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DTSTART;TZID=America/Los_Angeles:20260502T180000
DTEND;TZID=America/Los_Angeles:20260502T220000
DTSTAMP:20260425T055511Z
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SUMMARY:Songs to Quell the Monster Program 1 of 4: A Mother’s Lullaby
DESCRIPTION:Saturday\, May 2nd. Doors open at 6PM\, Starts at 6:30PM. \n\n\n\nPay What You Can (Suggested $10) \n\n\n\nTICKETS \n\n\n\nGrowing up\, we are first held by the voice of our mothers—its rhythms teaching us how to listen\, how to imagine\, how to feel our way through the world before we fully understand it. A lullaby can soothe\, but it can also shield\, shaping what is heard and what remains unsaid. In this opening program\, A Mother’s Lullaby\, Milisuthando Bongela’s Milisuthando returns to the fragile architectures of such protection\, tracing a childhood in the Transkei where the violences of apartheid were both ever-present and eerily obscured. Through a lyrical weaving of memory\, poetry\, and image\, the film lingers in the dissonance between what we inherit and what we later come to know—how love can coexist with omission\, and how care can be entangled with erasure. In dialogue\, Jonathon Haffner’s live performance extends this meditation\, improvising a sonic space where memory is not fixed but continually reworked. Together\, they ask: what songs carried us through\, and what truths did they quiet? \n\n\n\n______________________ \n\n\n\nSongs to Quell the Monster is a four-part programming series that gathers films and live performances that channel the defiant spirit of songs across histories and borders. Moving between the intimate and the collective\, these works confront authoritarianism\, colonial violence and and erasure–transforming memory\, voice and image into acts of refusal. A reminder that while the monster is vast\, so too are our songs.  \n\n\n\n______________________Milisuthando Bongela-Davis (b.1985\, South Africa) is an award-winning writer\, filmmaker\, cultural worker and artist. Her career began in the fashion industry but the last 16 years have seen her traverse the worlds of music\, art\, media and film – continually turning towards indigenous knowledge systems.  \n\n\n\nShe was Arts Editor for the Mail & Guardian’s Friday section and was host and co-producer of the podcast Umoya: On African Spirituality with Dr. Athambile Masola. Her debut feature film\, a personal essay documentary titled MILISUTHANDO had its in competition world premier at the 2023 Sundance Film Festival and selected for MoMA’s New Directors / New Films programme 2023 before opening the 2023 Encounters Documentary Film Festival. It was nominated and won awards for its groundbreaking form\, subject matter and approach to personal filmmaking.  \n\n\n\nShe is an inaugural fellow of the 2020 Adobe Women at Sundance Fellowship and in 2024\, she made an experimental silent film INGQUMBO commissioned by Neo Muyanga and William Kentridge’s Centre for the Less Good Idea in Johannesburg.  \n\n\n\nAfter a theatrical run at Anthology Film Archives in May 2025\, MILISUTHANDO was released on The Criterion Channel on 1 October 2025 and is independently distributed in Africa and as of April 7th 2026\, is distributed by The Tape Collective in the UK and  EU.  \n\n\n\nShe is currently an Artist in Residence at Headlands Centre for the Arts in the Marin Headlands of California where she is developing her second film.  \n\n\n\nWhile she has lived in New York since 2024\, the subject of her work is always rooted in South Africa   \n\n\n\nJonathon Haffner – Recently based in Los Angeles after more than two decades within New York City’s downtown music\, film\, and art scenes\, he has built a career across genres\, disciplines\, and international stages. \n\n\n\nFor over a decade\, he performed and recorded with filmmaker and poet Jonas Mekas\, accompanying live poetry and creating live scores for Mekas’ films. These collaborations included performances at the Serpentine Gallery in London\, Hiro Ballroom in New York City\, and The Stone\, founded by John Zorn. \n\n\n\nHaffner also toured extensively with Butch Morris\, appearing on more than 15 recordings with the late conductor in several different ensembles\, including Orchestra Slang and Nublu Orchestra. \n\n\n\nHe performs with the Great Lakes Quartet\, led by Wadada Leo Smith\, alongside the late Jack DeJohnette and John Lindberg. Their release on TUM Records was named a Top 10 Box Set of the Year by The New York Times\, and the ensemble has performed at the Berlin Jazz Festival\, the Leibnitz Festival in Austria\, and Jazz em Agosto in Lisbon\, Portugal. \n\n\n\nHaffner has also toured and recorded with Red Baraat\, Cyndi Lauper\, and Louis Cole\, appearing on Cole’s albums and video productions and performing with him in New York and Los Angeles. \n\n\n\nHis solo album\, Life on Wednesday\, produced by David Binney and featuring Craig Taborn and Wayne Krantz\, was invited to perform at the North Sea Jazz Festival in a concert also featuring Nasheet Waits and Marc Ducret. Following North Sea\, he led his own ensembles at the Vilnius Jazz Festival in Lithuania\, as well as the Nublu Jazz Festival and Winter Jazzfest in NYC.Additionally\, he co-leads projects with Kenny Wollesen and Tony Scherr\, released Rasa Rasa on John Zorn’s Tzadik label\, performs with Rocket Sci on Nublu Records\, and co-leads Big Shapes with Dave Harrington of Darkside and Max Jaffe. Big Shapes will release its second album in 2026. \n\n\n\nAdvik Beni and Nehal Vyas  are programmers and filmmakers based in Los Angeles. Originally from South Africa and India respectively\,  their curatorial work draws from oral traditions\, nationhood\, citizenship\, mythology\, and family histories. They are committed to building community spaces where filmmaking serves as an ally.
URL:https://www.h-r.la/event/songs-to-quell-the-monster-program-1-of-4-a-mothers-lullaby/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:performance,screening
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260213T200000
DTEND;TZID=America/Los_Angeles:20260213T233000
DTSTAMP:20260211T184216Z
CREATED:20260122T184634Z
LAST-MODIFIED:20260211T184216Z
UID:9340-1771012800-1771025400@www.h-r.la
SUMMARY:the body draws the room
DESCRIPTION:the body draws the room is a performance by Carmen Argote that transforms the gallery space into an immersive drawing environment through the body. Using a combination of shaving cream and black oil paint\, Argote creates large-scale marks on walls and floors as she moves through the space by crawling on her back and tracing the perimeter. Argote performs the physical act of pushing up against the walls of the gallery with her feet\, turning movement\, endurance\, and presence into a material record of the room itself.  \n\n\n\nThis performance marks Argote’s return to HRLA where she exhibited My Father’s Side of Home in 2014. the body the draws the room reflects the artist’s ongoing exploration of architecture\, psychology\, and embodiment\, offering audiences an opportunity to witness the physical and conceptual scope of her work.  \n\n\n\nTickets are $15 and available on Withfriends. No one will be turned away for lack of funds. \n\n\n\nThis project was supported\, in part\, by a Foundation for Contemporary Arts Emergency Grant.
URL:https://www.h-r.la/event/the-body-draws-the-room/
LOCATION:CA
CATEGORIES:performance
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20251122T203000
DTEND;TZID=America/Los_Angeles:20251122T220000
DTSTAMP:20251113T223011Z
CREATED:20251014T171010Z
LAST-MODIFIED:20251113T223011Z
UID:9151-1763843400-1763848800@www.h-r.la
SUMMARY:Anh Vo - Untitled (Break Fast)
DESCRIPTION:Tickets \n\n\n\nUntitled (Break Fast) centers around the durational act of squatting above a boiling pot of pho broth. Vo takes as a poetic point of departure the memory of going on a hunger strike as a teenager in order to fight with their mother for the chance to study abroad. Untitled (Break Fast) explores the fetish of individual freedom—how it is pursued through extreme acts of refusal\, denial\, and harm—and of the paradoxical clarity that emerges from confronting one’s own limitations. In each iteration\, Anh Vo stages this ambivalence between freedom and limitation\, hovering between endurance\, self-mutilation\, and collective witnessing. \n\n\n\nBased in Brooklym and Hanoi\, Anh Vo is a Vietnamese choreographer and writer working in the expanded field of performance. Their practice mobilizes the naked body in its variations to make explicit the entanglement of power and apparitional forces that cut across flesh. Their work is situated in the unlikely lineage convergences between Downtown New York experimental performance\, Hanoi performance art\, and Vietnamese folk ritual practices. Vo is indebted to Miguel Gutierrez’s unapologetic queerness and amorphous excess\, Moriah Evan’s speculative commitment to the depth of interiority\, Tehching Hsieh’s existential sense of time\, and Ngoc Dai’s guttural sonic landscape of postwar Vietnam. Their formal training is in Performance Studies\, studying with esteemed theorists and practitioners at Brown University (BA) and New York University (MA) \n\n\n\nPhoto by Albert Yee. Courtesy of Asian Arts Initiative. 
URL:https://www.h-r.la/event/anh-vo-untitled-break-fast/
LOCATION:CA
CATEGORIES:performance
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250920T190000
DTEND;TZID=America/Los_Angeles:20250920T220000
DTSTAMP:20250913T152154Z
CREATED:20250911T185310Z
LAST-MODIFIED:20250913T152154Z
UID:9091-1758394800-1758405600@www.h-r.la
SUMMARY:HOWL: a night of performance
DESCRIPTION:Tickets \n\n\n\nLive performances and readings\, including choral performance by Tanner Pfeiffer and 8TPS choir; an original movement piece by Beatrice Gosse; a site-specific grappling hook performance by Sadie Greyduck; a non-linear lecture performance on trans horror by Wesleigh Gates; Xina Xurner. This program is a part of HOWL\, curated by Ashton S. Phillips.  \n\n\n\nHOWL brings together more than a dozen artists and collectives working collaboratively to resist the forces of anti-trans silencing\, intimidation\, and erasure for a 7-day exhibition\, a series of workshops\, discussions\, a howling experimental film premiere\, and a night of defiant performances to help us remember – and amplify – our power. For more information\, see the HOWL press release.
URL:https://www.h-r.la/event/howl-a-night-of-performance/
LOCATION:CA
CATEGORIES:dance/movement,performance,reading
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250914T000000
DTEND;TZID=America/Los_Angeles:20250921T235959
DTSTAMP:20250913T152420Z
CREATED:20250903T044751Z
LAST-MODIFIED:20250913T152420Z
UID:9059-1757808000-1758499199@www.h-r.la
SUMMARY:Howl
DESCRIPTION:a collective unsilencing\, a divine portent\, a wail\, an omen\, a refusal to cower in the face of attempted erasure\, a call to our ungovernable animality\, a convening of artists using their voices and creative agency to resist intimidation and summon alternative worlds where transness is holy and bodily autonomy is sacrosanct\, a portal built of rage and grief and glimpses of euphoria\, an experiment in collaborative methods\, kinship\, and open process where shared labor becomes a form of care and the gallery becomes a staging ground for the battles we did not ask to fight \n\n\n\nFULL PRESS RELEASE \n\n\n\nfeaturing: Nicki Green\, Ashton Phillips\, Edgar Fabian Frias\, Badly Licked Bear\, Umi Hsu\, Sadie Greyduck\, Leslie Foster\, Salvador De La Torre\, Nina Sarnelle\, Alystair Rogers\, Wesleigh Gates\, Beatrice Gosse\, Tanner Pfeiffer and 8TPS\, Jynx Prado\, Elizabeth Frances Folk\, Johanna Hedva\, Pau Pescador\, and Luce de Lire  \n\n\n\nGallery hours noon-6pm\, Thursday September 18-Sunday September 21  \n\n\n\nSchedule of Events \n\n\n\nSeptember 14th \n\n\n\n2-3pm Procession of Divine Portent joule bricks from AutomataArts (504 Chung King Rd\, Los Angeles\, CA 90012) to Human Resources \n\n\n\nSeptember 18th \n\n\n\n7-9pm Opening of Howl with live performance by Umi Hsu at8pm and flash tattoos from Salvador de la Torre 7-9pm \n\n\n\nSeptember 19th  \n\n\n\nMobile Sewing Station activation by Badly Licked Bear during gallery hours  \n\n\n\n8pm Los Angeles premiere of Breath Work by Nina Sarnelle \n\n\n\nSeptember 20 \n\n\n\n2-4pm Mobile Sewing Station activation and participatory patchmaking session with Elizabeth Frances Folk \n\n\n\n5-6pm Open.Rehearsal with Tanner Pfeiffer and 8TPS choir \n\n\n\n7- 9pm Live performances and readings\, including choral performance by Tanner Pfeiffer and 8TPS choir; an original movement piece by Beatrice Gosse; a site-specific grappling hook performance by Sadie Greyduck; non-linear lecture performance on trans horror by Wesleigh Gates; Xina Xurner. \n\n\n\nSeptember 21 \n\n\n\n2 – 3pm artist panel on strategies for resisting silencing anderasure and cultivating resiliency in an age of fascism with Salvador de la Torre andEdgar Fabian Frias \n\n\n\n3 – 4pm: tactical magic workshop by Edgar Fabian Frias \n\n\n\ncurated by Ashton S. Phillips
URL:https://www.h-r.la/event/howl/
LOCATION:CA
CATEGORIES:exhibition,performance,reading,seminar/workshop
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250827T000000
DTEND;TZID=America/Los_Angeles:20250828T235959
DTSTAMP:20251113T223039Z
CREATED:20250723T000411Z
LAST-MODIFIED:20251113T223039Z
UID:8990-1756252800-1756425599@www.h-r.la
SUMMARY:Dorian Wood: La nada que te ama
DESCRIPTION:TICKETS: August 27 & August 28 ($15 suggested\, sliding scale) \n\n\n\nDoors: 7PM \n\n\n\nPerformance: 7:30PM – 8:30PM \n\n\n\nLa nada que te ama (Spanish for “The nothing that loves you”) is a channeling of ancestral/transcestral energy via the artist’s voice and body\, interwoven with sounds and imagery that ponder a broken future of/against our making. This ritual-based performance forges a path between sensuality and grief\, inviting those present to consider a radicalism of the self; a divine embracing of lust and solitude. The project premiered at LA Dance Project in April 2024\, as part of the performance series ABUNDANCE\, presented by Los Angeles Contemporary Exhibitions (LACE). Wood will present an expanded version of La nada que te ama at Human Resources. \n\n\n\nDue to projection-based elements\, attendees are kindly asked to arrive early to avoid interruptions.
URL:https://www.h-r.la/event/dorian-wood-la-nada-que-te-ama/
LOCATION:CA
CATEGORIES:performance
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BEGIN:VEVENT
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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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
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/06/Uvalde-4A-copy.jpg
END:VEVENT
BEGIN:VEVENT
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
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/07/Un-muro-que-parte-el-cuerpo-en-dos--scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250627T000000
DTEND;TZID=America/Los_Angeles:20250629T235959
DTSTAMP:20250826T213442Z
CREATED:20250528T162709Z
LAST-MODIFIED:20250826T213442Z
UID:8870-1750982400-1751241599@www.h-r.la
SUMMARY:Safety Blue: An Installation in 5 Acts
DESCRIPTION:Gallery hours: Fri – Sat\, 12 – 5 pm \n\n\n\nPerformances: June 27 & 28: 7 pm; June 29: 2 pm (en Español) \n\n\n\nTickets (free\, donation of $15 recommended):  Friday June 27th at 7pm;  Saturday June 28th at 7pm;  Sunday June 29th en español at 2pm. \n\n\n\nSafety Blue is a performative work by artist Andrea Carrillo and choreographer Melissa Herrada which weaves together histories regarding women\, labor\, and oppression in the US-Mexico border. At the heart of the project is an anthropological research archive from the early 1980’s on the life and working conditions of women workers in maquiladoras\, particularly in Tijuana and Ciudad Juarez. Despite its geographical focus\, this work mirrors how—across the global south—women’s bodies have become political territories in dispute\, crossed by colonization. \n\n\n\nSafety Blue is an amalgamation of women’s voices and histories spanning over 40 years\, urging us to rethink and contest how these bodies continue to be shaped by labor\, productivity\, and capital. Through a transdisciplinary approach combining video\, choreography\, and lecture performance\, this project braids intimate and global narratives and brings the body forward. \n\n\n\nThe narrative is set against the history of modern progress\, viewed through the lens of time and industrial production models\, revealing the slow and often invisible violences these women sustain. Each element of the performance and installation tells a story about the relationship between time and labor and the continuous impact it has on the body.  Despite the harsh conditions\, the project is fueled by the recognition and recuperation of collective forms of resistance\, and by the possibility to reorient history and construct new senses of truth. \n\n\n\nThe project was funded in part by Magnum Foundation\, Patronato de Arte Contemporáneo and Fondo Nacional para la Cultura y las Artes.  \n\n\n\n \n\n\n\nSafety Blue es un proyecto performático de la artista Andrea Carrillo y la coreógrafa Melisa Herrada. Entreteje historias en torno a mujeres\, trabajo y opresión en la frontera entre México y Estados Unidos. El corazón del proyecto es un archivo antropológico creado a principios de 1980 que aborda las condiciones laborales y de vida de mujeres obreras en la maquila\, particularmente en Tijuana y Ciudad Juárez. A pesar de su enfoque geográfico\, este trabajo refleja cómo\, a lo largo del sur global\, los cuerpos de las mujeres se han convertido en territorios políticos en disputa\, atravesados por la colonización. \n\n\n\nSafety Blue es una amalgama de voces e historias de mujeres obreras que abarcan más de 40 años\, invitándonos a repensar y cuestionar cómo el trabajo\, la productividad y el capital moldean sus cuerpos. Mediante un enfoque transdisciplinario que combina video\, coreografía y conferencia performática\, este proyecto entrelaza narrativas íntimas y globales que pone al cuerpo como primer territorio en disputa y como espacio de enunciacióny memoria.  \n\n\n\nLa narrativa se desarrolla alrededor de la historia del progreso moderno\, vista a través del tiempo y modelos productivos\, revelando las violencias lentas e invisibilizadas que sostienen estas mujeres. Cada espacio\, cada objeto y cada cuerpo cuenta una historia sobre la relación entre el tiempo y el trabajo\, así como el impacto continuo sobre el cuerpo. A pesar de las duras condiciones\, el proyecto busca también\, reconocer y recuperarlas acciones colectivas de resistencia que permitan reorientar la historia y generen nuevos imaginarios. \n\n\n\nEl proyecto ha sido apoyado por Magnum Foundation\, Patronato de Arte Contemporáneo y Sistema de Apoyos a la Creación y Proyectos Culturales. 
URL:https://www.h-r.la/event/safety-blue-an-installation-in-5-acts/
LOCATION:CA
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/05/Safety-Blue_HRLA-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250610T000000
DTEND;TZID=America/Los_Angeles:20250621T235959
DTSTAMP:20250624T020917Z
CREATED:20250525T184926Z
LAST-MODIFIED:20250624T020917Z
UID:8854-1749513600-1750550399@www.h-r.la
SUMMARY:LA TIME | Matt Savitsky exhibition
DESCRIPTION:Reception: Friday\, June 13\, 5-7pm (Note: HRLA is in the curfew zone\, quite close to the perimeter; curfew starts at 8pm.) \n\n\n\nPerformance: Friday\, June 20\, 7-8pm \n\n\n\nGallery Hours: Wed-Sun 12-6pm & by appointment \n\n\n\nLA TIME uses live performance and video to reveal the space between headlines and lived experience.  \n\n\n\nBy using physical copies of the LA Times front pages\, stripped of images and held up to the Los Angeles landscape\, artist Matt Savitsky creates “picture windows” through which performers intervene in familiar public spaces. Here\, the news becomes a frame for queer expression\, with gestures that range from subtle (such as crossing a construction site) to bold (like stretching 200 feet of red fabric along a line of palm trees on a hilltop). \n\n\n\nStarted in 2021\, the project was developed in response to a lack of public space in contemporary life to grieve the atrocities carried out against our communities and locales. This work holds very special significance as it marks a return to public space after the pandemic and charts Savitsky’s reconnection to his community through performance work. This first staging at Human Resources will feature three of the project’s seven video works. \n\n\n\nThis project was funded by the Foundation for Contemporary Arts Grants to Artist Award\, New York\, 2022. FCA Artist Profile
URL:https://www.h-r.la/event/la-time-matt-savitsky-exhibition/
LOCATION:CA
CATEGORIES:exhibition,performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/05/VideoStill_03-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250524T190000
DTEND;TZID=America/Los_Angeles:20250524T190000
DTSTAMP:20250922T230307Z
CREATED:20250514T201226Z
LAST-MODIFIED:20250922T230307Z
UID:8813-1748113200-1748113200@www.h-r.la
SUMMARY:Aggregate: a performance by Linda Franke
DESCRIPTION:Performance by Linda Franke with Laura Stinger and Matthew McGaugheyTickets\, $8 (via WithFriends)A score for anarchistic behavior in public space.Featuring proportions of a soft mobile rock\, a cold sliding fence and spinning a fountain.Voices falling in and out of sync with colors.Moving something from one place to another.Pushing things that can´t be moved.Sliding and rolling the static.You have to be quick to find your new position in the composition.When the music stops you have to find a place to sit.Moving something suggests purpose.This thing is now over here. Where it should be?Being in and out of sync with machines that tell us what to do. Being in sync with people\, objects\, and immaterial things.Movement and voice are usually in sync."In sync" means being in a state where two or more people or things are working together at the same time and speed or are in agreement with each other. It can refer to actions\, ideas\, or even sounds that match well together. In between what is real and what is fake?How do we operate in the realm of half-real?We like that the prop appears real but is not.We want to indulge in imitation.Testing if our imagination is strong enough to overright the facts of reality.I am interested in special effects that reveal their mechanismsand so lose part of their magic but never completely.The expectation of the illusion and the revelation of nothing new. Again.Ideas of the performance as a spectacle where something is going to happen.Is something happening even when we just push something?I something happening when we don´t know what´s happening?Can dimensions function as an emotional map?How do the dimensions of objects in public space influence how I feel in my body and what possibilities I see for myself in this space?Dimensions express rules and establish territories.You look small next to this rock.The traffic light is three times the size of your belly.How do we read what performances the object in front of us suggestand what happens if we do something else?The idea of the fence is to block and protect.Could it be tender and playful instead\, with no job?The idea of a rock is that it's heavy and static\, maybe some of them roll.A human can only go around or over but never push it out of the way.The fountain is a place for rest and leisure\, it has an almost romantic atmosphere we don´t need it but we love it when it's around.Linda Franke was born in Dresden\, East Germany and is based in Los Angeles since 2017. Her work engages with the constants of human life by staging situations in which our daily routines are being transformed into absurd Tableaux Vivants. Found materials\, elaborately produced props\, 3D animations\, text collages and soundtracks\, create a cinematographic set that serves as the environment for her performers and the resulting video. Franke is a Graduate of Universität der Künste Berlin\, DE\, Chelsea School of Art and Design London\, UK and Academy of Media Arts Cologne\, DE. Besides Residencies at Sacatar Brazil\, BR\, CCA Glasgow\, UK or Impact Utrecht\, NL her work has been shown at Georg Kolbe Museum\, Berlin\, DE; Goethe Institut Montreal\, CA; Schaulager Barbara Thumm in Berlin\, DE; W139\, Amsterdam\, NL; Simultanhalle Cologne\, DE; Art Cologne\, DE; Film Festival\, Sao Paulo\, BR; Galapagos Art Space\, New York\, US; Moscow International Film Festival\, RUS; Soma Mexico City & Museo de Arte Contemporaneo de Monterrey\, MEX and Mars Gallery \,PAM\, Navel\, Femmebit Festival\, Neon Museum and the Box Gallery in Los Angeles.
URL:https://www.h-r.la/event/aggregate-a-performance-by-linda-franke/
LOCATION:CA
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/05/all-still.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250502T000000
DTEND;TZID=America/Los_Angeles:20250505T235959
DTSTAMP:20250428T164419Z
CREATED:20250419T190413Z
LAST-MODIFIED:20250428T164419Z
UID:8737-1746144000-1746489599@www.h-r.la
SUMMARY:other others // rehearsals in the skin
DESCRIPTION:Touch Praxis presents other others // rehearsals in the skin\, a four-day exhibition and programming series held May 2–5\, 2025 at Human Resources Los Angeles. This programming offers a collision of fleshy proximities\, felt theory (Dian Million\, 2009) and porous encounters. other others // rehearsals in the skin brings together artists\, practitioners\, and facilitators to explore how we relate\, connect\, and feel—together. \n\n\n\nImagining curation as a process of community building\, this layered project threads conversations across bodies\, decades and continents\, bringing into contact over 40 (old and new) collaborators. other others considers anti-colonial forms of touch as a method for collectively dreaming Disability justice\, ecological repair\, Palestinian liberation\, and queer futurity. \n\n\n\nRooted in an intersectional feminist “we” (Sara Ahmed\, 2018)\, other others asks: What does it mean to be in ethical contact with one another? How do we move through physical intimacies while navigating the systemic power structures that shape every encounter? \n\n\n\nThe exhibition features tactile\, sculpture\, audio\, interactive and digital works by Genevieve Belleveau\, Lauren Bon\, Vanessa Hernández Cruz\, Nat Decker\, Anne Juren\, Ericka Lopez\, Siphiwe Mbonambi\, Liz Nurenberg\, Ashton Phillips\, Teddy Pozo\, Jaklin Romine\, Laura Stinger and Touch Praxis. \n\n\n\nTouch-based performances will be held on Sunday\, May 4th from 4–6pm\, followed by an evening reception from 7–9pm. These personalized experiences are administered by a 5-person touch ensemble (Serene Bloin\, Jessica Hemingway\, Rashaida Hill\, Rachel Ho\, Nina Sarnelle\, and Selwa Sweidan). Sessions are limited and participants must sign up for a time slot in advance. Each participant will negotiate their interactions and level of contact with the ensemble; this work exists only in your body. \n\n\n\nScreening programs feature works by Basma Alsharif\, Genevieve Belleveau\, mayfield brooks\, Linda Franke\, Mona Hatoum\, Petra Kuppers\, Ericka Lopez\, Emilija Škarnulytė\, Maryam Tafakory\, Ryat Yezbick\, and Rima Yamazaki. \n\n\n\nA zine created for the exhibition collects haptic works by Rebecca Bruno\, Gabrielle Civil\, Megan May Daalder\, Alix Eynaudi\, Tala Khanmalek\, Petra Kuppers\, Courtney Mackedanz\, Kristin McWharter\, Postal Service for the Dead\, heidi andrea restrepo rhodes\, Hannah Rubin\, Cassie Thornton and Kim Upstill and Hana van der Kolk. \n\n\n\nA Palestine solidarity event featuring meital yaniv\, Basma Alsharif\, Mona Hatoum and For Your Viewing Pleasure raises funds for mutual aid in Gaza. \n\n\n\nTouch Praxis is a collective research project led by Selwa Sweidan and Nina Sarnelle exploring touch as a time-based medium and form of co-creative knowledge. The exhibition also includes videos from their archive of embodied interviews with Zena Bibler\, Vanessa Hernández Cruz\, Maeve Devine\, Jessica Hemingway\, Khalia Frazier\, Odeya Nini\, Tyby Reddy\, Jaklin Romine\, Tyra Wigg\, and Kim Ye. \n\n\n\nThe full program of screenings\, readings\, and performances are listed below. \n\n\n\nSCHEDULE OF EVENTS \n\n\n\nFriday May 2Gallery Open 12:00 – 7:00 pm \n\n\n\nSaturday May 3Gallery Open 12:00 – 6:00pmSkin of the Film (screening program) 6:00 – 8:00 pm [event link] \n\n\n\nSunday May 4Gallery Open 12:00 – 3:00 pmIndividual Touch Performances (rsvp required) 4:00 – 6:00 pm [signup link]Reception 7:00 – 9:00 pm \n\n\n\nMonday May 5Gallery Open 12:00 – 7:00 pmSkin Thickens // Touching a Free Palestine (fundraiser) 7:00 – 9:00 pm [event link] \n\n\n\nTuesday May 6Gallery Open by appointment \n\n\n\nFor more information reach out to touchpraxis [at] gmail.com
URL:https://www.h-r.la/event/other-others-rehearsals-in-the-skin/
LOCATION:CA
CATEGORIES:exhibition,fundraiser,performance,screening
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2025/04/otherothers-v3.png
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250329T000000
DTEND;TZID=America/Los_Angeles:20250409T235959
DTSTAMP:20250319T051527Z
CREATED:20250315T024059Z
LAST-MODIFIED:20250319T051527Z
UID:8674-1743206400-1744243199@www.h-r.la
SUMMARY:BUL
DESCRIPTION:Opening reception and book launch: Saturday\, March 29\, 6 – 9pmClosing performance: Wednesday\, April 9\, 7:30pm  \n\n\n\nBUL is a multi-media installation of Christine Yerie Lee’s experimental rock opera BUL (2023) and its newly completed sequel SWAN SONG (2025). This ongoing project is inspired by both the Korean folktale of the Bulgasari\, an iron-eating monster who liberates the oppressed by devouring the weapons of the corrupt\, and the North Korean film Pulgasari (1985)\, a Godzilla-esque work that was directed by South Korean Shin Sang-Ok while being held captive by North Korean leader Kim Jong Il. BUL reimagines the ancient monster and forms an untimely meditation on ancestry\, kinship\, and what the future owes the past. \n\n\n\nWritten in five acts\, BUL (2023) reimagines the monster as an orphan named BUL who finds herself in the throes of love in the City of Angels. Through pastiches of 20th century cultural forms such as the pop song\, black box theater\, and music videos\, BUL shapeshifts through different dimensions to survive the changing times. The project includes personal memoir\, collaborative scores\, choreography inspired by communist political gestures\, and an original soundtrack. Lyrics were crowdsourced from Lee’s community then stitched into a collective sonic love history by LA-based band muff. \n\n\n\nWhile BUL is built upon the harmonic melodies and lyricism of pop songs\, SWAN SONG gear-shifts into dissonance and glitches as modality. Conceived as an instrumental opera and visualized as a silent film\, SWAN SONG depicts an intergenerational encounter between a now world-weary BUL and her estranged human great-great-great-granddaughter\, CY at the Salton Sea in Imperial County\, California. Their transmission is expressed in a “monster language” composed of ancient and contemporary instrumentation and movement choreography. BUL’s voice is expressed through the saenghwang\, an ancient Korean free reed mouth organ said to echo a phoenix’s cry\, while CY is voiced by the harmonica\, an instrument that descends from the saenghwang. The soundscape merges the Korean folk tradition of pansori (musical storytelling) and the American blues\, and evokes an imaginative ancestral lineage and dialogue between past\, present and future. \n\n\n\nThe final act features five performers enacting shifting poetics of relations by using the languages of synchronized animal movements (starling murmurations\, ant death circles\, locust swarms)\, pop culture (the wave\, line dancing)\, traditional Korean dance\, and also choreography that references and abstracts geopolitical borders between the U.S.\, Russia\, China\, North Korea\, and South Korea. If BUL focuses on the ecstasies and tragedies of the relationship between self and other\, SWAN SONG complicates the desire to belong to something greater than oneself by asking: Where do the self and the collective body begin and end? Who defines a border? How do we become borderless? \n\n\n\nThe opening reception will also host the book launch of BUL (2025) published with FRIEND EDITIONS (New York). The exhibition closes with the open-mic event “Bulgasari LA” with permission from original event founder Lee Han-joo. Bulgasari events began in Seoul in 2003 and are an ongoing showcase of experimental music\, avant-garde art collaborations\, and improvisational performances. \n\n\n\nThe project was funded in part by the College Art Association’s Visual Arts Fellowship\, multiple grants from the California Institute of the Arts\, and the Foundation for Contemporary Arts Emergency Grant. BUL is organized by Ajani Brannum.
URL:https://www.h-r.la/event/bul/
LOCATION:CA
CATEGORIES:exhibition,music/sound,performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/03/bul_flyer-scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250312T193000
DTEND;TZID=America/Los_Angeles:20250312T210000
DTSTAMP:20250526T003148Z
CREATED:20250218T190512Z
LAST-MODIFIED:20250526T003148Z
UID:8651-1741807800-1741813200@www.h-r.la
SUMMARY:Héctor Álvarez: The School of Memory
DESCRIPTION:Free admission ($5-20 suggested donation); click here to RSVP \n\n\n\n\n\n\n\nA participatory performance-lecture by Héctor Alvarez\, with Juniper Jones \n\n\n\nThe School of Memory is now in session. But this is no ordinary classroom. Here\, memory becomes both subject and teacher. Through storytelling and guided reflection\, The School of Memory transforms personal genealogy into a collective exploration of how we carry—and sometimes bury—our inherited histories. \n\n\n\nDrawing from his family’s complex relationship with Spanish Fascism and a propagandistic 1970s Franco-era television show\, Alvarez weaves together intimate narrative and participatory exercises that invite audiences to excavate their own familial and national histories. Together\, we’ll illuminate the shadows where untold stories reside\, examining not just who we remember\, but what we choose to forget—and why. \n\n\n\nHéctor Alvarez is an experimental artist from Spain working in performance\, theater\, film\, and opera. His work has been presented in Madrid\, Chicago\, New York\, Los Angeles\, Hong Kong and Mexico City. He is a Princess Grace Award Winner\, Drama League Directing Fellow\, Watson Fellow\, and was the Theodore U. Horger Artist-in-Residence in the Performing Arts at Lehigh University in 2023-2024. He now lives in Atlanta\, where he is assistant professor of Theater Studies at Emory University. \n\n\n\nThe School of Memory has been awarded the 2024 Humanity in Action Democracy Fellowship. This program brings together remarkable thinkers and doers from across the European Union\, Ukraine\, the United Kingdom\, and the United States. Fellows spend one year developing projects that reimagine democratic spaces while exploring the politics of memory.
URL:https://www.h-r.la/event/hector-alvarez-the-school-of-memory/
LOCATION:CA
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/02/School-of-Memory-Image-.001.jpeg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20241130T200000
DTEND;TZID=America/Los_Angeles:20241130T223000
DTSTAMP:20250526T003408Z
CREATED:20241128T232450Z
LAST-MODIFIED:20250526T003408Z
UID:8571-1732996800-1733005800@www.h-r.la
SUMMARY:First Draft
DESCRIPTION:First Draft is an evening of experimental works in process for Los Angeles based performing artists. This season’s lineup includes Jeremy Guyton\, Katherine Helen Fisher\, Eleanor Erdman (with Laura Bartczak and Kendra Adler)\, and William Ruíz Morales​. Purchase tickets here.
URL:https://www.h-r.la/event/first-draft-4/
LOCATION:CA
CATEGORIES:dance/movement,performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/11/IMG_0305-1.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20241115T180000
DTEND;TZID=America/Los_Angeles:20241115T200000
DTSTAMP:20241107T045039Z
CREATED:20241105T230012Z
LAST-MODIFIED:20241107T045039Z
UID:8524-1731693600-1731700800@www.h-r.la
SUMMARY:Disconsent: Faith
DESCRIPTION:A participatory performance by Aliza Shvarts  \n\n\n\nHuman Resources Los Angeles presents Disconsent: Faith\, a one-on-one performance by Aliza Shvarts on Thursday\, November 15 from 6-8pm. This performance is presented off-site. \n\n\n\nSit down and you will hear a story about a time when someone consented or dissented in the context of religion or faith. Then tell this story back\, “reversing” the terms of consent or dissent. This reversal can range from simply replacing the terms used in the original narrative (i.e. replacing “yes” with “no”) to inventing new details entirely. After that\, tell a story of your own about a time you consented or dissented in the context of religion or faith. This will be the story told as accurately as possible to the next person. Your voice will be recorded\, but not your image. \n\n\n\nDisconsent: Faith is a live iteration of Shvarts’ broader Disconsent series\, which examine the relationships between consent\, which often takes the form of a speech act\, and its imperfect opposite—dissent—which often exceeds speech to take the form of silence\, protest\, or other forms of bodily action. \n\n\n\nTo respond to the artist’s invitation & request a time\, please fill out this form. Once we have coordinated appointments\, we will send a confirmation email with details.
URL:https://www.h-r.la/event/disconsent-faith/
LOCATION:CA
CATEGORIES:off-site event,performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/11/Disconsent-Faith-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20241030T190000
DTEND;TZID=America/Los_Angeles:20241030T190000
DTSTAMP:20250812T103526Z
CREATED:20241023T042329Z
LAST-MODIFIED:20250812T103526Z
UID:8498-1730314800-1730314800@www.h-r.la
SUMMARY:Person2Person: Hurricane Helene Relief Fundraiser
DESCRIPTION:💛 PERSON 2 PERSON 💛  \n\n\n\nLast month Hurricane Helene devastated the South and especially western North Carolina. Many people in the area lost lives\, homes\, jobs. The recovery is far from over; you can help by attending Person 2 Person\, a hurricane relief fundraiser at @humanresourcesla \n\n\n\n💛💛💛 \n\n\n\n410 Cottage Home st. Chinatown Wednesday October 30 Doors 7 pm Show at 8 Till midnight or later $10 suggested donation NOTAFLOF \n\n\n\n💛💛💛 \n\n\n\nPerformance and video by:  \n\n\n\nAbhora (@abhora_rules)\, Ching Ching Cheng (@chingchingcheng)\, Dusk (@dvvsk_)\, Siri (@siri_eh)\, Thirstie Alley (@thirstie.png)\, Jessica Hemingway (@germanhemingway)\, Blaque Tea (@blaque.tea)\, Popcorn (@naughtypopcorn)\, Samara (@thesamara66)\, Travesdee (@travesdee)\, Poodle Moran (@xopoodle)\, Nano Arenado (@narenado)\, Thalia Williamson (@thaliatattooresearch)\, Donna Puttana (@donnaputtana)\, Coco Ono (@kayla.tange)\, Ava (@ava_satinluxe)\, Die Anna (@yourdeadsister)\, Наbibah (@habibah.w.bas)\, Foxie Adjuia (@foxieadjuia)\, Baexjing (@baexjing)\, Barr (@b.fowler.account) \n\n\n\nHosted by \n\n\n\nPage Person (@page__person)  \n\n\n\nMusic by  \n\n\n\nPrincess Dimebag (@princessdimebag)  \n\n\n\n💛💛💛 \n\n\n\nVisual art auction featuring works by:  \n\n\n\nAlex Kerr (@kerrkerrkerrkerr)\, Elizabeth Howland (@elizabethhowland)\, Badly Licked Bear (@badlylickedbear)\, Luka Fisher (@lukafisher)\, Andrea Nhuch (@thenhuch)\, Ching Ching Cheng (@chingchingcheng)\, Hallie Mcneill (@hallie_mcneill)\, Joy Ray (@joyrayart)\, Negar Zonoobi (@negar_zonoobi)\, Mehregan Pezeshki (@mehreganpezeshkistudio)\, Emily Mast (@ohemilymast)\, Page Person (@page__person) \n\n\n\n💛💛💛 \n\n\n\nAid will be distributed to on-the-ground grassroots orgs including:  \n\n\n\n@pansy.collective @belovedasheville @riverartsdistrictasheville  \n\n\n\n💛💛💛 \n\n\n\nFlyer by Thirstie Alley (@thirstie.png)Bar Sponsored By World Harvest Food Bank
URL:https://www.h-r.la/event/person2person-hurricane-helene-relief-fundraiser/
LOCATION:CA
CATEGORIES:fundraiser,music/sound,performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/10/664DE349-5417-4712-9428-6F3A1BF6B117.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240928T200000
DTEND;TZID=America/Los_Angeles:20240928T233000
DTSTAMP:20240830T184153Z
CREATED:20240830T183953Z
LAST-MODIFIED:20240830T184153Z
UID:8410-1727553600-1727566200@www.h-r.la
SUMMARY:MIRRORED FATALITY: LABUAD MEKLOOQ
DESCRIPTION:Doors at 8pm; performance at 9:30pm \n\n\n\n\n\n \n\n\n\n\n\n\n\nIt’s 3034 on ECOCIDE 3URTH\, and the corpses of natural ecosystems of planet Earth murdered by apathetic humans and artificial intelligence are seeking vengeance. A transmuted species formed from the lava eruption of Mount Pinatubo\, a dormant stratovolcano awakened after 500 years on Philippines’ Araw ng Kalayaan during U.S.A’s occupation and the ruins of floods and cyclones of post-partition South Asia after British rule are born – the labuad me looks. \n\n\n\nmirrored fatality: Láwû Makuriye’nte & Samar Dagger bring to Human Resources LABUAD MEKLOOQ\, a live biohacking performance in which the cross disciplinary performance punk duo transmutes as labuame looksqs— a multispecies of beaststerritoriesds\, and transhumans in their immersive biome ECOCIDE 3URTH. Experimenting for this immersive installation/performance with decolonial regeneration as their voice\, wearable sculptures\, and movement trigger an industrial and noise live score with vocals in Kapampangan\, Urdu\, and English. The material pulls from the duo’s album LABUAD MEKLOOQ\, released in 2024\, and their internationally screened mixed-reality films. \n\n\n\nThis project is the 2023-2024 Commission by Boss Witch Productions\, an artistic production company focused on the intersection of experimental sound art\, ritual performance\, video art\, and transmedia collaboration within natural landscapes and unusual performance sites founded in 2021. This year’s commission in partnership with mirrored fatality features creative collaborations with 24+ international Trans\, Queer\, QTBIPOC\, and underground experimental multidisciplinary artists across fashion\, prosthetics\, mixed-reality visuals\, sound art\, facilitated movement\, and handcrafted noise instruments.
URL:https://www.h-r.la/event/mirrored-fatality-labuad-meklooq/
LOCATION:CA
CATEGORIES:music/sound,performance
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2024/08/mf-BWP-2-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240921T200000
DTEND;TZID=America/Los_Angeles:20240921T220000
DTSTAMP:20250812T103508Z
CREATED:20240910T174814Z
LAST-MODIFIED:20250812T103508Z
UID:8427-1726948800-1726956000@www.h-r.la
SUMMARY:MSHR: Network Entity
DESCRIPTION:UPEND presents a live audio visual performance from MSHR \n\n\n\nNetwork Entity: A Live Rendered Sonic Sculpture System \n\n\n\n{ { RSVP } } \n\n\n\nMSHR upends L.A. with back-to-back nights of performance at Human Resources\, each night featuring a distinct mode of the Portland\, Oregon-headquartered collective’s networked visual artwork\, soundwork\, feedback\, and shape shift. \n\n\n\nOn night two\, MSHR will perform NETWORK ENTITY\,  a live audiovisual improvisation which will see their hyper-cyber-extended cinema projected upon the grand wall of Human Resources. Within the video signal and 4-channel audio realm of NETWORK ENTITY\, “sculptural and sonic shapes are formally linked in an ever-mutating composition.” MSHR’s interplay with the shape-shifting is\, of course\, via instruments of their own devise: sculptural electronic interfaces and open source software structures. MSHR is a collective comprised of Brenna Murphy and Birch Cooper. \n\n\n\nThis event is free\, however\, donations are welcome. Click above to RVSP and/or donate in advance. \n\n\n\nAlso come through HR the previous night to catch MSHR performthe latest iteration of their live sound-sculpture cycle\, plus sets by Slipper and Jonathan Snipes.
URL:https://www.h-r.la/event/mshr-network-entity/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/09/MSHR-UPEND-2024-saturday-obj0554.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240920T200000
DTEND;TZID=America/Los_Angeles:20240920T230000
DTSTAMP:20240910T211446Z
CREATED:20240910T172749Z
LAST-MODIFIED:20240910T211446Z
UID:8421-1726862400-1726873200@www.h-r.la
SUMMARY:MSHR / Slipper / Jonathan Snipes
DESCRIPTION:UPEND Presents \n\n\n\nMSHR \n\n\n\nSlipper  \n\n\n\nJonathan Snipes \n\n\n\n[ [ TICKETS ] ] \n\n\n\nMSHR upends L.A. with back-to-back nights of performance at Human Resources\, each night featuring a distinct mode of the Portland\, Oregon-headquartered collective’s networked visual artwork\, soundwork\, feedback\, and shape shift. \n\n\n\nOn night one MSHR unfurls the latest iteration of their live sound-sculpture cycle. Performing in the round on a menagerie of fantastical sculptures\, novel instruments that can emit light\, audio signal\, and data AND – through custom circuitry and software – process the emissions of neighboring sculptures\, MSHR coax a wild electronic stew of chirp\, click\, pulse\, zap\, and pow\, through a four-channel speaker system\, fully enveloping the audience in the intermedia drama. MSHR is a collective comprised of Brenna Murphy and Birch Cooper. \n\n\n\nChloé Marrata – formerly one half of the heroic sui generis DIY duo Odwalla1221 – shares her solo project\, Slipper. Within\, Maratta continues to explore an intuitive and intimate sample based language\, a perfect match for her own idiosyncratic vocal style and sassy aesthetics. \n\n\n\nNo sound concept or technique is beyond the reach of Jonathan Snipes. His all-too-rare solo outings – which can take the form of ad hoc electroacoustic devices or various digital precisions – ever make the sonic seem elastic. \n\n\n\nAlso come through HR the following night to catch another mode of the Portland\, Oregon-headquartered collective’s networked visual artwork\, soundwork\, feedback\, and shape shift\, as MSHR peforms Network Entity.
URL:https://www.h-r.la/event/mshr-slipper-jonathan-snipes/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/09/MSHR-UPEND-2024-friday-obj0560-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240912T000000
DTEND;TZID=America/Los_Angeles:20240913T235959
DTSTAMP:20240909T140909Z
CREATED:20240909T140908Z
LAST-MODIFIED:20240909T140909Z
UID:8429-1726099200-1726271999@www.h-r.la
SUMMARY:Holly Harrell: The argument at the family barbecue the day after the office St. Patrick’s Day party
DESCRIPTION:Thursday\, September 12 and Friday\, September 13\, 7pmA surgical exquisite corpse. An eternal reoccurrence. A replica made from memory with no skills to work with.A two day participatory performance. The first night we investigate the space\, take it apart and then rebuild it from memory with no references. The second night we activate the space through improvised situations which force us to negotiate an unfamiliar circumstance.Through this activation we unmake what was made. \n\n\n\nHolly Harrell subverts genres in an attempt to find what confronts us in reality and in between realities\, bifurcating the varied experiences of the audience.
URL:https://www.h-r.la/event/holly-harrell-the-argument-at-the-family-barbecue-the-day-after-the-office-st-patricks-day-party/
LOCATION:CA
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/09/Screenshot-2024-07-25-at-12.05.10-PM.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240707T190000
DTEND;TZID=America/Los_Angeles:20240707T203000
DTSTAMP:20240826T164708Z
CREATED:20240626T182443Z
LAST-MODIFIED:20240826T164708Z
UID:8334-1720378800-1720384200@www.h-r.la
SUMMARY:Page Person: GREEN SCREEN VOCAL SAC
DESCRIPTION:A meditation on our relationships with nature and technology\, GREEN SCREEN VOCAL SAC invites attendees to use their phone/device to playback a video (accessible via QR code) to create an environment in which the artist will tell a story from a recent experience with a population of California tree frogs in the San Gabriel mountains. Audience participation is intended to foster community thinking; not only between us as individuals but also with the various other life forms whose needs intersect with ours. How can we imagine new ways of thinking about our environment while acknowledging our complicity in its destruction? What does interspecies learning look like? What is love and how can we sustain it? Does evolution favor competition or interdependence? What is in the water and is it making the frogs gay?Page Person (M. Page Greene; 1972\, Atlanta) is a visual and performing artist based in Los Angeles. Their work has been exhibited in galleries including Peres Projects\, Stuart Shave/Modern Art and Deitch Projects; museums such as the Hammer Museum\, The New Museum\, DESTE Foundation\, Kunsthalle Schirn\, and Kunsthalle Vien. Person’s work has been reviewed in Artforum\, Frieze\, The New York Times\, The Believer\, Artillery\, Flash Art\, The Wall Street Journal and the Village Voice. Their work is in the permanent collections of the Hammer Museum\, Museum of Modern Art\, Museum of Contemporary Art\, Frank Cohen Collection\, DESTE Foundation and the Luckman Gallery of Los Angeles City College. Person has performed at the Hammer Museum\, the Broad Museum\, LAXART\, Glasslands\, Los Angeles LGBT Center\, Human Resources\, Los Angeles Nomadic Division\, and in queer nightlife spaces throughout Los Angeles.
URL:https://www.h-r.la/event/page-person-green-screen-vocal-sac/
LOCATION:CA
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/06/IMG_2056-Copy-scaled.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240615T000000
DTEND;TZID=America/Los_Angeles:20240623T235959
DTSTAMP:20240617T191553Z
CREATED:20240522T203121Z
LAST-MODIFIED:20240617T191553Z
UID:8250-1718409600-1719187199@www.h-r.la
SUMMARY:Rehearsals for A Color Play
DESCRIPTION:Anna Betbeze and HR present: Rehearsals for A Color Play \n\n\n\nGallery Hours: Thursday-Sunday\, 12 – 6pmOpening: Saturday\, June 15\, 4 – 6pmOpen rehearsals: Friday\, Saturday\, and Sunday\, June 21 – 23\, 4 – 6pmClosing Reception: Sunday\, June 23\, 6 – 8pm \n\n\n\n\n\n\n\nRehearsals for A Color Play is an experiment\, an invitation\, a painting\, a stage\, and a score. A space to consider that color is a live material\, extra-visual\, beyond optical/retinal sensation. Using dyed fabrics as its central material\, curtains\, shrouds\, veils\, clothing\, and flags become sites for color language\, expressivity\, kinetic form\, and social and political organization. \n\n\n\nRehearsals will be the first phase in an ongoing project\, A Color Play\, that interrogates the expressive aspects of color. Color here is not theoretical\, it is tethered to experience and cannot be unbound or contained\, it bounces; reflects\, seeps\, touches\, an active catalyst for all kinds of change.  \n\n\n\nEach day will perform a chapter\, each chapter an inquiry into hidden aspects of color. The first chapter\, The Swamp\, will play with color’s ruinous\, entropic\, and muddy aspects; the potential for synaesthetic landscape\, fusing ends with beginnings. Each chapter will follow the last\, improvisationally\, an open ended project designed to change course.  \n\n\n\nBetbeze invites participants and showgoers to play and intervene in the set\,  and/or to sit\, lounge\, contemplate\, listen. Rehearsals will be held 4 – 6 pm Friday\, Saturday and Sunday. The stage set will be on display for viewing during gallery hours\, 12 – 6 pm. \n\n\n\n\n\n\n\nRehearsals for a Color Play extends and bridges Anna Betbeze’s experiments with touch and the tactile sense. This project marks the beginning of experiments into the psychological\, social\, and affective registers of color\, through returning color to the tactile\, material world.   \n\n\n\nThe immediacy and honesty of sensation reveal complexities in human experience that can critique\, destabilize\, and de-center the dominance of visual perception in contemporary culture.We exist within a world that is increasingly circumscribed by the optics of digital technology\, and its concomitant limitations and expansions of the perceivable world. Centering sensation allows me to consider the fullness and ephemerality of lived experience and the true urgencies of this moment alongside the supposed deathlessness of artistic creation.  \n\n\n\nSpecial thanks to: HR\, Aimee Goeblins Gougen\, John Buttdial\, Jennifer Doyle\, Andre Keichian\, Corazón Del Sol\, Jason Gowans\, The Guggenheim Foundation\, BAU Institute\, Camargo Foundation and University of California-Riverside.  
URL:https://www.h-r.la/event/anna-betbeze-and-hr-present/
LOCATION:CA
CATEGORIES:Artist in Residence,exhibition,performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/05/anna.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240610T200000
DTEND;TZID=America/Los_Angeles:20240610T220000
DTSTAMP:20240818T005218Z
CREATED:20240529T185821Z
LAST-MODIFIED:20240818T005218Z
UID:8278-1718049600-1718056800@www.h-r.la
SUMMARY:First Draft
DESCRIPTION:Tickets are $5 – 20\, sliding scale; click here to purchase. \n\n\n\nFirst Draft is an evening of Experimental Works-in-Process for Los Angeles based dance and performance artists. The evening serves as a creative laboratory for wide-ranging artistic investigations in movement-based mediums for artists at all stages of their creative development. This round’s artists include Will Rawls\, Sophia Cleary\, Jay Carlon\, and Maya Gurantz. \n\n\n\nFirst Draft was instigated and is curated and produced by Emily Barasch. Emily is honored to continue curating First Draft\, she feels passionately about bringing local Los Angeles experimental performance artists together and creating more spaces for connection\, experimentation\, and exchange!
URL:https://www.h-r.la/event/first-draft-3/
LOCATION:CA
CATEGORIES:performance
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240609T193000
DTEND;TZID=America/Los_Angeles:20240609T210000
DTSTAMP:20240517T205512Z
CREATED:20240517T203550Z
LAST-MODIFIED:20240517T205512Z
UID:8233-1717961400-1717966800@www.h-r.la
SUMMARY:WET NIGHTMARES: transvestiary of horrors
DESCRIPTION:Spiritual sessions with popper-induced trances\, lycanthropic nahual strippers\, anal vampiresses. Binding spells sealed with a rain of blood\, satanic dances. Sexual pacts with demonic entities and orgies with transsexual “tlahuelpuchis” that produce wet nightmares. These are some of the acts on offer in this Los Angeles debut by Lechedevirgen. Lechedevirgen crosses sexual dissidence and performance art with horror and mesoamerican mysticism. The monstrosity of non-binary trans BIPOC identities are deployed as figures of political transformation\, staging decolonizing raids against white supremacist\, transphobic\, heteropatriarchal mechanisms of stigmatization\, pathologization and criminalization.  \n\n\n\n“En mi tierra no somos queer\, somos jotxs. En mi tierra no somos drag queens\, somos travestis. En mi tierra no hacemos performance art\, hacemos brujería.” \n\n\n\nTickets ($15) available via WithFriends.
URL:https://www.h-r.la/event/wet-nightmares-transvestiary-of-horrors/
LOCATION:CA
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/05/Wet-Nightmare-Lechedevirgen-Photo-Herani-Enriquez-.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240426T000000
DTEND;TZID=America/Los_Angeles:20240428T235959
DTSTAMP:20240422T035925Z
CREATED:20240319T223133Z
LAST-MODIFIED:20240422T035925Z
UID:8018-1714089600-1714348799@www.h-r.la
SUMMARY:VENUS 2.0
DESCRIPTION:Friday and Saturday performances begin at 8pm; Sunday performance begins at 6pm. Click here to purchase tickets. \n\n\n\nVENUS 2.0 is a large-scale multi-media music performance by Tyler Matthew Oyer. \n\n\n\nSet within a fantastic and dystopian dream-like sculptural and light installation\, Oyer creates a full-length performance concert that combines their history with and research into the nightclub\, esoteric rituals\, experimental/queer theatre\, and altered states of reflection\, ecstasy\, and togetherness. The movement of two performers mimics the celestial orbit of Earth and Venus as they orbit the sun – a metaphorical exploration of queer relationality beyond this planet and its oppressive forces. \n\n\n\nIn this gestamkunstwerk\, the connective tissue is Oyer’s original music album BERLIN ALIEN. \n\n\n\nVENUS 2.0 is a conjuring. It is a fantasy. It is a temporary release from the here and now. \n\n\n\nCo-performer and choreographer: Kevin Zambrano (Dorian Electra\, Post Malone\, The Weeknd\, Solange\, Charli XCX\, Anna Teresa De Keersmaeker\, Gerard & Kelly\, Andy Blankenbuehler\, West Side Story Broadway debut) \n\n\n\nLighting design: Veslemøy Rustad Holseter (lighting design at Berghain Ostgut\, Trauma Bar und Kino; performs as Grinderteeth) \n\n\n\nStage design: Luc Sequeira \n\n\n\nLocation: Human Resources Los Angeles (Chinatown) \n\n\n\nThis performance is funded in part by the Foundation for Contemporary Arts\, NY.
URL:https://www.h-r.la/event/venus-2-0/
LOCATION:CA
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/03/VENUS_2-Copy.jpeg
END:VEVENT
BEGIN:VEVENT
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/
LOCATION:CA
CATEGORIES:exhibition,music/sound,performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/03/Nite_image.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240419T200000
DTEND;TZID=America/Los_Angeles:20240419T213000
DTSTAMP:20240826T164139Z
CREATED:20240404T195214Z
LAST-MODIFIED:20240826T164139Z
UID:8047-1713556800-1713562200@www.h-r.la
SUMMARY:WRITING ON RAVING: LOS ANGELES
DESCRIPTION:Writing on Raving is a reading and performance series curated by Zoë Beery\, Geoffrey Mak and McKenzie Wark. The series opens a space for critical thinking\, creative language\, and verbal performance that celebrates\, critiques\, contextualizes\, and vibe-checks the rave\, the club\, the dance floor\, and techno from diverse and unheard perspectives. Featuring readings and performances by Zoë Beery\, Sebastian Hernandez\, Haley Hopkins\, Michelle Lhooq\, Geoffrey Mak\, Natalie Robehmed and weepingwillowtree.  \n\n\n\nZoë Beery is a journalist and harm reduction worker in Brooklyn. She has co-organized safer spaces programs for Nowadays\, Sustain-Release\, Horst Arts & Music\, and Return to the Source. Her writing has appeared in the New York Times Magazine\, the Atlantic\, Resident Advisor\, and many other publications. Sebastian Hernandez is a multi-disciplinary artist and DJ\, who received a B.A. in both Art Practice and Dance and Performance Studies from the University of California Berkeley. Sebastian explores making art with mediums like movement\, sculpture\, performance\, photography\, creative writing and DJing. Hernandez works with and through feminist\, queer\, indigenous and gender theoretical frameworks as well as notions of collectivity to generate works that complicate Mexican and Chicano narratives in the contemporaneous social imagination. Their art making is embedded in personal narrative\, their indigenous Mexica (Aztec) ancestry\, queer club culture and the history of the brown body in relation to the U.S.-Mexico borderland. Sebastian’s movement based practice is informed by their long standing practice of danza Mexica (Azteca)\, Vogue and a wide range of modern dance techniques like GAGA\, Flying Low\, Laban and Afro Modern. Expanding and growing from solo works to more collaborative art works and performances\, Sebastian has worked with a variety of visual\, sound\, dance and fashion designers specific to their hometown of Los Angeles. These collaborative works have become a channel for new creative challenges that push to question and speak to the complexities of queer kinship and traditional art and dance today. Hernandez has presented work at REDCAT\, Human Resources\, LACE\, Commonwealth& Council\, MOCA Geffen Contemporary\, ICA LA\, MUSTACHE Mondays\, Club Scum\, NAVEL LA\, ONE ARCHIVES\, 4th street Bridge\, Santee Alley\, BOFFO\, Performance Space New York\, Palm Spring Art Museum\, Jessica Silverman Gallery and more. In 2020\, Sebastian was the recipient of the Rema Hort Mann Emerging Artist Award.  \n\n\n\nhaley hopkins is a longtime dancer and friend to the rave scene. They have a background in performance art\, critical theory and herbalism.  In the daytime world they work with native plants\, art handle and write.  They’re concerned with exploring/exploding power dynamics and playing language games\, they feel devotion to class analysis and dirt.   \n\n\n\nMichelle Lhooq is a writer who\, by some combination of tenacity and youthful stupidity\, decided to make a career out of being really\, really good at partying. She was born in Singapore\, an anti-hedonic country that William Gibson famously called “Disneyland with the death penalty\,” and growing up under its extreme restrictions on assorted freedoms made her obsessed with drugs and nightlife like a bad kink. Lhooq’s work\, mainly published in her newsletter Rave New World\, is currently centered on the shifting paradigms of counterculture\, underground raves\, and psychedelics. She is the author of  WEED: Everything You Want to Know But Are Always Too Stoned to Ask (Penguin Random House)\, and her writing can also be found in The Guardian\, GQ\, The Los Angeles Times\, and Bloomberg. Once in a blue moon\, she throws psychedelic parties in Los Angeles\, where she is based. \n\n\n\nGeoffrey Mak is the author of Mean Boys: A Personal History. His writing has appeared in The New Yorker\, The Paris Review\, Artforum\, The Guardian\, Spike\, and other publications. He has staged “performative readings” at Swiss Institute\, CTM Festival\, Kaje\, and The Lab. He lives in Brooklyn.  \n\n\n\nNatalie Robehmed (aka Ghorba) is a Lebanese-British writer\, musician and DJ. She has performed alongside artists including Rrose\, Mama Snake and Light Asylum across the U.S. and Europe. She co-created the Feminist Synth Lab\, a workshop series and synthesizer lending library for marginalized genders in Los Angeles. Her writing has appeared in Forbes and CNN as well as on several hit podcasts. Brought up in the U.A.E\, they are now based in Los Angeles.  \n\n\n\ncleo (weepingwillowtree) is a DJ and digital media artist from Palmdale. The majority of her work explores themes of horror\, self discovery and acceptance\, and her roots as a black trans woman.  \n\n\n\nAdmission to this event is free. HR’s entrance is accessible via ramp\, and an ADA-compliant restroom is located on our ground floor. Indoor mask use is recommended.
URL:https://www.h-r.la/event/writing-on-raving-los-angeles/
LOCATION:CA
CATEGORIES:performance,reading
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/04/image0-1.jpeg
END:VEVENT
BEGIN:VEVENT
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/
LOCATION:CA
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
END:VEVENT
END:VCALENDAR