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DTSTART;TZID=America/Los_Angeles:20250708T190000
DTEND;TZID=America/Los_Angeles:20250708T203000
DTSTAMP:20250703T201734Z
CREATED:20250701T174926Z
LAST-MODIFIED:20250703T201734Z
UID:8931-1752001200-1752006600@www.h-r.la
SUMMARY:Kiyo Gutiérrez with Paul Donald: Un muro que parte el cuerpo en dos
DESCRIPTION:Un muro que parte el cuerpo en dos (A wall that breaks the body in two) is a durationalperformance by Kiyo Gutiérrez\, in collaboration with Paul Donald. This work was first presented by Gutiérrez in 2018 in Guadalajara\, México\, as a response to the Mexican xenophobic reactions toward a Central American Migrant Caravan crossing the country. Today\, a new iteration is reactivated in the U.S.\, where harsh migration policies continue to criminalize movement and dehumanize the displaced. \n\n\n\nRSVP \n\n\n\nIn this piece\, the wall is not static\, it moves and breathes with the body\, resisting fixity. It splitsthe performer in two\, exposing the violence that borders enact on flesh\, memory\, and belonging.The wall is not neutral. It is built and upheld by governments\, white supremacy\, and systems ofpower that decide who is allowed to move\, who is stopped\, and who is erased. \n\n\n\nBut over time\, the performance reveals another truth: walls are porous. They crack\, they shift\,they hold holes. They can crumble. \n\n\n\nThis performance invites us to witness not only the pain of division\, but the quiet\, persistentpossibility of undoing it. It is a gesture meant to honor and celebrate the undocumented\, migrant\,immigrant\, refugee\, and exilee communities\, people who move\, who resist\, and who carry entireworlds with them. \n\n\n\nUn muro que parte el cuerpo en dos es una performance duracional que fue presentada porprimera vez en 2018 en Guadalajara\, México\, como respuesta a las reacciones xenófobasmexicanas ante una caravana de migrantes centroamericanos que cruzaba el país. Hoy\, una nuevaversión se reactiva en Estados Unidos\, donde las duras políticas migratorias continúancriminalizando el movimiento y deshumanizando a las personas desplazadas. \n\n\n\nEn esta pieza\, el muro no es estático: se mueve y respira con el cuerpo\, resistiendo la rigidez.Parte en dos al cuerpo de la performer\, exponiendo la violencia que las fronteras ejercen sobre lacarne\, la memoria y el sentido de pertenencia. El muro no es neutral. Es construido y sostenidopor gobiernos\, la supremacía blanca y sistemas de poder que deciden quién puede moverse\,quién es detenido y quién es borrado. \n\n\n\nPero con el tiempo\, la performance revela otra verdad: los muros son porosos. Se agrietan\, sedesplazan\, contienen huecos. Pueden desmoronarse. \n\n\n\nEsta performance nos invita a presenciar no solo el dolor de la división\, sino la posibilidadsilenciosa y persistente de deshacerla. Es un gesto para honrar y celebrar a las comunidadesmigrantes\, indocumentadas\, refugiadas\, exiliadas y desplazadas: personas que se mueven\, queresisten y que cargan mundos enteros consigo. \n\n\n\nImage caption: Un muro que parte el cuerpo en dos\, durational performance presented at Plaza de la República\, Guadalajara\, México. 2018. Photography by Pistor Orendain. \n\n\n\nhttps://kiyogutierrez.com \n\n\n\nhttps://www.paulcdonald.com
URL:https://www.h-r.la/event/un-muro-que-parte-el-cuerpo-en-dos/
LOCATION:CA
CATEGORIES:performance
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250718T000000
DTEND;TZID=America/Los_Angeles:20250803T235959
DTSTAMP:20250826T213423Z
CREATED:20250613T224821Z
LAST-MODIFIED:20250826T213423Z
UID:8894-1752796800-1754265599@www.h-r.la
SUMMARY:Rachel Zaretsky: The Spirit of American Youth Rising from the Waves (replica of a replica)
DESCRIPTION:Rachel Zaretsky: The Spirit of American Youth Rising from the Waves (replica of a replica) \n\n\n\nExhibition Dates: July 18th to August 3rd\, Friday to Sunday\, 12 p.m. to 6 p.m. and by appointment (Please email: info@humanresourcesla.com) \n\n\n\nOpening Reception: Friday\, July 18\, 2025 from 6 p.m. to 9 p.m.  \n\n\n\nThe Spirit of American Youth Rising from the Waves (replica of a replica) is an exhibition that explores how public memory is shaped through objects\, rituals\, and acts of commemoration. Featuring new sculpture\, video\, and photography by Rachel Zaretsky\, the exhibition considers how gestures of grief shift when filtered through repetition\, spectacle\, and consumer culture. It traces ephemeral expressions such as balloons at vigils\, pennies tossed into fountains\, or offerings left at war memorials as they become standardized within the American commemorative imaginary. Removed from their original contexts\, these objects reappear as secular sacred symbols: proxies for headstones\, plazas\, and places of mourning. \n\n\n\nAt the center of the exhibition is The Spirit of American Youth Rising from the Waves (replica of a replica)\, a dysfunctional mall fountain anchored by a fragmented plastic figure modeled after the gilded statue at the Americana at Brand mall\, which itself replicates the original bronze monument at the American Cemetery in Normandy\, France. Surrounded by oxidized pennies and mirrored coins\, the sculpture compresses the iconography of monumentality and consumer display into a fractured\, ornamental shell—interrogating how public memory becomes stylized\, copied\, and ultimately hollowed out through cycles of replication and visual consumption. Between a Memory and Record\, a video essay\, traces the bureaucratic afterlife of offerings collected at the Vietnam Veterans Memorial Wall. A photographic installation focuses on spontaneous memorials at sites of gun violence\, isolating the recurring image of balloons\, symbols that oscillate between mourning and celebration as circulated through news media. \n\n\n\nThe exhibition investigates how the performativity of mourning\, when mediated through standardized forms and repeated display\, can displace affective experience and transform acts of remembrance into indexable forms of public feeling.  \n\n\n\nExhibition essay by Harris Bauer is available to read here. \n\n\n\nRachel Zaretsky (b. 1993\, Miami) is an artist based in Los Angeles. She received her MFA in Art from the University of Southern California’s Roski School of Art and Design and her BFA in Visual and Critical Studies from the School of Visual Arts in New York.
URL:https://www.h-r.la/event/rachel-zaretsky-kreiner-the-spirit-of-american-youth-rising-from-the-waves-replica-of-a-replica/
LOCATION:CA
CATEGORIES:performance
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DTSTART;TZID=America/Los_Angeles:20250720T190000
DTEND;TZID=America/Los_Angeles:20250720T210000
DTSTAMP:20250710T233710Z
CREATED:20250707T185644Z
LAST-MODIFIED:20250710T233710Z
UID:8954-1753038000-1753045200@www.h-r.la
SUMMARY:Guillermo Gómez-Peña - Pocha 35: The Last Migration
DESCRIPTION:Pocha 35: The Last Migration\, 2025\n\n\n\nA New Solo Performance by Guillermo Gómez-Peña\n\n\n\nFeaturing a Cameo by Balitronica and surprise guests. \n\n\n\nTickets  \n\n\n\nGómez-Peña’s latest solo performance (from the series the Self Deportation Project) features texts written over the past five years chronicling a turbulent “post-democratic era\,” from the onset of the pandemic to the present day. Now available for bookings across the U.S. and virtually (for classrooms and conferences)\, this piece is urgent\, poetic\, and unapologetically relevant.  \n\n\n\nArtist Statement  \n\n\n\n“My current performance represents the fruit of my life’s work in all its iterations: live performance\, lecturing\, archiving\, literary work\, mentoring\, community activism\, all coming together to address the dangers of the times we live in with its disregard for human life and insidious undermining of democracy.  \n\n\n\nAt this time in my life I am thinking as much about legacy as I am trying to continually produce socially conscious experimental artwork that is simultaneously plugged into the national debates. I have learned from decades of touring performance material to locations beyond the Border that a call to action – in the form of a work of art – has the power to elicit compassion and inculcate a desire for social justice.  \n\n\n\nFor me performance art is a form of radical democracy and citizenship which depends on the presence of the audience/community to succeed. I view my approach to creating this hybrid piece as “performing the archives” for multiple contexts: The art world\, academia\, community and the media. I am particularly interested in connecting with a new generation of audience members who may not have been exposed to the history of my generation\, performance art and the Chicano movement.” \n\n\n\n \n\n\n\nGuillermo Gómez-Peña is a performance artist\, writer\, activist\, radical pedagogue and artistic director of the performance troupe La Pocha Nostra. Born in Mexico City\, he moved to the US in 1978\, and since 1995\, his three homes have been San Francisco\, Mexico City and the “road”. \n\n\n\nHis performance work and 21 books have contributed to the debates on cultural\, generational\, and gender diversity\, border culture and North-South relations. His artwork has been presented at over one thousand venues across the US\, Canada\, Latin America\, Europe\, Russia\, South Africa and Australia. A MacArthur Fellow\, USA Artists Fellow\, and a Bessie\, Guggenheim\, and American Book Award recipient\, he is a regular contributor to newspapers and magazines in the US\, Mexico\, and Europe and a contributing editor to The Drama Review (NYU-MIT)\, the Venice Performance Art Week Journal\, and emisférica\, the publication of the Hemispheric Institute of Performance and Politics (NYU). Gómez-Peña is currently a Patron for the London-based Live Art Development Agency\, and a Senior Fellow in the Hemispheric Institute of Performance and Politics. \n\n\n\nImage credit: Bird Shaman by Geloy Concepcion\, 2023 at David Ireland’s House\, San Francisco.  \n\n\n\n$14-$20 sliding tickets – notaflof
URL:https://www.h-r.la/event/guillermo-gomez-pena/
LOCATION:CA
CATEGORIES:performance
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