BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Human Resources - ECPv6.17.4.1//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Human Resources
X-ORIGINAL-URL:https://www.h-r.la
X-WR-CALDESC:Events for Human Resources
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/Los_Angeles
BEGIN:DAYLIGHT
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
TZNAME:PDT
DTSTART:20120311T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20121104T090000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
TZNAME:PDT
DTSTART:20130310T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20131103T090000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
TZNAME:PDT
DTSTART:20140309T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20141102T090000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;VALUE=DATE:20130918
DTEND;VALUE=DATE:20130923
DTSTAMP:20180726T081952Z
CREATED:20160311T093545Z
LAST-MODIFIED:20180726T081952Z
UID:1262-1379484000-1379829599@www.h-r.la
SUMMARY:La Pocha Nostra + Alejandra Herrera
DESCRIPTION:La Pocha Nostra \n \n \n \nAlejandra Herrera\, photos by Andrew Thompson \nThis evening was a real lesson in performance art for me. These two performances extended beyond every pre-conception I have toward performance art. The “stars” of the show was La Pocha Nostra. They are an internationally recognized performance art troupe led by the shamanistic Guillermo Gómez-Peña. The two other core performers that make up La Pocha Nostra are Erca Mott and Roberto Sifuentes. In the main room of Human Resources\, the group set up three mid-sized stages against three walls\, projecting a video on the fourth. On one stage a woman received geo-political acupuncture. Mott and Sifuentes were on the two stages that faced one another\, each performing beautiful albeit gruesome tableaus\, while Gómez-Peña roamed through the audience encouraging interaction with the each scene. \nWhen I compared the entirety of all performance art that I have witnessed personally\, they where clearly a cut above; the intense display was lucidly conceived\, beautifully lit and well staged. Each aspect of their performance was minimal but used to maximum potential and the results where impressive. The person that introduced me to the group described them as\, “the de-colonized Marina Abramovic”. After witness their show I understood what that meant. \nWhile La Pocha Nostra were the “stars” of the show\, Alejandra Herrera was the real thing for me. Herrera had constructed a false room in the alleyway behind Human Resources that was all white and had a number of domestic items. Items included two children chairs\, a table with china\, two shelves with glass stemware\, numerous containers of wine and a large white on white cloth banner on the very back wall. Her performance incorporated her two young daughters. Sometimes she would have them join her performing certain movements\, other times she would sit them down and teach them the alphabet in both English and Spanish. In between soft nurturing moment like these\, Herrera would strain to hold large stacks of china until she could no longer hold them. The stacks would fall with a terrible crash. (She was very mindful of the children not being in the way of the breaking shards.) It was clear that the stacks of china were meant to represent a personal struggle that only she alone could go through. As the performance unfurled Herrera would spray and sometimes spit wine onto the white banner. The text would slowly reveal a quote. \nThe room was cramped as audience members squeezed in to see but moved out of the way as the petite Herrera helped her children sweep up all the broken china on the floor and place it into a glass jar with the word “hurt” on it. I was only able to read a few words of the text but what was clear to me was the word “prematurely”. I immediately understood the imagery of a mother holding a tremendous weight\, only for it to drop and shatter into a thousand sharp and painful memories that must be carefully cleaned up as a family. The intensity of the metaphor became overwhelming for me and I began to weep. \nHaving lost someone recently myself\, I intimately understood all the broken shards placed into a fragile hurt jar. I have been moved by many artworks but never to tears and then sobs. I eventually pulled myself together but not before being noticed by Gómez-Peña who was standing behind me at that moment. He touched me on the shoulder and said\, “This is very powerful.” \nIt was later revealed that the text was a quote by the performance artist Natalie Loveless. It was she that experienced the trauma. Despite the biographical separation of the quote and the performer\, I was touched by an intense connection to love and loss\, hope and frustration and the mess that we must silently clean up after an ordeal. \nText by Andrew Thompson via Dot Photo Zine
URL:https://www.h-r.la/event/la-pocha-nostra/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/03/LaPocha.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20130929T190000
DTEND;TZID=America/Los_Angeles:20130929T190000
DTSTAMP:20160527T090943Z
CREATED:20160527T090755Z
LAST-MODIFIED:20160527T090943Z
UID:2074-1380481200-1380481200@www.h-r.la
SUMMARY:Fault Lines
DESCRIPTION:Compilation Album Release / Performance / Installation \nPerformance and video installation “SYMPATHETIC RELEASE” by Barnett Cohen & Jules Gimbrone with select performances by FAULT LINES contributors: \nMorgan Gerstmar with Madeline Falcone\, Emily Call & Betsy Rettig\nMolly Allis / Jenica Anderson / Misra Iltus / Hanna Campbell\nDavid Paha\nJules Gimbrone\nAidan Reynolds\nMax Wanderman\nOdeya Nini\nMarcus Rubio with Ben Levinson\, Andrew Young\, Suzanne Kite\, Aidan Reynolds\, Evan Spacht\, Max Wandermann\, Christoffer Schunk\, & Josh Joshua Carro\nTodd Lerew\nAlex Black\nSarah Faith Gottesdiener / Oscar Santos\nBridget Batch\nJen Hutton \n“FAULT LINES started as a desire to cultivate a space where sound becomes a physical presence. By locating artists inside a geological feature of the earth\, FAULT LINES encouraged composers to create time-based work that resembles the extreme temporal scales of tectonic plates. Whether these plates appear deeply still or silent\, at any moment they can send waves of massive movement and disruption. This buildup of potential energy or stress within a fault line is stored until the strain is released\, causing rupture. This latent energy is analogous to the medium of recorded sound\, specifically the vinyl LP that holds kinetic energy in its rotation. Although each composer worked independently from Jen Hutton’s text\, the pieces are connected by their experimentation in timbre\, a textural feature that helps to objectify sounds\, and gives differentiation regardless of pitch or loudness. A focus on the physicality of sound textures\, and the spaces that these sounds inhabit\, appear to dictate the artists’ compositional choices. Often sound is considered an abstract\, liminal\, and/or transitory medium given meaning through its narrative thrust — where it takes the listener through a linear\, time-based journey. FAULT LINES\, however\, is an attempt to give sound a physical body\, a body where time bends\, is held\, expands\, and is again made solid.” – Jules Gimbrone
URL:https://www.h-r.la/event/fault-lines/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/05/1240157_10151690730418542_1789245173_n.jpg
END:VEVENT
END:VCALENDAR