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DTSTART;TZID=America/Los_Angeles:20210910T080000
DTEND;TZID=America/Los_Angeles:20210912T170000
DTSTAMP:20210909T052621Z
CREATED:20210909T052621Z
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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:20211102T014827Z
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220120
DTEND;VALUE=DATE:20220201
DTSTAMP:20220118T213144Z
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
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220212T200000
DTEND;TZID=America/Los_Angeles:20220212T220000
DTSTAMP:20220203T223949Z
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
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220503
DTEND;VALUE=DATE:20220506
DTSTAMP:20221012T144514Z
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
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2022/04/EIA_GorkSonami_Square.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220507T180000
DTEND;TZID=America/Los_Angeles:20220527T210000
DTSTAMP:20230221T014417Z
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:20220618T022615Z
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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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220723
DTEND;VALUE=DATE:20220802
DTSTAMP:20220721T204203Z
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
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220806
DTEND;VALUE=DATE:20220822
DTSTAMP:20220809T144626Z
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:20221214T201142Z
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
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2022/07/0660_06a_VBC_HalloweenMJHigginsGallery_LA-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221018
DTEND;VALUE=DATE:20221022
DTSTAMP:20221017T215213Z
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
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2022/10/EIA_GenevaSkeen_Square_22.10.12.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20221104T000000
DTEND;TZID=America/Los_Angeles:20221120T235959
DTSTAMP:20221214T184634Z
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
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2022/10/Jimena-Sarno-aeolian-small_72-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20230121T190000
DTEND;TZID=America/Los_Angeles:20230131T180000
DTSTAMP:20230129T063239Z
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
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/01/IMG_5924-scaled.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20230203T000000
DTEND;TZID=America/Los_Angeles:20230205T235959
DTSTAMP:20230212T194504Z
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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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20230407T120000
DTEND;TZID=America/Los_Angeles:20230423T180000
DTSTAMP:20230407T173825Z
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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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20230512T000000
DTEND;TZID=America/Los_Angeles:20230604T235959
DTSTAMP:20240818T010320Z
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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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20230701T120000
DTEND;TZID=America/Los_Angeles:20230706T180000
DTSTAMP:20240826T163356Z
CREATED:20230615T172735Z
LAST-MODIFIED:20240826T163356Z
UID:7537-1688212800-1688666400@www.h-r.la
SUMMARY:Adrian Culverson: Smorgasbord
DESCRIPTION:Gallery hours: Noon-6:00pm \n\n\n\nSmorgasbord is a collection of paintings and sculptures that revolve around abstracted formal investigations of colour\, shape\, and play. Hand-sewn fabric compactions augmented and calcified with heavily applied color. Bizarrely deformed three-dimensional structures with rough and sandy honeycombed surfaces resembling computer generated imagery\, a motion graphic still-life. Large swaths of smooth colorful frostings\, seemingly dipped like hardened candy shell\, an assortment of stuffed shapes cascade and pose as evolved protuberance. A short explosive burst with unknown musculature\, like a cartoon super highway or beautiful puff-cloud. – Aimee Gougen \n\n\n\nAdrian Culverson grew up in Claremont\, a suburb of Los Angeles\, California. Culverson graduated with Honors from Art Center College of Design with a BFA in Fine Art and a Minor in Multimedia\, and she graduated from Claremont Graduate University with an MFA. Culverson has been published in several Art journals including Scribendi and Venice Beach and has shown her work in many group shows. Major influences to Culverson’s work include reading\, travel and most importantly the art of staying still and watching people and life unfold. Currently\, Culverson teaches beginning drawing at a local community college and works as an artist’s assistant. Culverson’s pieces involve many mediums from sewn structures to painting to photography. Culverson is based in Los Angeles. (Instagram: @aculverson)
URL:https://www.h-r.la/event/adrian-culverson-smorgasbord/
CATEGORIES:exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20230713T000000
DTEND;TZID=America/Los_Angeles:20230719T235959
DTSTAMP:20240818T010151Z
CREATED:20230706T054041Z
LAST-MODIFIED:20240818T010151Z
UID:7572-1689206400-1689811199@www.h-r.la
SUMMARY:ANEMOIA
DESCRIPTION:Gallery hours: 12 – 6pm \n\n\n\n“Our culture is defective. Perhaps you mean that we ought to study the problem and look for a solution. Perhaps we could\, if it wasn’t so late. Altogether too late.” [The Sacrifice – Andre Tarkovsky]  \n\n\n\nAnemoia is a group exhibition that addresses the climate crisis through the concept of nostalgia as a future oriented emotional experience. This exhibition brings together the diverse practices of five artists: Andrea Nhuch\, David Daigle\, Sahar M. Abadi\, Niusha Barahimi and Taylor Griffith. Makeshift hybrid plants resembling a post-human garden\, video projections\, photographs and assemblage propose a dystopian future landscape. The dialog between the works invites reflection on the complex interplay between humanity\, nature\, and the climate crisis. \n\n\n\nAnemoia\, a term denoting nostalgic feelings for a time or place one has never experienced\, finds new meaning within the context of this exhibition. It serves as a reflection on our regretful detachment from nature\, symbolizing the growing divide between human and nature. Ultimately\, Anemoia stands as an elegy for a lost\, decaying future\, capturing the anxiety of living amidst technologically advanced ruins of our dreams. \n\n\n\nAbadi’s multi-channel video\, Where we were\, suspends the viewer in a loop. The video uses aerial perspective to hover upon ancient ruins\, a smooth pattern of decay and dissolve. The choreography of space\, objects and ideas poetically addresses themes of time\, as history and duration\, and the visual and spatial codes of a civilization. One channel of the video mines the visual language of numbers\, simultaneously reminding that history repeats itself\, that this is a pattern that repeats itself throughout history. The sound element of the video adds a thematic complexity through describing the cycle of life and death as well as humanity’s tendency for war and destruction.Nhuch’s installation\, Speculative Now is a series of sculptures centered around the strict use of materials to question the relationship between the natural and artificial. The collection of works are presented as a hybrid conceptual forest that has mutated and is resilient to human intervention. Man-made materials\, such as sheet metal\, plastic\, glass\, and rubber latex\, act as both contaminants and prosthetics for found wood\, tree trunks and twigs. Nature and culture are entangled in a material symbiosis in an attempt to speculate about post-human landscape aesthetics.Daigle’s piece titled Petrol is an inflatable nightmare of a melted gasoline pump. In a world where we prioritize our dependency on fossil fuels\, we risk the damage of these fuels permanently altering our own bodies. The unexpected growth of hair\, teeth and even eyeballs from the work refer to genetic mutations caused by chemical leakage\, explosion and pollution. \n\n\n\nGriffith’s video\, Staring Into The Abyss of an Archipelago\, offers a captivating juxtaposition between the deep ocean and outer space\, using two distinct perspectives. It was filmed both in the waters off the Galapagos Islands and on the Channel Islands\, creating a space for contemplation of the non-human world\, often regarded as the last frontiers of exploration. The footage was captured using a low-light camera\, surpassing the sensitivity of the human eye with an impressive 4 million ISO capability. In this way\, the work invites viewers to reflect on the depths of the ocean and the vastness of space\, reminding us of the unexplored abysses that lie beyond our current understanding and perceptions of reality. \n\n\n\nBarahimi’s series titled\, Photosynthesis\, are large format analog photographs which deal with the concept of waiting and change. The works presented in this exhibition draw on the political economy of waiting\, utilized by control mechanisms to direct people’s movement\, their desire and hope. Photosynthesis is a biological process that converts light energy into chemical energy\, the same way in the film photography light falls into the silver halides to produce an image: Waiting for the imperceptible changes to make a difference. \n\n\n\nIG: @thenhuch\, @daviddaigle_studio\, @sahar.m.abadi\, @niusha.barahimi\, @510tay \n\n\n\nFor media inquiries\, interviews\, or further information\, please contact:Shiva Abadishiva.maba@gmail.com(213) 819-2669
URL:https://www.h-r.la/event/anemoia/
CATEGORIES:exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20230721T000000
DTEND;TZID=America/Los_Angeles:20230730T235959
DTSTAMP:20240826T163306Z
CREATED:20230711T165704Z
LAST-MODIFIED:20240826T163306Z
UID:7584-1689897600-1690761599@www.h-r.la
SUMMARY:We came to help you carry the sun
DESCRIPTION:(Image: Sydney Acosta\, Diseased\, Do Not Disturb\, Unsettling Feeling\, Rising Level\, 2022. Charcoal and pastel on paper\, 18 x 24 inches. Audio: Cherisse Gray\, “Waxing & Waning\,” 2023.)\n\n\n\nGallery hours: 12 – 6pmOpening: Friday\, July 21\, 7 – 9pmPoetry reading by Jennifer Tseng and performance by Christos Tejada at 8pm \n\n\n\nWaxing & Waning \n\n\n\nenveloped letterlost in transitcall her “Death”\,a return to pure surface \n\n\n\nbefore\, she was a messagecoded & overgrownbut today\, she’s envelopefour white corners\, paperthin like church wafers which pass from hand to hand to hand \n\n\n\ndrunk in circulationgraze at the body of Christchew on the symbol\, this letterso plum\, illegible and veiled \n\n\n\nHer passage transforms all shadows\,but we came to help you carry the sun \n\n\n\nOur degradation as mediation—and Legacy is a disease. \n\n\n\n–Cherisse Gray 2023 \n\n\n\n \n\n\n\nSydney Acosta (b. 1987\, Yanaguana aka San Antonio\, TX) lives and works in Los Angeles. She received her MFA from UCLA in 2021. Recent exhibitions include Groundwork\, Dreamsong\, Minneapolis\, MN; When The Stones Clash\, Michael Benevento\, Los Angeles\, CA; The Death of Beauty\, Sargent’s Daughters\, Los Angeles\, CA; of the world (with Luz Carabaño)\, Castle\, Los Angeles\, CA. She has been supported by the MacDowell Fellowship\, the Helen Frankenthaler Foundation\, the LA Lakers emerging artist grant and the American Austrian Foundation. Her current exhibition at Kristina Kite Gallery Filled With Song explores questions around mixed subjectivities\, vanitas\, the miraculous and death– recurrent obsessions that also fill the collaboration with Jennifer Tseng for HRLA.  \n\n\n\nChristopher Baliwas’ central practice of photography is often taken over by other mediums such as sound\, and sculpture. He is concerned with legacy\, rudimentary processes/practice\, and structural rigidity and produces work that engages with these themes as an attempt to inspire alternative senses of the world. Under the alias\, reallynathan\, Baliwas independently released the album “O” in 2020\, and co-produced the mix series “Raise the Flag:” on NTS Radio. He lives in Los Angeles with his partner\, Andrea Sipin\, their first born\, Naima\, and their second child who is on the way. \n\n\n\nCherisse Gray (b.1990\, Manila\, Philippines) is an interdisciplinary artist living and working in New York City. She received her MFA in Sculpture at UCLA and her BFA in Sculpture & Linguistics from Virginia Commonwealth University. Gray works across mediums through installation\, performance\, sculpture\, and painting. She liberally utilizes the syntax of contemporary visual culture through the playful adaptation of found objects\, reappropriated images\, hired actors\, and the performance of classical archetypes. At this current juncture in time– her work investigates questions of otherness\, porosity\, boundaries vs. barriers\, and the phenomenology of beauty by way of architecture\, design\, and assemblage. \n\n\n\nChristos Tejada (b. 1989\, Los Angeles\, CA) multimedia artist & tattooist combines ritual and performance to explore thresholds of the visible and invisible expressed through the body. Performing since 2015 through their audio-visual work\, Tejada’s practice creates sensory experiences of identity symbolism with a focus on integrating the spiritual with the physical. Recent commissioned performances: Our Lady of Sorrows curated by Ron Athey in 2022 at Coaxial Gallery and Neptune’s Closet curated by Jamie Ross in 2023 at William Andrews Clark Memorial Library. Most recently\, in Athens\, Greece\, April 2023 under the guidance of Ron Athey\, Frederica Dauri\, Michele Occelli\, and Diana Pornoterrista\, Darkness Visible produced & curated by Hermes Pittakos\, the artist participated in a nine-day immersive with a focus on esoterica\, hypnosis\, automation\, somatic work\, ritual\, post-porn\, flesh-modifying techniques\, and unadulterated bliss. Tejada\, with the intention of diving deeper\, explores the bridge between generations/destructions and the erotic dimension of communal experiences. \n\n\n\nJennifer Tseng writes & teaches across genres. She is interested in collaborating with existing texts & with makers in other disciplines. Her work with Sydney began at MacDowell & raises ongoing questions about the tension between the need to tell the truth & the right to opacity; lyric & narrative powers of text & image—alone & together; & the sociality of thinking & art making. Such questions intersect with & complicate questions of multiplicity\, hybridity\, points of view & the ways in which time\, death & culture impact our lived experiences. Tseng’s most recent book\, Not so dear Jenny\, poems made with her late father’s English letters\, won the Juniper Prize for Poetry & will be published by University of Massachusetts Press in spring 2024. Her work has been translated into Chinese\, Danish & Italian. She is a professor of literature & creative writing at University of California\, Santa Cruz.
URL:https://www.h-r.la/event/we-came-to-help-you-carry-the-sun/
CATEGORIES:exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20230922T000000
DTEND;TZID=America/Los_Angeles:20230929T235959
DTSTAMP:20240826T163115Z
CREATED:20230906T195842Z
LAST-MODIFIED:20240826T163115Z
UID:7665-1695340800-1696031999@www.h-r.la
SUMMARY:Michael Kennedy Costa: Mirror Area
DESCRIPTION:Gallery hours: 12 – 6pmOpening: Friday\, September 22\, 6 – 8pm \n\n\n\nA selection from an ongoing series of line drawings. This exhibition includes two events: a concert with Los Angeles Wood Wind Skill Share & Wells Leng on Wednesday\, September 27 at 8pm; and a closing launch/reading for Kennedy Costa’s book Mirror Area (published by Holoholo Books) on Friday\, September 29 from 6 to 8pm. Kennedy Costa will be joined by artists Alexandra Noel\, Naoki Sutter-Shudo\, Aimee Goguen\, Dakota Higgins\, Keith J. Varadi\, and Merideth Hillbrand\, each reading a selection of their own work. \n\n\n\nClick here to read a brief writing on Mirror Area by artist Sydney Acosta. \n\n\n\nMichael Kennedy Costa (b. 1982\, Northampton\, MA) is an artist and poet who lives and works in Los Angeles. His work is primarily rooted in drawing. Kennedy Costa received an MFA from Virginia Commonwealth University in 2011. His work has been exhibited at Hunter Shaw Fine Art\, Los Angeles; Bad Water\, Knoxville; Simian\, Copenhagen; Franz Kaka\, Toronto; u’s\, Calgary; and Sydney\, Sydney. He will be included in a forthcoming group show at CAPC Musée d’art Contemporain de Bordeaux.  His book of poems\, Mirror Area\, will be published by Holoholo Books in September 2023. \n\n\n\nThe Los Angeles Wood Wind Skill Share (LAWWSS) is a horizontally organized learning project that provides space for participants to learn about wind instruments through free improvisation.  \n\n\n\nWells Leng (1994-) is a multi-instrumentalist performer/composer/improviser based in Los Angeles\, graduated from USC with a BM in Composition and a BA in Piano Performance and CalArts with an MFA in the Performer-Composer program. As both a performer and composer\, Wells has collaborated with many other artists all over the world. Wells is part of House on Fire Trio\, stickytack\, and Quartet Friends\, and has performed in such venues as Carnegie Hall\, REDCAT Theater\, Aratani Theatre\, among others. Wells is currently the associate music director and collaborative keyboardist at Neighborhood Unitarian Universalist Church.
URL:https://www.h-r.la/event/michael-kennedy-costa-mirror-area/
CATEGORIES:exhibition,music/sound,reading
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231007T000000
DTEND;TZID=America/Los_Angeles:20231022T235959
DTSTAMP:20240818T005825Z
CREATED:20230830T215820Z
LAST-MODIFIED:20240818T005825Z
UID:7660-1696636800-1698019199@www.h-r.la
SUMMARY:Carlos Agredano: Smog Check
DESCRIPTION:Gallery hours: Wednesday through Sunday\, 12 – 6pmOpening: Saturday\, October 7\, 7 – 9pm \n\n\n\nSmog Check is an exhibition of new sculptures and research by Carlos Agredano about the air-quality around Chinatown\, which sits adjacent to the Harbor (I-110) Freeway and is the location of Human Resources Los Angeles.  \n\n\n\nThis exhibition focuses on the legacy of two discriminatory housing practices – racially restrictive covenants and redlining.  These two interlocking private and federal practices aided in the development of Los Angeles’ public freeway system in the 20th century and systematically destroyed and polluted racially diverse communities such as Bunker Hill\, Chavez Ravine\, Boyle Heights\, and Chinatown.  \n\n\n\nAgredano’s sculptures actively document Los Angeles’ air pollution and respond to ongoing environmental racism in the city. For this exhibition\, Agredano placed a canvas on the rooftop of HRLA for exactly one month to collect the ambient air pollution that exists in the neighborhood. He also engaged with the community of Chinatown by trading readymade objects such as window air conditioners and street vendor parasols\, objects which collect polluted air particles on a daily basis. By rolling balls of clay around different streets in Chinatown\, Agredano created single-layered stones coated in debris left behind by vehicles and humans alike. Flanking the entrance of the gallery are two Corsi-Rosenthal Boxes\, DIY air purifiers that aid in cleaning indoor air.  \n\n\n\nOther works reside outside the gallery space. Installed on the facade of HRLA is a nylon flag\, part of the Federal EPA Air Quality Flag Program\, which is designed to inform the public about the air quality in the local area. On the nearby I-110 freeway\, a vinyl banner reads “Keep Los Angeles Beautiful” designed after a Los Angeles initiative to clean and “beautify” littered and polluted neighborhoods. On various telephone poles and freeway exit ramps are blank “music” posters\, coated with an adhesive designed to collect debris and reveal a gradient of Los Angeles’ pollution.   \n\n\n\nThese process-based and ready-made sculptures all function as evidence of the environmental conditions that Chinatown is subject to on a daily basis due to its proximity to the Harbor I-110 Freeway.
URL:https://www.h-r.la/event/smog-check-carlos-agredano/
CATEGORIES:exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231027T000000
DTEND;TZID=America/Los_Angeles:20231029T235959
DTSTAMP:20240818T005859Z
CREATED:20231010T155609Z
LAST-MODIFIED:20240818T005859Z
UID:7729-1698364800-1698623999@www.h-r.la
SUMMARY:Zori Swanegan: In suspension\, otherwise
DESCRIPTION:dubious lift-off (2023)\, pastel and graphite on yupo paper\, 5” x 7”.\n\n\n\nOpening reception: Friday\, October 27\, 6 – 9pmOpen hours: Saturday\, October 28th and Sunday\, October 29th 12 – 6pm \n\n\n\nA collection of drawings\, prints\, and one animation serving as windows before intangible subjects abbreviated in space. \n\n\n\nZori Swanegan (b. 1996\, Kansas City\, MO) is a visual artist based in Los Angeles\, CA. She earned her BA from UCLA in 2018. Her practice consists primarily of drawings that explore the association between an established visual plane and objects which aggrandize or invalidate it. Her work has been shown in Los Angeles at PSLA\, Punto Lairs\, and Human Resources.  \n\n\n\n* \n\n\n\nZori Swanegan at Human Resources \n\n\n\nDrawing is a mysterious act in which a two dimensional field meets the artist’s conscious and unconscious self. The plane on which the drawing occurs presents itself as neutral ground\, but it is not. It is charged and prepared for transformation. Zori Swanegan leans into these dormant spaces\, both in digital and physical realms\, to conjure the appearance of forms. \n\n\n\nSimple lines and shapes are summoned to create playful constellations in Swanegan’s drawings. At times these suspended forms are brought down to depict a landscape or settle in a stage-like arrangement. Some forms are gently rendered and pushed to the foreground as protagonists\, while others accompany them or outline the surrounding scape. \n\n\n\nThese drawings are simple and abstract\, they oscillate between complete ambiguity and suggestive interactions of pictoric components. The most descriptive work is perhaps the animated image that anchors the exhibition. Here\, a mountainous form glides in space as two shapes hover above casting shadows. The two floating shapes function like clouds\, but they come to a point on each side and are transparent against a black background. These are not clouds. Like much of Swanegan’s work\, they are indefinable but allude to the world. \n\n\n\nMany of the images in the exhibition were made digitally\, defying materiality in their making while mimicking physical mark making. In some ways digital spaces work the way human minds do\, storing away information\, ready to be pulled into consciousness when drawn out. The source of the drawings comes from within the digital apparatus as from within the artist. \n\n\n\nSwanegan’s digital prints\, handmade drawings\, and animation effortlessly compose forms into scenes. They speak both the language of contemporary illustration and abstract painting\, refusing to surrender fully to either. Forms act as characters and gestures in open\, untouched fields. In this suspended world of soft pinks\, reds\, and yellows – lines\, scratches\, blobs\, and cloud-like figures meet to render a parallel reality. In this alternate domain\, each mark embodies a unique role and follows a logic of its own. – Luz Carabaño
URL:https://www.h-r.la/event/zori-swanegan-in-suspension-otherwise/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/10/zori-swanegan-2.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240119T000000
DTEND;TZID=America/Los_Angeles:20240204T235959
DTSTAMP:20240826T164052Z
CREATED:20240108T211621Z
LAST-MODIFIED:20240826T164052Z
UID:7876-1705622400-1707091199@www.h-r.la
SUMMARY:Minor Gaps Between
DESCRIPTION:Gallery hours: 12 – 6pmOpening: Saturday\, January 20\, 6 – 9pm \n\n\n\nfeaturing work by:0ll668Derek HolguinJiayun ChenRodolfo Sousa \n\n\n\nMinor Gaps Between is the result of several conversations about the arcane and mystical. The title of the exhibition describes the vacuous space between the beginning and end of the void\, where the inexplicable intrusion of primordial impulses and revelations hide\, and where human logic cannot reach. The artists explored themes central to their practice\, ranging from the relationship between prophecy and coincidence\, the past and the future\, and the nebulous boundary between reality and fiction. In the void\, there are no correct questions or perfect beings; only nothingness exists. \n\n\n\nClick here to read a curatorial text by Nahui Garcia.
URL:https://www.h-r.la/event/minor-gaps-between/
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240209T000000
DTEND;TZID=America/Los_Angeles:20240211T235959
DTSTAMP:20240818T005540Z
CREATED:20240124T192511Z
LAST-MODIFIED:20240818T005540Z
UID:7890-1707436800-1707695999@www.h-r.la
SUMMARY:Jules Garder and Nat Decker: Posturing Collapse
DESCRIPTION:Friday\, February 9th\, 6pm – 10pmPerformances: 8pm – 10pmFeaturing: Jules Chimes Gårder and Nat Decker\, Star Feliz and Cielo Saucedo\, thai Lu\, Life Em Stebbins and Jazmin Romero \n\n\n\nGallery Hours: Saturday\, February 10th and Sunday\, February 11th\,  12 – 6 pm \n\n\n\nFree admission; donations will be split between Sensi Skins and the Palestine Children’s Relief Fund. \n\n\n\nPLEASE NOTE: Masks are required for the evening of performances to protect our immunocompromised community members. Free masks will be provided. HR is physically accessible with a small ramped entrance and ADA compliant bathroom. The event will be live-streamed. Auto captions will be provided in the space and on the live-stream. A visual description of the installation will be available during open hours. Please reach out to jules.c.garder@gmail.com for additional access requests.   \n\n\n\nPosturing Collapse is a two-person exhibition featuring works by Jules Chimes Gårder and Nat Decker. The duo will present a collaborative performance and installation of sculpture and video which measures the intersections (and differences) of their histories with grief\, disability\, and sexuality. The opening will include performances by Star Feliz and Cielo Saucedo\, thai Lu\, Life Em Stebbins\, and Jazmin Romero. \n\n\n\nJules Chimes Gårder is obsessed with their dead mom. Nat Decker is a fall risk toting the weight of abjection. Together they collapse and defy gravity in moments of recognition. Tendrils reach for stable ground\, exploring the spaciousness of absence. They count distances from shock\, perpetually reconstituting themselves. They crawl on uneven terrain\, defining new functional heights. They rest still\, knowing they are changing. Pressure delivers resistance. \n\n\n\nNat Decker (they/them) is a Chicago born Los Angeles based artist interpreting the intimacies of queer and disabled experience as provocation toward collective care and liberation. Bridging digital and physical mediums\, they leverage technology as a form of access\, seeking the integration of values into tools and processes. With Cielo Saucedo and Olivia Dreisinger\, Nat is building Cripping_CG – a community archive researching and documenting the intersection of disability culture and computer graphics. Nat is also an access worker\, consulting on accessibility for various arts organizations. They were a 2023 Processing Foundation Fellow and are a current member of NEW INC. In June 2022 they graduated from UCLA with a degree in Design/Media Arts and Disability Studies. \n\n\n\nJules Chimes Gårder (b.1987) (they/she) is a Los Angeles based artist indebted to the patterns of demise and reconstruction that are prompted by loss and grief. They primarily create sculptures and videos. Much of their work engages longitudinal experiences of mourning through collaborations with their mother Eva Chimes (posthumously). They will soon hold a BA in Art from UCLA. \n\n\n\nCielo Saucedo is an access worker and artist based in Los Angeles. Their work focuses on the dispersal of ableism through cultural economies. They work to dissolve the curative aspirations of technology. Their work encompasses computer generated imagery\, sculpture and virtual reality. They received their BFA from School of the Art Institute\, Chicago\, and are currently an MFA candidate at UCLA.  \n\n\n\nStar Feliz is a Dominican-American installation artist originally from New York\, NY currently based in Los Angeles\, CA. Building upon their ancestral Afro-Taino lineage of multi-dimensional healing — Feliz employs sound\, sculpture\, film\, earthworks\, and techniques of concealment\, language\, and mapping to transverse the psychic legacy of everyday resistance and world-making. Under the moniker of Priests they create experimental devotional music. They have exhibited\, performed\, and presented commissions nationally and internationally. \n\n\n\nthai Lu is a transdisciplinary artist\, writer\, and community organizer centering their practice on the social\, cultural\, and physical effects of chronic illness. As a chronically ill\, disabled\, neurodivergent\, and gender-divergent first generation American from a family of Vietnamese refugees\, thai works at the intersections of Western bio-politics\, Southeast Asian diaspora\, post-war intergenerational suffering\, relational ecologies of interdependence\, and the concept of metamorphosis. \n\n\n\nLife Em Stebbins is a poet and geologist living in Humboldt County\, California. As a graduate student at Cal Poly Humboldt\, Life studies mud to reconstruct glaciation history and paleoclimate patterns in the Klamath Mountains. Her poems focus on dry earth\, wet dirt\, and the sacrament of mud. Life reads poems across the country and digs holes throughout the Intermountain West.Jazmin Romero is a multidisciplinary artist born and raised in Los Angeles\, CA. Her work explores memory\, family\, migration\, and labor through performance\, sound\, music and visual art. Romero’s work is interested in understanding patterns of dispossession and displacement in her personal and familial history. Through experimental modes of storytelling\, she shares her experiences in performances\, video\, and sculptural installations that center her resilient origins and create space for personal and collective meditation.
URL:https://www.h-r.la/event/posturing-collapse/
CATEGORIES:exhibition,performance
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DTSTART;TZID=America/Los_Angeles:20240216T000000
DTEND;TZID=America/Los_Angeles:20240218T235959
DTSTAMP:20240818T005456Z
CREATED:20240125T173401Z
LAST-MODIFIED:20240818T005456Z
UID:7895-1708041600-1708300799@www.h-r.la
SUMMARY:Meejin Hong: Deluge
DESCRIPTION:Still from Deluge by Meejin Hong\n\n\n\n\na screening and art show with Meejin Hong opening Friday\, February 16th\, 5 – 8pmGallery hours: Saturday\, February 17th and Sunday\, February 18th\, 12 – 6pm \n\n\n\nMeejin Hong is an experimental animator deeply rooted in the fine arts. She thrives off of a stream of conscious brainstorming that propels her into the fantastic\, more primitive side of creation. In her film Deluge (2024)\, she utilizes straight ahead animation to create an ever-evolving landscape where the present inevitably coexists with the past. Memories are formed\, reshaped\, and obliterated\, relentlessly competing for space. Control is surrendered\, and mistakes and second chances are embraced. It is the slow stampede of a vulnerable mind. Hong was born in Spartanburg\, SC and currently resides with a creep of tortoises and other unruly creatures in Winnetka\, CA.  \n\n\n\nDeluge (2024) by Meejin Hong is an animation constructed from ink and 24 frames. 24 drawings\, photographed\, added to\, re-photographed repeat\, repeat\, repeat. This cycle of drawing and photographing is repeated by Hong until she reaches complete darkness. Created out of thin black ink lines sprouting and erupting\, constantly protruding and reproducing themselves. A fun-fair takes form\, a parade of ghosts and whimsy. A stream of ground and bacterial swamp matter choreographed by Hong’s cunning use of movement\, humor and transformation.  \n\n\n\nTricky twirls and balancing acts\, a sinister hand encouraging us to come inside. An interior that grows deeper and further introverted. Micro organisms become increasingly clearer and in focus\, each with their own schema\, until consumed by itself or another matter. With each cycle of 24 frames the tricks and transgressions grow more delusional\, intricately interwoven birthing new specimens and offspring. Constantly re-producing\, overlapping\, and developing until all we are left with is deep darkness\, a very pure black.  \n\n\n\nMeejin Hong’s latest animation leaves us in a void and that seems on the mark. Deluge can be read as a cross section of our own human condition with each layer wrecking havoc\, elegantly causing chaos and catastrophe. From the bodily organisms\, the body politic and the mass that is this earth.  \n\n\n\ntext by Olivia Taussig
URL:https://www.h-r.la/event/meejin-hong-deluge/
CATEGORIES:exhibition,screening
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/01/Deluge_frame7411.jpg
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DTSTART;TZID=America/Los_Angeles:20240313T000000
DTEND;TZID=America/Los_Angeles:20240316T235959
DTSTAMP:20240826T164257Z
CREATED:20240227T192526Z
LAST-MODIFIED:20240826T164257Z
UID:7972-1710288000-1710633599@www.h-r.la
SUMMARY:Devotional See-Saw
DESCRIPTION:Gallery hours: Friday\, March 15th\, 2 – 6pm; Saturday\, March 16th 12 – 5pm \n\n\n\nA collaborative show by Canción Paz and Amia YokoyamaTo read texts about the show (in English / en español)\, click here. \n\n\n\nA parade with the main material being friendship (sacred relatedness) among ceramics\, drawings\, bells and fabric dolls. \n\n\n\nWith pieces (flags) by the sexiest CDMX artists Mata Flores\, Ada Navarro\, Cheslsea Gelwarg\, Helia Mejia\, Corona\, and Carolina Berrocal; and LA artists Syd Yocom\, Carolina Hicks\, Chiffon Thomas\, Josh Cloud\, Kayla Ephros\, Lyric Shen\, Venus Wikifur\, Ellie Gordon\, Forever Soo Hoo\, Jonathan Chacon\, Sebastian Loo\, Clue Quilala\, Kate Mosher Hall\, and Aimee Goguen. \n\n\n\nWednesday\, March 13th 6pm: Opening reception  \n\n\n\nPerformance at 7pm1. Pamper routine (guided stretching warm up ) with harpist Leng Bian2. Procession ⁠commencement speech (Jonathan Chacon)3. Kayla Ephros Acapella3. Ducky banquet by Jade Sky4. ⁠Aasir Cherot (shimmy spectacle)5. ⁠A Thousand Bows Ensemble ( Forever Soo Hoo\, Aasir Cherot\, Walter Vargas and Cancion Paz) musicalized by Tigress of the Lilypad (Amia Yokoyama\, Keane Nwede\, Leti Soriano\, and Mito del Desierto)Followed by closign reception with DJ Alitlebug and DJ Negashi Armada\, 10pm to midnight \n\n\n\nFriday\, March 15th 6pm: Stretching warm-up and double-feature1. Pamper routine (guided stretching warm up)2. Friendship Speech (Gloria Galvez)Two films directed by Shūji Terayama3. Pastoral: To Die in the Country (1980) 1h 44m4. Fruits of Passion (1981) 1h 23m
URL:https://www.h-r.la/event/devotional-see-saw/
CATEGORIES:exhibition,music/sound,screening
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/02/devotional-see-saw-Copy.jpeg
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DTSTART;TZID=America/Los_Angeles:20240319T000000
DTEND;TZID=America/Los_Angeles:20240323T235959
DTSTAMP:20240826T164210Z
CREATED:20240305T195845Z
LAST-MODIFIED:20240826T164210Z
UID:8000-1710806400-1711238399@www.h-r.la
SUMMARY:Alan S. Tofighi: Legal Fictions & Critical Bands (1993-2024)
DESCRIPTION:Alan S. Tofighi: Legal Fictions & Critical Bands (1993-2024) Traces trajectories from two ongoing work cycles; Critical Bands (2010-present) and Legal Fictions (2014-present). Respectively rooted in histories & counter histories in the performance of objects and the processes of aesthetic forms utilized to forge and manipulate social structures\, retrocausal collaboration of these separate arcs interlock and collaborate in real time. Further linking these zones is the accumulation of art adjacent remnants\, refuse\, and research repositories from past and future works in a complication of separation. Infinite game where the viewer can mine and undermine dominant culture to navigate their own counter history.  \n\n\n\nAccompanying the event will be two evenings of performances culminating with a closing performance on March 23\, as part of Tofighi’s ongoing work of collecting acoustic and architectural samples where collaborators will acoustically shift the resonant frequencies and architectural basis of the site.  \n\n\n\nAlan S. Tofighi (they/them) is an Interdisciplinary artist who lives and works in Southern California. Utilizing a background in research\, performance\, sound\, consumer products\, and video\, their work deals with analyses of the dispersion\, obfuscation\, and formation of information/history to renegotiate narratives of history & power in the present. Tofighi utilizes the infiltration of legal parameters\, social structures\, myth\, (dis)information\, folk ontologies and extensive research of these cells as they shift from fringe culture to central in their infiltration/engineering of dominant culture.  \n\n\n\nTofighi has shown work and/or performed at REDCAT\, Blum & Poe\, The Box\, LACE\, The Roxy\, The Horse Dublin\, The Bob Baker Marionette Theater\, the wulf.\, Los Angeles Contemporary Archive\, The Troubadour\, MOTOR\, The Hotel Congress\, and many other sites/spaces throughout the world and internet.
URL:https://www.h-r.la/event/alan-s-tofighi-legal-fictions-critical-bands-1993-2024/
CATEGORIES:exhibition,performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/03/Alan-s-tofighi-HR-flyer-1-Copy.jpg
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DTSTART;TZID=America/Los_Angeles:20240329T000000
DTEND;TZID=America/Los_Angeles:20240419T235959
DTSTAMP:20250730T101917Z
CREATED:20240319T151943Z
LAST-MODIFIED:20250730T101917Z
UID:8014-1711670400-1713571199@www.h-r.la
SUMMARY:There in Green California / هناك في كاليفورنيا الخضراء
DESCRIPTION:Opening reception: Saturday\, March 30\, 6 – 10pm \n\n\n\nAli Eyal\, Andre Keichian\, Ignacio Perez Meruane\, Izdihar Afyouni\, Golrokh Nafisi\, Hande Sever\, Susu Attar \n\n\n\nGallery hours: Wednesday through Sunday\, by appointment. Contact info@humanresourcesla.com to make a reservation. \n\n\n\nIzdihar Afyouni\, 2024 (detail)\, oil on canvas\, 2024\n\n\n\n\nIt is difficult\, even righteously offensive\, to make art in the face of so much destruction and death which need little interpretation. The work of art (making)\, exhibition (making) and writing are never separate from their makers. And what of our “marginalized” identities if we can’t transform our lived experiences into ways of seeing and being in the world? Like grains of sand melted into a solid and fragile piece of glass\, the alchemy allows for light to be filtered through so we can be guided by it. It is through this lens that we can see life and write about living in a carceral world invested in our slow and sudden death. \n\n\n\nThe artists in this exhibition address cycles of violence and loss. From the most abstract to the figurative\, the material or psychological\, they provide embodied perspectives across experiments with material and form. A violent memory of disappearance\, dispossession and displacement etched onto a surface\, rebuilt through layers of paint; An image that self-effaces as soon as it emerges. What is the role of memory in the age of total destruction? \n\n\n\nThere in Green California brings together works by artists who have been making work with the bombs already dropping; already on the run from the kidnappers and their haunting memories; already violated and already under siege; generations displaced and memories already relived through so many stories there is no separating them from fiction. And there is no dreaming without the nightmares.  \n\n\n\nThe artists remind us of how the perceived peacefulness of our homes here is not in contrast to\, but at the price of war at home over there. Here in our (not for much longer) green California\, at the rate with which weapons are being made\, we have been living in war for as far back as we can remember. Here in green California it is our struggles against indigenous dispossession and land theft\, and our fights against the police and military industrial complex that connect us to the homes we have been uprooted from.  \n\n\n\nAs I write this text the genocide of Palestinians in Gaza is continuing in the hands of the necrophiliac Israeli government and with the direct support of the so-called United States and its allies. Here in the West where rhetoric is constantly utilized to distract us from the material reality of genocide and ethnic cleansing\, I am more wary of the art jargon. Moving away from rhetoric\, it is the material that confronts me: the layers of paint on canvas forming the guts of an animal; the paper rolling down onto the floor to keep the image of a body afloat; the pristine yet dismembered body parts replicated from the monument of a colonizer; the black and white gradients of mundane photographs as testaments to systemic removal; wet clay that fire has fixed into the shape of bullets preserved from memory; lines that connect one arm to another extended across separate sheets of paper; and glass that\, by letting light through\, makes but the process of seeing visible. \n\n\n\nThere in Green California borrows its title from Ghassan Kanafani’s 1956 Letter from Gaza. In the fictional letter\, Palestinian author and novelist addresses his comrade\, Mustafa:  \n\n\n\nI won’t follow you to “the land where there is greenery\, water and lovely faces” as you wrote. No\, I’ll stay here\, and I won’t ever leave. The choice to leave\, the choice to stay or live one’s life as defined by crossing a border and living on both its sides\, is not a question of privilege. Exile comes in its different shades and colors.  \n\n\n\n–Gelare Khoshgozaran \n\n\n\n\n\n\n\n\nHuman Resources Los Angeles commits to the Palestinian international call for Boycott\, Divestment and Sanctions (BDS). The commitment to the Palestinian Academic and Cultural Boycott of Israel is twofold. It is a refusal to participate in the normalization of occupation and apartheid by Israel and a commitment to instead bring awareness to the material realities of these structures in Palestine. We stand with our colleagues who have already joined this movement\, and who are putting their name on solidarity statements. We urge all arts organizations\, writers\, cultural workers\, and artists to take action now. This boycott is a principled refusal to participate in artwashing. Learn more: https://bdsmovement.net/pacbi.
URL:https://www.h-r.la/event/there-in-green-california/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
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DTSTART;TZID=America/Los_Angeles:20240421T140000
DTEND;TZID=America/Los_Angeles:20240421T200000
DTSTAMP:20240818T005348Z
CREATED:20240321T191322Z
LAST-MODIFIED:20240818T005348Z
UID:8025-1713708000-1713729600@www.h-r.la
SUMMARY:Dorian Wood: This is not goodbye\, it's just I won't ever see you again (a final purge)
DESCRIPTION:Dorian Wood bids farewell to Los Angeles\, her birthplace and also her home for over 40 years. To mark her transition to the East Coast\, Human Resources will host an event that features over 1\,000 of Dorian’s original art works\, t-shirts\, prints\, records and zines\, all on display and available for purchase. Attendees will also get to experience an ongoing sound installation comprised of audio recordings from all of Dorian’s past performances at Human Resources. The event will culminate with one final performance by Dorian. All proceeds from the art sale will go to the artist–to help with her moving costs – and to Human Resources.  \n\n\n\nArt sale and installation from 2pm to 6:30pmPerformance from 7pm to 8pmAdmission is free
URL:https://www.h-r.la/event/dorian-wood-this-is-not-goodbye-its-just-i-wont-ever-see-you-again-a-final-purge/
CATEGORIES:exhibition,music/sound,performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/03/Nite_image.jpg
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DTSTART;TZID=America/Los_Angeles:20240517T000000
DTEND;TZID=America/Los_Angeles:20240519T235959
DTSTAMP:20240818T005310Z
CREATED:20240501T171924Z
LAST-MODIFIED:20240818T005310Z
UID:8173-1715904000-1716163199@www.h-r.la
SUMMARY:Sculptors Painting
DESCRIPTION:Organized by Cara Chan \n\n\n\nOpening reception: Friday\, May 17\, 6 – 9pmGallery hours: Saturday\, May 18 through Thursday\, May 23\, 12 – 6pmPainting event: Sunday\, May 19\, 2 – 5pm \n\n\n\nWe often think of art in categories: new media\, performance\,  painting\, sculpture. These can become limiting identities for artists\, who must constantly challenge and renew their creativity. Sculptors Painting features 31 LA sculptors who were challenged to drop their Festools and take up the brush and palette. The artists were given complete freedom with one restriction: no 3D elements; ONLY oil or acrylic on canvas/linen/panel.  The goal was to explore a foreign medium and inspire experimentation outside of the artists’ comfort zones. The works on view should therefore be read as paintings by artists accustomed to working in three dimensions. Different questions arise: How do ideas live in 2D versus 3D? How does embodied knowledge of mass and form translate onto canvas? Do style and identity transcend medium? Sculptors Painting is an exercise in play\, breaking from the familiar and encouraging lightness. \n\n\n\nZoe Koke will be teaching a painting lesson on Sunday\, May 19 from 2 – 5pm. Participants are asked to bring their choice surface: a primed canvas/panel/paper and paint: oil paint\, acrylic paint\, or watercolor.  Limited canvas paper and materials will be available. The topic will be painting as a gesture to heal the body. \n\n\n\nParticipants:  \n\n\n\nAdrian mm AbelaBrenda BarriosDaniel Klass BeckwithCara ChanAllen Hung-Lun ChenMax ClearyGabriel CohenIvana Dama Ryan FloresLili Abdel-GhanyJulia GarderSylvia HardyNevada HardmanLouis HeilbronnMerideth HillbrandShana HoehnAlex KerrJordan Kolesnik ZZ KrebsAaron MeyersHallie McNeillGozie OjiniAryana PolatCarlos Vela-Prado Jackie RinesHope StutzmanKaren TepazDaniel Alejandro TrejoValeria Tizol Vivas Chris WarrChristopher Wawrinofsky Amia Yokoyama
URL:https://www.h-r.la/event/sculptors-painting/
CATEGORIES:exhibition
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