, Canada\, but they still sometimes head out to howl at the moon when the time is right. Sometimes this involves playing in the ensemble Gamelan Gita Asmara. \nhttps://bluestockingsvioletpages.wordpress.com \nVarese Group\nwww.varese.group
URL:https://www.h-r.la/event/social-residency/
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/2020/02/social_residency2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200319
DTEND;VALUE=DATE:20200322
DTSTAMP:20260608T043210
CREATED:20200227T074341Z
LAST-MODIFIED:20200327T054414Z
UID:5070-1584597600-1584770399@www.h-r.la
SUMMARY:Khal Launch - 2 Day Event (cancelled/postponed)
DESCRIPTION:This event is postponed until further notice. \n2 day publication launch and performance event\nThursday March 19\, 7-11pm  (launch / performances)\nFriday March 20\, 7-11pm (launch / performance / dinner) \nHelga Fassonaki began the Khal project in 2014 while living in Tabriz\, Iran for a month. As a visual artist in Iran\, what she was able to share in public was restricted. Furthermore\, as a female performing artist\, the use of her voice in public performance was restricted. \nAfter the establishment of the Islamic Republic of Iran in 1979\, Ayatollah Khomeini “condemned all forms of music\, other than classical and traditional Persian music” as being corrupted and influenced by Western culture\, and therefore\, forbidden. During this time\, Khomeini also forbade women from singing solo in public because of “the seductive quality of the female voice”. \nSince performing as she chose was illegal in Iran\, Fassonaki sent compositions in the form of sculptural scores created in Tabriz to sixteen female artists and musicians living in different cities and parts of the world. The concept being that the scores be interpreted and performed publicly by these artists in lieu of Fassonaki’s ability to do so. \nThese “living scores” were then passed on to other participants to be interpreted and performed\, creating in the process an open book of socio-spatial exchange. Iterations of Khal were exhibited at Glasshouse (Brooklyn\, NY)\, Los Angeles Contemporary Archive (Los Angeles\, CA)\, Disjecta (Portland\, OR)\, the Auricle Sonic Arts Gallery (Christchurch\, NZ)\, the 2015 Audacious Festival of Sonic Arts (Christchurch\, NZ)\, Audio Foundation (Auckland\, NZ)\, Viewfinder (Auckland\, NZ)\, and Nga Taonga Sound & Vision (Auckland\, NZ). As the series unfolds from one event to another\, a cumulative composition of voices and actions will continue to grow until the law inhibiting artistic expression ceases to exist. This ongoing exchange and peaceful protest refers to the derogatory use of the Farsi word “khal\,” coined to describe the passage of Iranian pop music in the form of homemade mixtapes. Once pop music was no longer being produced or sold in Iran after the Islamic Revolution\, the Los Angeles Persian community sent mixtapes to residents in Iran so they could listen to their own country’s pop stars. Fassonaki remembers partaking in this movement when she was a kid residing in Los Angeles.  The steady flow of cassettes soon became state-approved in Iran\, an example that gentle poetic actions can push through governing law. \nAfter years of gathering and communicating with a growing number of participating voices\, Fassonaki is thrilled to present a dedicated publication – a living archive of drawings\, interviews\, compositional notes\, and recordings\, published by Sming Sming Books and  Drawing Room Records. \nHuman Resources is pleased to present a two-day publication launch and exhibition on March 19 and 20\, featuring the publication hot off the press\, an installation of sound\, artifacts and drawings\, a video screening featuring one of Maryam Bagheri Nesami’s interpretations for “One Song Two Sides Bold Breathing – The Missing Score”\, and a video archive featuring public performances of every artist who performed one of the scores. \nPreserving Fassonaki’s original idea where each presentation of Khal is a new iteration as well as an ongoing archive\, the launch will include live performances by new artists who have been chosen by some of the original recipients of the scores. The two-day launch will conclude with a special dinner hosted at Human Resources that will mark the beginning of spring and the Persian holiday of Nowruz.   Details on both events will be announced soon. \nThe original recipients of Fassonaki’s scores include Matana Roberts (New York\, NY)\, Kelly Jayne Jones (Manchester\, UK)\, Kali. Z. Fasteau (New York\, NY)\, Gabie Strong (Los Angeles\, CA)\, Christina Carter (Austin\, Texas)\, Chiara Giovando (Los Angeles\, CA)\, Heather Leigh (Glasgow\, Scotland)\, Rachel Shearer (Auckland\, NZ)\, Jenny Gräf (Copenhagen\, Denmark)\, Purple Pilgrims (Coromandel\, New Zealand)\, Angel Chirnside (Auckland\, NZ)\, Marcia Bassett as Zaïmph (Brooklyn\, NY)\, Ashley Paul (London\, UK)\, Kathleen Kim (Los Angeles\, CA)\, Rachael Melanson as Ro Sen (London\, UK)\, and Shana Palmer (Baltimore\, MD). \nAdditional participating artists include Maryam Bagheri Nesami (Tehran\, Iran / Auckland\, New Zealand)\, Gemma Syme as Instant Fantasy (Christchurch\, New Zealand)\, Fariba Safai (San Francisco\, CA)\, Sarah Kelleher as Misfit Mod (Christchurch\, New Zealand)\, Beth Ducklingmonster (Auckland\, New Zealand)\, Tina Pihema as Piece War (Auckland\, NZ)\, Yasi Alipour (New York\, NY)\, Nazanin Daneshvar (New York\, NY)\, Julia Santoli (New York\, NY)\, Suki Dewey (Califon\, NJ)\, Laura Sofia (New York\, NY)\, Ella Chau Yin Chi as French Concession (Christchurch\, New Zealand)\, Elizabeth Mary Maw (Auckland\, New Zealand)\, Mira Billotte as White Magic (Los Angeles\, CA)\, Hermione Johnson (Auckland\, New Zealand)\, Zahra Killeen Chance (Auckland\, NZ)\, Jo Burzynska as Stanier Black-Five (Christchurch\, New Zealand)\, Helen Greenfield as Mela (Christchurch\, New Zealand)\, Joan Sullivan (Baltimore\, MD)\, twelve anonymous artists (Tabriz\, Iran)\, Jessika Kenney (Los Angeles\, CA)\, Pauline Lay and Ang Frances Wilson (Los Angeles\, CA)\, and more as the series continues. \nThe publication of this project was made possible\, in part\, by a recently awarded Foundation for Contemporary Arts Emergency Grant. \n__________________________ \nHelga Fassonaki is a multi-disciplinary artist and curator of Iranian-Azeri decent\, born and currently residing in Los Angeles. Her work crosses fields of nature\, sound\, video\, performance\, and installation. She performs solo as yek koo\, a project begun in 2006\, exploring the body as a vehicle for the movement of sound and duo in Métal Rouge (with Andrew Scott)\, formed in 2005.  In 2017\, Fassonaki founded untune\, a socio-curatorial project with a series of programming dedicated to the term “Social“. Her work solo and in collaboration\, has been presented at MOCA (Los Angeles)\, LACA (Los Angeles)\, Whitney Museum of American Art (as part of the Whitney Biennial 2014)\, LACE galleries (Los Angeles)\, Human Resources (Los Angeles)\, Audio Foundation (Auckland)\, Blue Oyster gallery (Dunedin)\, Box Gallery (Los Angeles\, CA)\, Disjecta (Portland)\, Zebulon (Los Angeles)\, Café Oto (London)\, Vox Populi (Philadelphia) among many others.  Fassonaki is currently working on an ongoing series called 100’ Circles\, which attempts to address the changes/transitions/cycles (historic\, social\, natural\, environmental) of specific land masses around the world. So far she has created a 100’ Circle in Vanier Park\, Vancouver;  Joshua Tree\, California; and the Berkshires\, Western Massachusetts.
URL:https://www.h-r.la/event/khal/
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/2020/02/KHAL_COVER.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20201101
DTEND;VALUE=DATE:20210202
DTSTAMP:20260608T043210
CREATED:20200131T000031Z
LAST-MODIFIED:20211228T050428Z
UID:5317-1604210400-1612159199@www.h-r.la
SUMMARY:Stoking The Flame
DESCRIPTION:Stoking The Flame brings together DJs\, Poets\, Artists\, Musicians whose work invokes new worlds imagined and forged within nightlife.  \nStoking The Flame aligns itself with artists who wield the allure and radicality of nightlife to experiment and amplify new sounds\, moves\, and ways of being with one another amidst the on-going state violence.  \nStoking The Flame will feature one artist per week over the span of the last months of 2020. In a combination of mixes\, videos\, interviews\, and other virtual experiments Stoking The Flame stages a site to add onto nightlife’s constant forging of other worlds\, of more nights\, and ways of being. \nDJ Erika Kayne \nBAE BAE \nGemma Castro \nSebastian Hernandez \nKelman Duran \nJasmine Nyende \nXina Xurner \nElliot Reed \nKaili \n 
URL:https://www.h-r.la/event/stoking-the-flame/
LOCATION:Online
CATEGORIES:exhibition,online event
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2020/10/image000000-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20210910T080000
DTEND;TZID=America/Los_Angeles:20210912T170000
DTSTAMP:20260608T043210
CREATED:20210909T052621Z
LAST-MODIFIED:20210909T052621Z
UID:6302-1631260800-1631466000@www.h-r.la
SUMMARY:ANIMAL ENCYCLOPEDIA
DESCRIPTION:September 10 – 12\, 2021 \nHuman Resources in Chinatown\, Los Angeles\, CA  \n  \nANIMAL ENCYCLOPEDIA \nPresented by Authentic Children Art Association in collaboration with OneHouse Arts \n  \nCome one\, come all! The circus is in town! Marvel at the array of Animal Encyclopedia – grizzly bears\, toucans\, flying fish\, humpback camels\, Spectres of Shadow\, iguanas\, cockatoos\, and many species more! \n  \nAuthentic Children Art Association eagerly presents over 200 animal portraits by OneHouse Arts students from ages 4 to 10. Pencilless\, these artists immediately place paint brush to paper – creating bold and brave lines\, translating perceptions of their favorite creatures into being. Children’s art\, despite losing its original prestigious positioning on cave ceilings and relegated to transgressive expressions on drywall\, has resurged in the past century as the inspiration for modernism! The influence of these innovative young artists can be seen throughout the movements of contemporary art – featured prominently in the work of such adults as Matisse and Picasso. Truly your favorite artists’ favorite artists. \n  \nAnimal Encyclopedia promises entertainment for all ages of art appreciation. Bring the whole family! \n  \n~ \n  \nAuthentic Children Art Association is a non-profit project committed to nurturing genuine expression\, appreciation\, and compassion in children\, parents and educators by presenting authentic children’s art exhibitions in collaboration with schools and galleries across Southern California. \n  \nOneHouse Arts is an experimental art school and philosophy dedicated to helping children discover art on their own by asking questions about their ideas\, introducing them to various methods\, staying open to their artistic inclinations\, providing them with space to create\, and giving their art a place in the world at large. \n  \n(for parents) \nHuman Resources is a non-profit art gallery in Chinatown showcasing non-traditional forms of art and performances to engage communities across Los Angeles. \n  \n——————————————————— \n  \n美国自然本真儿童艺术协会与艺家艺术体验馆联合举办 \n  \n2021年9月8日（周三） 至 2021年9月12日（周日）中午12点 – 晚上 6pm  \n  \nRachel 老师将于9月12日周日，12-6pm， 全天在画廊与大家见面。请邀请亲朋好友前来参观！  \n  \n​​“动物世界” 儿童画展  \n  \n快來 快來！ 我們的“動物世界”來了！ \n这里有各式各樣的動物 – 灰熊、大嘴鸟、飞鱼、骆驼、熊貓、凤头鹦鹉和魔鬼魚……！ \n美国自然本真儿童艺术协会迫切的要为大家展示来自艺家艺术体验馆的200多幅动物特写儿童画，小画家的年龄在4-10岁。我们不打草稿，直接用丙烯在纸上作画，小画家们用生动大胆的线条，让脑中的动物跃然纸上。 \n  \n沉寂了一大段时间的儿艺术在过去的一个世纪里又重新兴起，其影响贯穿于整个当代艺术运动中！马蒂斯和毕加索等成年人的作品深受儿童艺术的影响！儿童艺术家是你们喜欢的知名艺术家们的偶像！ \n“动物世界”展一定会把欢乐带给全家！ \n  \n美国自然本真儿童艺术协会是一个非盈利项目，致力于通过与南加州的学校和画廊合作举办纯朴的儿童艺术展览，帮助孩子，家长和教育者彼此真诚表达，互相欣赏和理解。 \n  \n艺家艺术体验馆是一所艺术与哲学的实验学校，致力于通过提问帮助孩子开发他们的内在艺术性，教授他们不同的方法，发掘他们内在多姿的艺术方向，提供他们无限的空间并且帮助他们找到自己在这世界中的定位。 \n  \n（致家长） \nHuman Resources 是一个在中国城的公益画廊，展示非传统形式的艺术和表演，以吸引整个大洛杉矶地区的观众。 \n 
URL:https://www.h-r.la/event/animal-encyclopedia/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2021/09/animal-encyclopedia-flyer-general.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211106
DTEND;VALUE=DATE:20211130
DTSTAMP:20260608T043210
CREATED:20211003T212411Z
LAST-MODIFIED:20211102T014827Z
UID:6321-1636178400-1638165599@www.h-r.la
SUMMARY:Harmonic Oscillation
DESCRIPTION:Harmonic Oscillation\nM.A. Guevara\nNovember 6 – 28\, 2021 \n\n 
URL:https://www.h-r.la/event/harmonic-osculation/
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/2021/10/Screen-Shot-2021-10-03-at-2.23.03-PM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220120
DTEND;VALUE=DATE:20220201
DTSTAMP:20260608T043210
CREATED:20220112T211818Z
LAST-MODIFIED:20220118T213144Z
UID:6494-1642658400-1643608799@www.h-r.la
SUMMARY:Apparitions: a group show
DESCRIPTION:The group stems from a virtual art salon that was facilitated by Miljohn Ruperto at the end of 2020. With their diverse backgrounds and satellite presence\, artists were invited to question the opacity in the contemporary art world while sharing their past and current works. The space of conversation is suspended through virtual meetings\, discussing peer feedback\, group readings\, along with conceptual and practical ideas in art. The salon has expanded to more guest participants –curators\, gallerists and other artists who add to the conversation and overall curiosity of a practicing artist. \n  \nClick here for the exhibition page.
URL:https://www.h-r.la/event/apparitions-a-group-show/
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/2022/01/Apparitions.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220212T200000
DTEND;TZID=America/Los_Angeles:20220212T220000
DTSTAMP:20260608T043210
CREATED:20220202T202427Z
LAST-MODIFIED:20220203T223949Z
UID:6566-1644696000-1644703200@www.h-r.la
SUMMARY:Purple Glitter Slime
DESCRIPTION:An evening of queer performances and works by \nAmanda-Faye Jimenez \nAimee Goguen & Dakota Higgins \nJohn Burdole \nLaub \nNathan Lam Vuong \nZori Swanegan \n\n\n7$ \nDoors open at 8 \nPerformances begin promptly at 830 \n\nTickets can be purchased here: https://withfriends.co/event/13568875/purple_glitter_slime_21222 \n\nAmanda-Faye Jimenez is a writer and comedic performer born and raised in Los Angeles. She is mostly known for being a huge lesbian irl and online @failureprincess and for having long conversations with dogs. \nAimee Goguen (she/they) is a moving-image artist working in analog video\, hand-drawn animation\, and creative writing. She explores the grotesque and abject\, crafting scenarios that reimagine bullying as staged\, repetitive actions. Goguen’s work is anchored in imagination\, fantasy\, and escape. Goguen lives and works in Los Angeles. \nDakota Higgins is an artist\, writer\, and musician based in Los Angeles. He runs the experimental venue\, The DMV\, LA (aka The Departure from music Venue[s]). \nJohn Burdole is a queer artist. They like making work with their friends\, and making out. \n\n\nNathan Lam Vuong’s work deals with Asian-American culture\, the nuances of loneliness and confusion in dating\, and ideas of non-relationships. Born in Pascagoula\, Mississippi and raised in Florida\, Vuong received his BFA from the University of Miami and an MFA from CalArts.  Vuong produced the weekly comic strip\, Post-Ironic\, for The Heat Lightning (Miami). In 2011\, he attended the Banff Art Centre in Canada for the thematic residency “What’s Love Got To Do With It?”  Vuong has exhibited/performed at Soy Capitán in Berlin\, The Center – NYC’s LGBT Community Center\, Krause Gallery NYC\, Machine Projects LA\, LACMA (band performance with J-Lep)\, Aljira Center for Contemporary Art Newark NJ\, and Boston Center for the Arts. \n\nBuddy\, gentle like an angel sent from the heavens\, is Laub with some clown makeup on. Every once and a while he comes out of hiding to sing some songs.  He grew up Mennonite\, in Virginia\, and misses singing every Sunday\, in a congregation of people who sang in four-part harmony. He plays the guitar\, banjo\, piano or octave mandolin and sings from his iPhone\, very seriously\, like a boy in church. Laub\, also known as Taliesin is currently enrolled in massage school and needs practice. If you’d like to make an appointment or inquiries please call 562-583-5773 or DM @laublife. He has great hands and his own portable massage table. Also\, in recent developments\, Laub needs a place to live. \n\n\n\nZori Swanegan is a visual artist based in Los Angeles\, CA. She primarily makes works on paper.\n  \n  \n\nProof of full vaccination and contact info required for entry to this event\nMasks required at all times while inside the space\nThis event has a limited capacity\, pre-sale tickets are highly encouraged
URL:https://www.h-r.la/event/purple-glitter-slime/
CATEGORIES:exhibition,one-time event at HR,performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2022/02/Purple-Glit-Slime-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220503
DTEND;VALUE=DATE:20220506
DTSTAMP:20260608T043210
CREATED:20220420T205500Z
LAST-MODIFIED:20221012T144514Z
UID:6758-1651557600-1651730399@www.h-r.la
SUMMARY:Jacqueline Kiyomi Gork & Laetitia Sonami — Fingers Caught in a Field of Moss
DESCRIPTION:Tuesday May 3rd & Wednesday May 4th\, 5:00 – 9:00 PM\n  \nSound artists Jacqueline Kiyomi Gork and Laetitia Sonami set up in residency at Human Resources for their fourth collaboration. For Fingers caught in a field of moss they scale down natural growth events to rhythms of sonic saturation and rarefication. The synthetic textures created in real time by the artists evoke an organic unfolding of layered scales of time. The ten-channel audio installation incorporates loudspeakers\, subwoofers\, directional speakers and anechoic sculptures to manipulate the natural resonance of Human Resources architectural acoustics. Both artists would like to acknowledge the pervading influence of Maryane Amacher’s groundbreaking work in their own unique practice. \n  \nAudience is invited to come in at any point during the durational live performance-installation. Use of phone is prohibited during the performance \n  \nLAETITIA SONAMI\nLaetitia Sonami is a composer\, sound artist\, performer and researcher. Born in France\, Sonami studied electronic music with Eliane Radigue before moving to the United States in 1977 to continue her electronic music practice.Sonami’s sound performances\, live-film collaborations and sound installations focus on issues of presence and participation.  She applies new technologies and appropriated media to achieve an expression of immediacy through sound\, place and objects.A pioneer in wearable technologies\, Sonami has devised new gestural controllers for performance. Best known for her unique instrument\, the elbow-­length lady’s glove\, which is fitted with an array of sensors tracking the slightest motion of her hand and body\, she has performed worldwide and earned substantial international renown. Her latest instrument\, the Spring Spyre\, is based on the application of machine learning (AI) to music performance.Recent projects include a third live film with SUE-C\, a  collaboration with harpist Zeena Parkins\, and an electronic improvisation duo with James Fei.Sonami received the Herb Alpert Awards in the Arts (2000) and the Foundation for Contemporary Performance Awards (2002). Sonami lives in Oakland\, CA and is currently a guest professor at the Center for Contemporary Music\, Mills College.\n \n\n\nJACQUELINE KIYOMI GORK\nJacqueline Kiyomi Gork’s hybrid practice combines work in sound installation\, sculpture\, and performance with the aim of reconfiguring traditional hierarchies between audience\, performer\, and architecture.  Kiyomi Gork studied sound art and new genres at the San Francisco Art Institute and researched the history of communication technologies\, acoustics and computer music at Stanford University. Kiyomi Gork has been the subject of solo exhibitions at Empty Gallery\, Hong Kong; 356 Mission\, Los Angeles; François Ghebaly\, New York; Queens Nails\, The Lab and Yerba Buena Center for the Arts\, San Francisco. Kiyomi Gork has participated in group exhibitions at Hammer Museum\, Los Angeles (Made in LA 2020); SculptureCenter\, New York and the San Francisco Museum of Modern Art. She is a recipient of a 2021 Art + Technology Lab Grant from the Los Angeles County Museum of Art. \n\n\n\n\nEverything in Air\n\nHuman Resources LA presents Everything in Air\, a series of public programs over the course of a year—new commissions\, exhibitions\, performances\, and forums\, often in hybrid combinations—using key concepts within artist and composer Maryanne Amacher’s work as points of departure. A near-mythic figure whose situated methodology and speculative embrace of technology continues to defy formal and disciplinary boundaries\, Amacher generated an artistic and conceptual milieu that encompassed sound and installation art\, networked culture\, and feminist technoscience. Invited artists\, whose own engagements with sound\, structure\, and situation move freely across disciplines\, are encouraged to trace the resonances they find with Amacher’s ideas—from perception and duration\, to embodiment\, place\, and listening—towards new formal and conceptual territories. The international and intergenerational group of artists will take up residence using HRLA’s architectural\, organizational\, and social structures as an instrument\, both physically—using the entire building itself as a tool for making (sound or otherwise)—and figuratively\, “instrumentalizing” HRLA’s structures to resonate\, modulate\, filter and amplify signals\, gestures\, and ideas. Invited participants include Akio Suzuki & Aki Onda\, Jimena Sarno\, Jacqueline Kiyomi Gork and Laetitia Sonami\, Jeremy Toussaint-Baptiste\, Chiara Giovando\, Dead Thoroughbred (keyon gaskin & sidony o’neal)\, Kali Malone\, Geneva Skeen and others to be announced. Black Hole will be a participating partner.
URL:https://www.h-r.la/event/jacqueline-kiyomi-gork-laetitia-sonami-fingers-caught-in-a-field-of-moss/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:Artist in Residence,exhibition,performance
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220507T180000
DTEND;TZID=America/Los_Angeles:20220527T210000
DTSTAMP:20260608T043210
CREATED:20220425T202753Z
LAST-MODIFIED:20230221T014417Z
UID:6764-1651946400-1653685200@www.h-r.la
SUMMARY:Jeremy Toussaint-Baptiste: I Would Prefer Not To (Stay Cool)
DESCRIPTION:Gallery Hours: Wed-Sun noon-6PM\nWe highly recommend emailing everythinginaaair@gmail.com to make an appointment to view the exhibition.\nThe installation employs Amacher’s work on “psychoacoustics” alongside “acousmaticism” (psychoacousmaticism) through the lens of Herman Melville’s short story Bartleby\, The Scrivener. Considering Herbert Marcuse’s notion of the “Great Refusal” as an indictment of emergent military-cum-consumer technology being weaponized against citizen-civilian populations\, it provides a quiet blueprint for protecting oneself from such phenomena. I Would Prefer Not To (Stay Cool) makes deliberate misuse of a decommissioned military-issue Long Range Acoustic Device\, or LRAD*\, (specifically\, LRAD 500x)\, its ability to transmit sound\, pre-recorded or live\, is baffled by placing six inverted riot shields\, mounted to oscillating fans in front of it. These inverted shields not only deflect the sound from a potential aggressee\, but their inversion also refracts the sound back to its source with the same intensity. The placement of the shields on indeterminately oscillating fans also physicalizes the sentiment of cool\, steely refusal put forth by Bartleby’s repeated utterance\, “I Would Prefer Not To\,” enacting a chance-operation in which these “refusals” go in and out of phase. The project was funded\, in part\, by a Foundation for Contemporary Arts Emergency Grant.\n*Often referred to as “sound cannons\,” LRAD’s have been deployed by police forces across the United States\, including NYPD\, as a “non-lethal” sonic weapon against civilian populations engaged in peaceful protest as far back as 2004.\nClosing Performance and Conversation\nWednesday\, May 25\, 7PM\n\nPerformance by Jeremy Toussaint-Baptiste\, followed by a conversation between the artist\, Jennifer Doyle and Gelare Khoshgozaran.\n\nJeremy Toussaint-Baptiste\, Get Low (The Fall / The Drop)\, 2021\n\nJeremy Toussaint-Baptiste (b. 1984\, Baton Rouge\, LA) MFA in Performance and Interactive Media Arts from Brooklyn College. He currently lives and works in New York\, NY and Tucson\, AZ.\n\nSelect exhibitions include: “Set It Off\,” ICA @ Virginia Commonwealth University and 1708 Gallery\, Richmond\, VA (2021)\, “Devo (Listenin’ Out The Top Of Ya Head)\,” Berlin Atonal\, Berlin\, DE (2021)\, “Pendulum Music: An Arrangement for Four Performers and Geodisic Dome\,” MoMA PS1\, Queens\, NY (2018); “Club\,” Performance Space New York\, New York\, NY (2018); “Evil Nigger: A Five Part Performance for Julius Eastman\,” The Kitchen\, Brooklyn\, NY (2018); “Study Of ‘Study Of Three Heads’\,” Philadelphia Museum of Art\, Philadelphia\, PA (2018); “Evil Nigger Part IV and Evil Nigger Part V\,” Issue Project Room\, Brooklyn\, NY (2017); “Who Needs To Think When Your Feet Just Go+ Never Not Doing\,” The Studio Museum in Harlem\, New York\, NY (2016).\n\nSelect awards and residencies include: Camargo Foundation Core Program Fellow (2022)\, Bemis Center for Contemporary Arts Sound Artist-In-Residence (2021)\, Bessie Award for Outstanding Music Composition and Sound Design (2018); Issue Project Room Artist-in-Residence (2017); Jerome Foundation Airspace Residency at Abrons Arts Center\, New York (2019); Rauschenberg Residency 381 (2019). He is also a founding member of the performance collective Wildcat!.\nEverything in Air\n\nHuman Resources LA presents Everything in Air\, a series of public programs over the course of a year—new commissions\, exhibitions\, performances\, and forums\, often in hybrid combinations—using key concepts within artist and composer Maryanne Amacher’s work as points of departure. The series was supported by a Mike Kelley Foundation Grant.
URL:https://www.h-r.la/event/jeremy-toussaint-baptiste-i-would-prefer-not-to-stay-cool/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2022/04/EIA_JeremyTB_square_22.5.2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220604
DTEND;VALUE=DATE:20220621
DTSTAMP:20260608T043210
CREATED:20220517T214358Z
LAST-MODIFIED:20220618T022615Z
UID:6796-1654322400-1655704799@www.h-r.la
SUMMARY:PHILTH HAUS: LYLEX 1.0
DESCRIPTION:In light of a violent attack on the exhibition\, LYLEX 1.0\, by PHILTH HAUS\, presented by the Feminist Center For Creative Work\, the exhibition will not reopen at HRLA. A schedule for the \ncontinuing phases of this project\, at NAVEL and FCCW\, will be updated and announced soon\, as scheduling for the project is now being reworked in light of this incident. \nFollowing the aforementioned attack\, HRLA regrettably mismanaged our response. Up to this point\, we have failed to listen to the suggestions of the artist and the FCCW with the necessary seriousness or care which we should have from the very beginning of our response. This is our second statement about the events that took place. It is meant to respond to the continued requests and suggestions of the artist and the FCCW to publish a statement with complete and current information.  \nThis version replaces our previous statement\, accounts for our activities in response to the occurrence\, and atones for misstatements\, the causes for which range from oversights and lack of information to a desire to minimize our culpability with regards to insufficient protection at the time of and immediately following the attack\, as well as\, in our response throughout the following weekend. \nAfter some consideration\, we are revising this statement\, with a special emphasis on acknowledging the efforts that the exhibition organizers\, and centrally\, the artist\, continue to expend in order to be heard and taken seriously regarding the level of threat the attack at HRLA on June 9th presented (described in more detail below).  \nWe now recognize that our failure to respond appropriately over the last week\, from our communications following the attack\, through the authoring of the present statement\, has perpetuated the undue and unfair labor regularly put on trans people to protect themselves from violence. \nOver the past days\, new information has come to light as part of our continuing efforts to form a complete picture of the incident on June 9th\, and its reverberating effects. Here is a more complete account: \nOn Thursday night\, June 9\, an audience member\, who was attending a music event hosted by HRLA\, intentionally and violently attacked a section of the installation in the LYLEX 1.0 exhibit. A videographer\, not affiliated with HR\, captured the last moments of the attack on video\, after the attacker\, noteably a white cis man\, pushed over the artwork and shouted disturbing language\, condemning the exhibit — which is focused on trans lives and bodies\, among other themes — as satanic and like death\, remarks\, that frightened and alarmed many members of the audience. Trusted eyewitnesses noted that they first noticed the man\, becoming aggravated in the moments before the attack\, arguing with a femme he seemed to be close to\, later identified as the man’s partner. This incident took place right before the music program was set to begin\, in the same space as the exhibit. The HRLA team facilitating the night’s event decided to continue the program\, after acknowledging the harm done in a brief introduction. The performance was thus staged around the damage. There were conflicting eyewitness reports that we can’t confirm\, but feel that it was our duty to report regardless: that the man circled the block 2 or 3 times after storming out of the space\, and that he left in a car after.  \nFollowing the performance\, HRLA shared multiple videos of the performance\, including some that showed the damaged work. We acknowledge that allowing the performance to continue put our audience members\, performers\, and volunteers on site\, at risk— a risk which we should be more especially sensitive to in light of the nation’s current climate of violence. Additionally\, we regret posting videos to our social media in the aftermath\, as this act\, regardless of our desire to share the performance\, was deeply insensitive to the artist. \nLeaders at Human Resources\, who reported the incident to FCCW the following day\, offered very limited information about the incident and aggressor\, specifically\, painting the attack as more random and circumstantial than aggravated and targeted. Additionally\, we contacted the artist directly which violated an appropriate chain of communication\, as it would have been more suitable for this violent occurrence to be conveyed with care by the FCCW. \nThe video that was captured\, along with multiple eyewitness accounts\, confirms the intensity and specificity of the threat. We recognize our error and apologize for initially misrepresenting the nature of the attack— a misrepresentation that endangered the artist\, as well as the queer staff members who returned to HRLA the following day without a full and accurate account of the incident. \nIt has also become evident that HR volunteers have not received proper crisis training\, and were unable to provide an adequate and coordinated response to ensuring attendees’ safety on the night of the attack. \nOur decisions in this incident’s immediate wake minimized the severity of the destruction\, amplifying the vulnerability of everyone working on the exhibition. We are continuing to reflect on how these actions\, as well as the tone of the earlier statement failed to live up to our aspiration to keep trans women safe. \nThis destructive act\, and our response to it\, reinforced especially trans and femme vulnerabilities within a transphobic\, transmisogynist society. We placed the artist and FCCW in a position of needing to work to raise our awareness\, and belabored them with multiple rounds of edits on our institutional statement\, a statement which we ultimately could not agree upon. In the conversations surrounding the event’s aftermath and throughout this process of drafting our initial statement\, conversations between HRLA and the artist and FCCW were marked by a defensiveness that we regret. Certain members of our team spoke over the artist\, and made attempts to compare their own suffering as well as that of HRLA as an institution\, to the harm experienced by the artist and her work. On Sunday\, we proceeded to publish this statement \nwithout many changes that were important to them. Despite these regrettable actions\, the artist and the team at the Feminist Center for Creative Work have taken the brunt of working through the damage\, and have graciously agreed to collaborate with us up through a single edit of the current document. \nWe apologize to the artists and to the exhibition’s organizers for the harm this incident has caused. \nWe apologize to the community of the artist’s supporters\, and the other institutional stakeholders who are unable to view the work in its initially iterated environment and timeline. \nHRLA is committed to the safety of our space\, this exhibition and all the people working in support of it. We are committed to uplifting this artist’s work\, and the trans and queer community at HRLA. To this end\, we are reviewing all aspects of our decision-making around this event. This is a moment for HRLA to recognize and address our own shortcomings in the handling of this crisis and to demonstrate in praxis\, and not just words\, what it means for HRLA to protect the trans community. \nActions we’ve taken to protect community members and to ensure safety going forward: \n\n Two volunteers from HRLA have since met with the man who carried out the attack. He has agreed to stay away from HRLA\, as well as the exhibition’s other two presenting partners\, the Feminist Center for Creative Work and NAVEL.\n We have retained the services of a private investigator\, who is also a member of HRLA’s board\, to assist in assessing the threat posed by this man and his actions\, and take steps to prevent further harm.\n We have reached out to security staff with connections to queer and trans community and specific training in de-escalation practices\, who can be on hand as needed at future events\, and directly assist us in reassessing our own safety protocols.\n HRLA is updating its volunteer orientation process to provide clear instructions for emergency situations. This is a process that had begun previously\, and is recognized as urgently needed.\n HRLA has begun an internal accountability process that holds the organization at large\, and also\, specific members of its team responsible for their individual actions while working on behalf of HRLA in the immediate aftermath of the occurrence\, including their communications with the artist and FCCW staff.\n HRLA will support FCCW and Philth Haus with costs associated with repairing or replacing the damaged artwork\, and share costs on altering plans for the project.\n\nWe are sorry that the mishandling of this incident has altered the pace\, planning\, and celebratory nature of this multi-venue project for the artists and FCCW\, presenting the artist with additional loss\, and increased burden of work. We recognize the need for continued work to repair the damage resulting from the violent and specific destruction of the artist’s work—a literal living organism and an embodiment of trans life. \n—————————————————————————————————– \nFeminist Center for Creative Work presents  \nPHILTH HAUS: LYLEX 1.0 \nA 3-venue exhibition and accompanying program series spanning June 4–August 12\, 2022. \nOn view at HRLA from June 4th-June 19st. Wednesday–Sunday\, Noon to 6pm\, and by appointment. \n  \n  \nLos Angeles\, CA – Feminist Center for Creative Work is pleased to present LYLEX 1.0\,  a new\, three-venue exhibition by PHILTH HAUS\, a collective of 6 member-clients currently represented by ANDRA\, curated by FCCW Programming Director Mandy Harris Williams. LYLEX 1.0 will open at Human Resources in Chinatown on June 4\, 2022 before flushing and rhizomorphing to Feminist Center for Creative Work (Glendale) and Navel (Downtown LA). The installation will be accompanied by programming at each location.  \nIn advance of\, and throughout the exhibition LYLEX will develop oyster mushrooms in sculptural encasements\, fed with the blood of a person undergoing hormonal and dietary modulation therapies. Expounding on themes of exploitative globalization\, wealth inequality\, and new age therapies and their inherent privilege of certain bodily forms and functions over others\, the modified mushrooms will be transformed into pills and powders\, with branded jewelry and apparel available for sale throughout the exhibition and online.  \n  \n“Like the mushroom itself\, the development of this show has been unpredictable\, unwitting\, uncompromising. Bravely adapting throughout an unwieldy period in our history\, throughout unforeseen environments\, organizational changes and timelines\, within new collaborations\, constraints\, opportunities and designs\, Philth Haus has demonstrated a mycelial commitment to growing the ideas and objects and processes of the LYLEX show. It is our honor and a victory\, at that\, to share these fruiting labors with our members\, community\, audience\, and the Los Angeles community at large. ”  \n-Mandy Harris Williams\, FCCW Programming Director and LYLEX 1.0 curator.  \n  \nBy introducing blood into an edible “lifestyle” product\, LYLEX 1.0 hopes to confront how globalization has allowed for the mass-distribution of exploitation at a distance by certain privileged bodies onto economically disenfranchised ones. These seemingly one-way systemic hierarchies of financial and social domination are repurposed by LYLEX. Indeed\, these systems of wealthy lifestyle health-food consumption are made into a means through which the under-privileged can contaminate\, influence\, and modify the socioeconomically enfranchised.  \nLYLEX introduces the blood of an individual undergoing hormonal and dietary modulation therapies via an intermediary bio-indicator species\, the Oyster Mushroom\, which retains much of the blood nutrients and endocrine compounds upon which the funguses are grown. This provides a means through which chemicals originally found in the anonymous body of a transgender person might enter into the bodies of the economically privileged with a penchant for new age therapies which provide enhanced appearance\, psyche\, and longevity.  \nThese modified mushrooms are introduced via mobile\, for use at-home\, production cases\, pills and powders. Jewelry and apparel featuring LYLEX branding\, and a three-channel video advertisement accompany these items. Further glimpses into the mysterious world of LYLEX\, product and/or persona\, lie within an accompanying text published by FCCW\, a haunting (fictional) documentation of the experiences of one such user and her lover/friend as they embark on a relationship with themselves and the unwieldy entity that is LYLEX. \nSpecifically\, “I am an economy. I am a family.”  \n– LYLEX of the PHILTH HAUS collective \n  \nABOUT THE ARTIST  \nPHILTH HAUS is a collective of 6 member-clients currently represented by ANDRA. Each member-entity instructs ANDRA on how to produce art installations\, performance\, and sonics which ephemerally embody one or–less frequently–multiple collective members. This process gives sanctity to post-anthropomorphic materials\, objects\, and systems as capable of holding the intelligences of each entity. The collective’s methodology is a material activation of the immaterial and a process of transubstantiation. Recent materials have included hormonally active waste water\, lithium carbonate\, machine learning\, blood\, and music. Through this collective\, each member hopes to transcend to a realm in which the planet and body are made one via globalized economies\, identity semiotics\, and biological contamination.  \nEach entity focuses on particular phenomenon such as artificial intelligence’s understanding of young girlhood (SYLLA)\, endocrine disruption pollution politics (COLY)\, body material market value and propriety (LYLEX)\, post-lingual ambient music (ROCO)\, maternity with disease (ANDRA)\, and intersectional chemicals used in treatment of psychopathology and in automotive production (PHILIP). \nThe collective has been exhibited in Los Angeles\, New York\, Florence\, and Amsterdam at spaces and programs such as Lo Schermo Dell’arte Film Festival (Florence)\, W139 (Amsterdam)\, Navel (LA)\, Times Square Space (NYC)\, Boston CyberArts Gallery (Boston)\, Harvard Art Museums (Cambridge)\, SpaceUS (Boston)\, UCLA Performing Arts Center (LA)\, De Ateliers (Amsterdam)\, and the Amsterdam Arts Weekend\, etc. Members have featured in publications such as The Boston Art Review\, Badlands Magazine\, Trains Zine\, and Paper Magazine. Newly commissioned glass paintings will exhibit with Proxyco Gallery (NYC) Fall 2022. Finally\, their upcoming album REV will be released with the KW Institute (Berlin) Fall 2022.  \n  \nEXHIBITION DATES  \n  \nHuman Resources \n410 Cottage Home St\, Los Angeles\, CA 90012  \nJune 4th-June 21st  \nWednesday–Sunday\, Noon to 6pm\, and by appointment  \n  \nNavel \n1611 S. Hope St.\, Los Angeles\, CA 90015 \nJune 24th- July 24th \nSaturday–Monday\, Noon to 6pm\, and by appointment  \n  \nFeminist Center for Creative Work  \n1800 S. Brand Blvd. Suite 111\, Glendale\, CA 91204  \nJuly 29–August 12th  \nThursday–Monday\, Noon to 6pm\, and by appointment  \n  \nPROGRAMMING  \n  \nPHASE I: SAMPLE \nExhibition Opening with Performance (I am a family. I am an economy.) \nHuman Resources: 410 Cottage Home St\, Los Angeles\, CA 90012  \nSaturday\, June 4\, 6-9 pm \nOpening event for LYLEX 1.0: skate and music performance with LYLEX biological samples and unreleased tracks from ROCO’s upcoming E.P. REV.  \n  \nPHASE II: DOSE \nNavel: 1611 S. Hope St.\, Los Angeles\, CA 90015 \nFriday\, June 24\, 8 pm – 2 am \nOpening party\, presented in partnership with Navel\, featuring DJ sets by St. Mozelle\, IdealBlackFemale\, with more to come\, and with strip performances by Jolene\, a trans-inclusive dance collective.  \n  \nPHASE III: MONITOR \nExhibition Opening \nFCCW: 1800 S. Brand Blvd. Suite 111\, Glendale\, CA 91204 \nFriday\, July 29\, 6-9 pm \nOpening event for LYLEX 1.0 at F.C.C.W.\, the final site of the LYLEX exhibition series.  \n  \nPHASE IV: REPORT \nReading  \nFCCW: 1800 S. Brand Blvd. Suite 111\, Glendale\, CA 91204 \nFriday\, August 5\, 8 pm \nReading of LOGS by LYLEX via Andra. A session for discussion and questions will follow after the reading.  \n  \nLYLEX 1.0 is supported in part by the Pasadena Arts Alliance among other funders and FCCW members. This project has been made possible with production support from consultant Joseph Stewart\, Amber Ibarreche\, and Tiny Splendor.   \n  \nTop image: Render image of blood withdrawal process for LYLEX product sculpture series. Image courtesy of the artist and Feminist Center for Creative Work \nBottom image: Blood-to-mushroom Infusion Kit prototype of LYEX:isDIY product sculpture. Image courtesy of the artist and Feminist Center for Creative Work \n \n 
URL:https://www.h-r.la/event/philth-haus-lylex-1-0/
CATEGORIES:exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220723
DTEND;VALUE=DATE:20220802
DTSTAMP:20260608T043210
CREATED:20220701T220843Z
LAST-MODIFIED:20220721T204203Z
UID:6873-1658556000-1659333599@www.h-r.la
SUMMARY:Fidelia Lam - New seed. XXXXXX. New seed. XXXXXX.
DESCRIPTION:Opening: Saturday July 23\, 2022\, 7-10pm\nOn view weds-sun 12-6pm\, July 23-31 and by appointment. \nNew seed. XXXXXX. New seed. XXXXXX.  grapples with the affective and aesthetic legacies of empire and colonialism as they continue to shape the racial architectures of Asian diasporic femme subjectivities. The exhibition features new multimedia works that speak to\, with\, and nearby speculative ancestral figures\, drawing on Anne Anlin Cheng’s theory of ornamentalism to create sites for grieving\, honoring\, and queering modes of synthetic personhood. Playing with recursive processes and speculative rituals\, the pieces arrive in formations of plastics\, light\, and digital technologies to meditate on the racializations of matter and inter-textual modes of being. \nDear Ghost in my Shell which points are we passing pass by reference only please Dear wiring and connections our encodings have too many channels and have started to fray Dear OS update to use new features we are made obsolete our ram is getting slower Dear Major you are enmeshed with the synthetic sentience of the Puppets teach me your navigational practices Dear Minor Dear Method Dear Margaret\, have you found your robot yet? Would you help me find mine? Look at my errors at my seams at my torn pixels they might point the way \nFidelia Lam is a Canadian multimedia artist and scholar whose work attends to the shared ground of Asian/American diaspora\, aesthetics\, technology\, and urban space through recursive assemblages of code\, animation\, projection\, sound\, bodies\, and critical inquiry. \n(image: Still from when stillness culminates (2022)\, interactive installation.)
URL:https://www.h-r.la/event/fidelia-lam-new-seed-xxxxxx-new-seed-xxxxxx/
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/2022/07/Lam-beholden-01.png
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220806
DTEND;VALUE=DATE:20220822
DTSTAMP:20260608T043210
CREATED:20220720T035418Z
LAST-MODIFIED:20220809T144626Z
UID:6887-1659765600-1661061599@www.h-r.la
SUMMARY:Casey Kauffmann & John de Leon Martin
DESCRIPTION:Human Resources LA presents a two person show of painting\, drawing\, video\, and sculpture by visual artists Casey Kauffmann and John de Leon Martin.  \nThe exhibition opens Saturday\, August 6th from 6-9pm  and will run until  Saturday\, August 20th. Gallery hours: Wed-Sun\, 12-6pm. \n  \nThis show was initiated by Jeann Bofwel\, who saw similarities in the maximalist fascination with pleasure and suffering in both Kauffmann and Martin’s work. Both Martin and Kauffmann take on the dual roles of critic and fan\, investigating media consumption as an interpersonal act. While Kauffmann’s digital video collages utilize images from reality television and other limitless online resources to examine culture’s relationship with the feminine\, Martin’s paintings and drawings\, largely inspired by his love of Dungeons and Dragons\, employ fantasy tropes to create sites of queer possibility and pain. The landscapes of California\, both emotional and actual\, also loom subtextually in both artist’s work- They appear in the faces of Kauffman’s Hollywood stars and the Redwood Dryad that centers Martin’s oil painting If You Were a Tree\, What Kind of Tree Would You Be? \n  \nPerhaps the greatest commonality between Martin and Kauffmann is that they are both collagists\, constantly mining from the media and experiences they love. In 19th and early 20th century Europe\, in works like the Cottingley Fairy photographs or the collages of Lady Filmer\, collage was a format utilized by mostly female artists to evoke the otherworldly and call into question the treachery of images. It was considered a hobbyist craft not to be taken too seriously by the artistic elite. But why? Perhaps because a recurring mode of western art has been to present art works as the product of a singular artist who in solitude plumbs each creative idea from the depths of their genius.  Collage\, with its direct acknowledgement that not everything in an artwork is created by the artist\, instead points to the interrelated nature of life.  Perhaps in some ways this threatens that aforementioned premise of artistic solitude? It is Kauffmann and Martin’s hope that you will feel threatened by this show in similar ways.  \n  \nCasey Kauffmann is an interdisciplinary artist working in drawing\, installation\, video\, and a variety of digital mediums. She is a lecturer at the University of California San Diego. Kauffmann was born in the San Fernando Valley in Los Angeles\, California in 1989. She lives and works in Oceanside\, California and received her MFA from The University of Southern California in 2020 and her Bachelor of Arts from The Evergreen State College in Olympia\, Washington. Her work has been featured in publications such as Artnet\, Artillery\, LAWeekly\, The New Yorker\, I-D Vice\, and Hyperallergic. She has exhibited her work nationally and internationally in galleries such as Transfer Gallery\, Centro de Cultura Digital\, the Brand Library in Glendale\, Lyles and King\, Coaxial\, Arebyte\, Cirrus\, and more. Kauffmann’s collage Instagram project @uncannysfvalley\, which she started in 2014\, features digital collage works and GIFs created using only her iPhone. The pieces Kauffmann posts to this account are an ever-accumulating collection of material from all corners of the internet\, sourced from Tumblr\, Instagram\, and Google. This Instagram account and body of work has been exhibited in many galleries\, written about in several esteemed publications\, and led to her admission to the MFA program at the University of Southern California. Kauffmann’s drawing practice functions as an inquiry into the representation of femme emotion and hysteria in both art history and popular culture.  \n  \nJohn “Johnnie JungleGuts” de Leon Martin is an interdisciplinary artist working in drawing\, installation\, painting\, and performance. Martin was born in Riverton\, New Jersey in 1987. He lives and works in Highland Park\, Los Angeles and received his Bachelor of Arts from California Institute of the Arts in Valencia\, California. Martin’s primary goal as an artist is to express enthusiasm and hope\, although he has also started to allow feelings of anxiety and fear to be present in his visual art. As a result\, Martin’s work often straddles the line between artist and fan. He curated a cosplay fashion show and a panel discussion on Pokemon as part of Kchung Radio’s Hammer Museum Residency and Made In LA exhibition. Martin is also a fan of animals- he has volunteered hands on with a variety of primates\, canids\, turtles\, and cats both big and small. In 2011 Martin was awarded the Michelle Lund artist’s residency at Earthfire Institute Wildlife Sanctuary in Idaho. His work has been displayed at MOCA Geffen\, Night Gallery\, Machine Project\, and on an episode of A&E’s Storage Wars where he appraised a collection of My Little Ponies. His work has been featured in publications such as Artforum\, The New York Times\, and Art in America. He has been a frequent guest lecturer at Calarts and was a guest lecturer at Cornell University in 2021. In his work for this show Martin utilizes fairies\, preternatural beings which are a part of nature but mysterious to society at large\, as a metonym for being gay.  \n 
URL:https://www.h-r.la/event/casey-kauffmann-john-de-leon-martin/
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220826
DTEND;VALUE=DATE:20220906
DTSTAMP:20260608T043210
CREATED:20220725T222919Z
LAST-MODIFIED:20221214T201142Z
UID:6892-1661493600-1662357599@www.h-r.la
SUMMARY:Very Be Careful -- Silver Anniversary
DESCRIPTION:  \nVery Be Careful — 25th Anniversary Celebration & Photo Exhibition\nAugust 26 – September 4 \nVery Be Careful\, the Vanguards of Vallenato for Los Angeles\, celebrate their 25th year together with a photo exhibition and celebration at Human Resources LA in Chinatown. VBC friend and official photographer\, Keith Sirchio\, has been shooting the VBC scene since 1999 from Coast to Coast and across the Seas. Sirchio’s photography traces the band’s earliest moments living in New York\, touring Japan\, and up to the present at their home in Los Angeles. \n  \nGallery Hours: Tuesday-Sunday\, 1pm-6pm \nOpening reception Friday August 26th\, 2022\n7pm-12am\nFull Bar \nMusical Performances by:\nVery Be Careful\nEl Haru Kuroi \nand Featuring:\nLas Sucias Social Club\nMarionettes – La Smiley & El Triste\nDJs – Linda Nuves & Cisco\nReception tickets $25 available  \n \nAdventure has never been a task for VBC.  A Caribbean soul and a California heart have sustained two decades of ceaseless romp-downs and raucous times for L.A.’s vallenato veteranos\, inciting 10s of 1000s of men\, women\, children\, and even some wild animals\, to boogie to the Colombian coastal beat. From the debaucherous streets of: Austin’s SXSW\, Germany’s WorldCupTour ’06\, L.A.’s Sunset Junction Street Fair; to the cultural pinnacles of: Chicago’s Summer Dance Series\, New York’s Central Park Summer stage\, L.A.s’ Grand Performances & Levitt Pavilion\, London’s Hammersmith Apollo; colossal concerts: L.A. Sports Arena Cumbia Fest\, Glastonbury Music Festival & Bestival UK\, Fuji Rock Festival & Asagiri Jam Japan; clubs and hubs: N.Y.’s SOBs\, L.A.’s HOBs\, backyard BBQs\, Very Be Careful has tamed the beasts within or unleashed the ones without\, helping to popularize the beauty of the 1950s-1970s sound of Colombian vallenato and cumbia. \nBootlegged across the Americas\, pumped in the clubs\, and ripped in cyberspace and the airwaves around the world\, VeryBeCareful forges ahead globetrotting alongside legends and antiheros: Joe Strummer\, Alfredo Gutierrez\, Antibalas\, Carlos Vives\, Grupo Niche\, Kronos Quartet\, Gogol Bordello\, Buena Vista Social Club\, Jack White\, Celso Piña\, Vampire Weekend\, Fruko Y Sus Tesos. Their infamous fifteen year traditions hosting old school “dances” for Valentine’sDay\, NewYear’s Eve\, 20 de Julio\, Halloween\, and the legendary July Fourth Brooklyn “Cumbia Under The Sparks” rooftop affair\, has brought together people from around the globe itchin’ for those early roots sounds that prove a stripped down parranda is the fiercest and funnest way to party. \n  \nKeith Sirchio moved to New York in 1992 to study cinematography at the School of Visual Arts. He began working as a camera operator on independent films and music videos from the likes of Elliott Smith to Wu-tang Clan\, but soon found himself more intrigued taking stills of what was happening behind the scenes; between the takes. Since then\, Keith was chosen for a residency program at the Camera Club of New York\, interned at the prestigious Magnum Photos Agency and has photographed album covers for music labels such as Universal Decca\, Epitaph and Fat Beats. His work has been featured in Hamburger Eyes and Upper Playground’s “Backyard Shakedown” along with dozens of other publications. His most recent solo exhibition\, “Soft Tissue\, Hard Bones” at Lorimoto Gallery in NYC documented Muay Thai fighters from 2015-2017 in Chiang Mai\, Thailand. Keith met Very Be Careful by chance at a Brooklyn loft party they crashed over 20 years ago\, just a few months after they migrated from the West. His lens has been capturing their Cumbia capers ever since. \n \nAll images by Keith Sirchio
URL:https://www.h-r.la/event/very-be-careful-silver-anniversary/
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221018
DTEND;VALUE=DATE:20221022
DTSTAMP:20260608T043210
CREATED:20221012T143906Z
LAST-MODIFIED:20221017T215213Z
UID:6970-1666072800-1666331999@www.h-r.la
SUMMARY:Geneva Skeen - Channels (#1 Pittsburgh / Los Angeles)
DESCRIPTION:open gallery hours: tuesday-thursday noon-7pm \nChannels (#1 Pittsburgh/Los Angeles) is a technical cover-song to artist and composer Maryanne Amacher‘s City Links series\, adapted for a high-speed interconnected world of streaming\, liveness\, and hybridity. This project\, similar to Amacher’s original\, brings together live hi-fidelity audio from multiple sites into a new situation. Here\, the sites happen to be multiple water channels amidst constructed industrial infrastructure—the Los Angeles\, Monongahela\, Allegheny\, and Ohio Rivers. \nThe sounds from remote spots along these bodies of water coalesce at the separate\, third site of Human Resources. Using two portable A/V stations consisting of high-speed mobile wifi hotspots\, solar paneled power–banks\, condenser mics linked to mobile camera phones\, and audio software\, the resonant concrete architecture at HR becomes a hub and amplifier for ongoing signal receipt—a live mix for place\, perception\, and waters to recombine in presence and present-time. \nArtists and musicians from each location have been invited to “join” the audio stream throughout the installation as follows: \nOctober 18: Patrick Shiroishi (LA)\nOctober 19: Machine Listener (Pittsburgh) \nGeneva Skeen is an artist and composer. Influenced by écriture féminine\, alchemical metaphors\, and a range of musical traditions ranging from holy mysticism to industrial\, Skeen works with sound\, voice\, architecture\, video\, sculpture\, and software. Her recordings\, performances\, publications\, and installations focus on site-specific landscape studies as a means to highlight complex interdependencies between perception\, attention\, and trauma. Through linkages made between our finite physical landscapes and their infinitely permutable digital representations\, these works explore qualities of embodiment amidst climate catastrophe and late capitalism. Skeen has released musical works on Room40\, LINE Imprint\, Touch\, Dragon’s Eye Recordings\, and Crystalline Morphologies\, which have been reviewed in The Wire Magazine\, Pitchfork\, Bandcamp\, Foxy Digitalis\, and others. She has presented work at LAXART\, the Broad Museum\, Open Space SFMOMA\, LAND AND SEA\, Los Angeles Contemporary Exhibitions\, the Center for New Music San Francisco\, REDCAT\, and LACMA. She was the founding curator of Sequencing\, an online transmedia publication series for Fulcrum Arts which explores the intersection of art\, science\, and social change\, and is a member of VOLUME—a curatorial collective focused on sound and time-based practices. She is currently an Adjunct Professor of Art at Carnegie Mellon University. \nwww.genevaskeen.com \n\n \nChannels (#1 Pittsburgh/Los Angeles) is presented at Human Resources as part of Everything in Air\, a series of public programs over the course of a year—new commissions\, exhibitions\, performances\, and forums\, often in hybrid combinations—using key concepts within artist and composer Maryanne Amacher’s work as points of departure. \n\nThis project was supported in part by a Foundation for Contemporary Arts Emergency Grant\, the Carnegie Mellon University Frank-Ratchye Further Fund\, and a Mike Kelley Foundation for the Arts Artist Project Grant. \n 
URL:https://www.h-r.la/event/geneva-skeen-channels-1-pittsburgh-los-angeles/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20221104T000000
DTEND;TZID=America/Los_Angeles:20221120T235959
DTSTAMP:20260608T043210
CREATED:20221027T183546Z
LAST-MODIFIED:20221214T184634Z
UID:6979-1667520000-1668988799@www.h-r.la
SUMMARY:Jimena Sarno: aeolian
DESCRIPTION:Opening Reception: \n\n\n\nFriday\, November 4*\, 6PM – 9PM\n\n\n\nGallery Hours: Wed – Sun noon-6PM\,\n\n\n\nMon – Tues by appointment\n\n\n\n\n\n\n\n“I can make wind\,” Gluskabe admitted shamefacedly\, “but I can’t make it stay.” \n\n\n\nThen God blew\, so powerfully that Gluskabe fell down and lost all his hair. \n\n\n\n–Genesis Volume 1 (Memoria del Fuego) Eduardo Galeano  \n\n\n\nConsidering how sound travels\, aeolian thinks through wind and breathing as manifestations of air as sound. The installation takes inspiration from the significance of wind in mythology. Taking its title from Aeolus – the keeper of the wind in Greek mythology and his gift of a calm wind as a ‘safe return home\,’ – it reflects on power distribution\, breath as lifeforce\, and sovereignty. The installation brings together four hand-felted horn speakers pointing at the four directions. The four speakers play a composition with songs performed by vocal artists\, from which only the breathing sounds of inspiration have been isolated. While the inspiring sounds appear to be pulling the air out of the space\, the felted speakers absorb some of the sound vibrations\, accentuating the senses both through the tactile process of making the work and its experience with the viewer’s breathing in the space. \n\n\n\nVocal artists:\n\n\n\nGemma Castro \n\n\n\nRosa Evangelina Beltrán \n\n\n\nMaya Paredes \n\n\n\nMolly Pease \n\n\n\nJimena Sarno is an interdisciplinary artist and educator from Buenos Aires\, Argentina. With a focus on spatial and sonic experience she works across a range of media including installation\, sound\, video\, text and sculpture. Her work has been exhibited in solo and group exhibitions at MASS MoCA\, 18th Street Arts Center\, LACE\, Vincent Price Art Museum\, Visitor Welcome Center\, The Museum of Latin American Art\, The Mistake Room\, Human Resources and San Diego Art Institute\, among others. A recipient of the 2021 California Arts Council Individual Fellowship\, she is a 2019-2023 Lucas Artist Fellow in Visual Arts at Montalvo Art Center. She is Assistant Professor of Art at California State University Dominguez Hills. \n\n\n\n\n\n\n\n\n\n\n\nEverything in Air\n\n\n\nHuman Resources LA presents Everything in Air\, a series of public programs over the course of a year—new commissions\, exhibitions\, performances\, and forums\, often in hybrid combinations—using key concepts within artist and composer Maryanne Amacher’s work as points of departure. The series was supported by a Mike Kelley Foundation Grant. \n\n\n\nFeatured photo by Christopher Wormald
URL:https://www.h-r.la/event/aeolian/
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20230121T190000
DTEND;TZID=America/Los_Angeles:20230131T180000
DTSTAMP:20260608T043210
CREATED:20230122T030000Z
LAST-MODIFIED:20230129T063239Z
UID:7206-1674327600-1675188000@www.h-r.la
SUMMARY:Gemma Castro: Monuments
DESCRIPTION:Opening Saturday\, 21st 7-10pm \n\n\n\nExhibition is open Friday-Sunday\, January 21-31st\, 12-5pm \n\n\n\nClosing Performance: Gemma Castro + Olivia HP: Sunday January 29\, 6PM \n\n\n\n\n\n\n\n\n\nGemma Castro: Monuments\n\n\n\n \n\n\n\nMonuments is a video installation exploring the process of rebuilding and restoration following heartbreak and loss. It reflects on how building physical and mental strength is a process of repetition with variation. A porous structure made from cinder blocks frames the video composed of everyday moments of work and rest. The music composed by the artist is stripped of any voices\, instead\, revealing the instrumental harmony and the friction of the different sounds. \n\n\n\n \n\n\n\nGemma Castro\, b. 1996 is a composer\, audio engineer\, and artist creating at the intersection of sound and architecture. Gemma has self released albums\, composed for public television\, and is an engineer at Stones Throw Records.  \n\n\n\nEverything in Air is a series of public programs over the course of a year—new commissions\, exhibitions\, performances\, and forums\, often in hybrid combinations—using key concepts within artist and composer Maryanne Amacher’s work as points of departure. The series was supported by a Mike Kelley Foundation Grant.
URL:https://www.h-r.la/event/gemma-castro-monuments/
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20230203T000000
DTEND;TZID=America/Los_Angeles:20230205T235959
DTSTAMP:20260608T043210
CREATED:20230119T203529Z
LAST-MODIFIED:20230212T194504Z
UID:7217-1675382400-1675641599@www.h-r.la
SUMMARY:Miles Peyton: Obaa
DESCRIPTION:Miles PeytonObaaHuman Resources\, LA \n\n\n\nFebruary 3-5\, 2023Opening Friday\, February 3rd\, 6-8pm \n\n\n\n \n\n\n\nI move with a team of selvesI observe and learn from each oneSometimes we find something to eat and feel happyI often eat plastic beadsWhen we merge\, our attention harmonizes into a sharp bright pointWe congeal into a centralized organizationIt feels good \n\n\n\n \n\n\n\nMiles Peyton is an artist based in Los Angeles. He works with a variety of materials and systems to animate lifelike nonlife. He received an MFA from University of California\, Los Angeles in 2020.
URL:https://www.h-r.la/event/miles-peyton-obaa/
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20230407T120000
DTEND;TZID=America/Los_Angeles:20230423T180000
DTSTAMP:20260608T043210
CREATED:20230222T010416Z
LAST-MODIFIED:20230407T173825Z
UID:7338-1680868800-1682272800@www.h-r.la
SUMMARY:Fuerza del desierto. The Sierra Hermosa Community Museum and Reading Club
DESCRIPTION:Gallery Hours: Thursday-Sunday\, 12:00-6pm \n\n\n\n \n\n\n\nAn exhibition focusing on the The Sierra Hermosa Community Museum and Reading Club curated by Natalia de la Rosa. \n\n\n\n \n\n\n\nThe Sierra Hermosa Community Museum and Reading Club (Zacatecas\, Mexico) was founded in 2000 by Juan Manuel de la Rosa in his hometown. Initiated as a small library\, this project quickly grew to feature textile workshops and a growing collection of artworks. Its collection is shared through a unique system: artworks are not warehoused but are exhibited in rotation within Sierra Hermosa (in a school library\, shops\, and in people’s homes). \n\n\n\nNatalia de la Rosa’s exhibition introduces the concept and the practice of this expanded museum and places it in the context of the extreme violence\, extractive politics\, and migratory crises which shape life in Zacatecas\, situated in the Tropic of Cancer in the North of Mexico. \n\n\n\nThis exhibition features work by the museum’s artist founder\, local painters Luis Lara and Francisco Lara\, textile artists Yuri Ríos and Gabriela Gamez\, and artists who participated in a residency within this experimental and rural museum (2017-2020). The latter artists include Wendy Cabrera Rubio\, John Birtle\, Cristóbal Gracia\, Josué Mejía\, Irak Morales\, and Israel Urmeer. This exhibition redefines concepts such as the border\, mobility\, and cultural contact as we encounter them within artistic\, museological\, and pedagogical contexts. The result is a reflection on Sierra Hermosa’s landscape\, its history and its own memory practices. 
URL:https://www.h-r.la/event/fuerza-del-desierto-the-sierra-hermosa-community-museum-and-reading-club/
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20230512T000000
DTEND;TZID=America/Los_Angeles:20230604T235959
DTSTAMP:20260608T043210
CREATED:20230227T202519Z
LAST-MODIFIED:20240818T010320Z
UID:7349-1683849600-1685923199@www.h-r.la
SUMMARY:Antoni Hervás - the awakening
DESCRIPTION:May 12 – June 4\, 2023 –– Wednesday through Sunday\, 12 – 6pm \n\n\n\nOpening: May 12\, 6 – 10pm \n\n\n\nCuero Amanecer: a celebration of queer clubs\, sexy dancing\, leather and fun! \n\n\n\nMay 18\, 9pm till L8 \n\n\n\n \n\n\n\nthe awakening is a project by Barcelona-based artist Antoni Hervás\, curated by Clara López Menéndez. The exhibition will be accompanied by a 3 month long residency at the Tom of Finland Foundation (April-June). The show has been realized with the inestimable help and advice of Valeria Tizol Vivas. \n\n\n\nthe awakening departs from Hervás’ initiative to come to Los Angeles in Spring 2022 to research the beginnings of what is called “leather culture.” Interested in the murky origins of these aesthetics and performative codes of queer/gay life\, Hervás wanted to look into the origins of this community in Southern California. Especially how the drawings and life of Tom of Finland intersected in the dissemination of this aesthetic worldwide. Hervás looked into the places where Finland found his earliest inspiration and how\, through Finland’s fantasy\, this nowadays widely expanded gender identity and set of practices came to be. Hervás is particularly curious about how the specific forms of this subculture emerged\, becoming recognizable codes for those who knew how to see them\, while hiding in plain sight by taking from widely spread popular culture tropes––the cowboy\, the motorcycle gang\, the various men in uniform––and utilizing an exalted form of high masculinity as drag and cover. \n\n\n\nIn addition Hervás also dove into Los Angeles’s contemporary underground queer culture\, interested in putting together the less recorded inspirational wells of this history: the laidback working class clandestine gay clubs were men of all social and racialized backgrounds meet to find each other on the dancefloor and forget the rigid social strictures that demand heteronormative performances of them––at their jobs\, in the street\, with their families. These spaces represent for Hervás the heterogenous fertile grounds that inspired artists like Tom of Finland\, who then crystalized in their drawings a more whitewashed vision of these opaque origins. For Hervás\, this whitewashing obscures how in the club lines get blurred and difference dances in joy instead of splitting apart.  \n\n\n\nThe club is a fundamental space for gay life and culture\, one that is currently endangered by real estate speculation and the changes in habits catalyzed by the use of cruising apps. The show’s work is therefore partially a celebration of gay clubs and bars as a needed refuge and crucial space for queer becomings.   \n\n\n\nIn conjunction with the exhibition at HRLA\, an installation of drawings and materials from the Tom of Finland Archive will take place offsite at the Tom of Finland Foundation. These pieces have been selected by Hervás for being inspirational sources and key findings during his archival research for the project in 2022. This installation will run until the end of June (exact date TBD). \n\n\n\nWith the support of the PICE AC/E Mobility Grants and the California Institute of the Arts.  \n\n\n\nThank you Adam Otto Lutz\, Amy Chao\, Christine Yerie Lee\, Wes Larios for their help in making this fantasy happen!
URL:https://www.h-r.la/event/antoni-hervas-the-awakening/
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20230701T120000
DTEND;TZID=America/Los_Angeles:20230706T180000
DTSTAMP:20260608T043210
CREATED:20230615T172735Z
LAST-MODIFIED:20240826T163356Z
UID:7537-1688212800-1688666400@www.h-r.la
SUMMARY:Adrian Culverson: Smorgasbord
DESCRIPTION:Gallery hours: Noon-6:00pm \n\n\n\nSmorgasbord is a collection of paintings and sculptures that revolve around abstracted formal investigations of colour\, shape\, and play. Hand-sewn fabric compactions augmented and calcified with heavily applied color. Bizarrely deformed three-dimensional structures with rough and sandy honeycombed surfaces resembling computer generated imagery\, a motion graphic still-life. Large swaths of smooth colorful frostings\, seemingly dipped like hardened candy shell\, an assortment of stuffed shapes cascade and pose as evolved protuberance. A short explosive burst with unknown musculature\, like a cartoon super highway or beautiful puff-cloud. – Aimee Gougen \n\n\n\nAdrian Culverson grew up in Claremont\, a suburb of Los Angeles\, California. Culverson graduated with Honors from Art Center College of Design with a BFA in Fine Art and a Minor in Multimedia\, and she graduated from Claremont Graduate University with an MFA. Culverson has been published in several Art journals including Scribendi and Venice Beach and has shown her work in many group shows. Major influences to Culverson’s work include reading\, travel and most importantly the art of staying still and watching people and life unfold. Currently\, Culverson teaches beginning drawing at a local community college and works as an artist’s assistant. Culverson’s pieces involve many mediums from sewn structures to painting to photography. Culverson is based in Los Angeles. (Instagram: @aculverson)
URL:https://www.h-r.la/event/adrian-culverson-smorgasbord/
CATEGORIES:exhibition
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END:VEVENT
END:VCALENDAR