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DTSTART;TZID=America/Los_Angeles:20181220T200000
DTEND;TZID=America/Los_Angeles:20181221T170000
DTSTAMP:20260423T070304
CREATED:20181128T025056Z
LAST-MODIFIED:20190126T164257Z
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SUMMARY:Kayla Tange: Defining Boundaries
DESCRIPTION:Performance and Opening December 20th 8pm \nGallery Hours December 21st\,  12-5pm \nHuman Resources (HRLA) presents a multimedia installation and performance by Kayla Tange. Defining Boundaries explores the construction of boundaries that protect sacred interiority. Tange’s performance utilizes ritual\, sound\, ephemeral architecture and collected confessions (including her own) in an attempt to establish psychic\, emotional and physical boundaries\, guarding against abuse and trauma; elements heavily circulating in our current political climate. \nIn these times\, it is essential that we practice empathetic listening toward our friends\, family\, and community at large. Yet\, do we even have the resources\, strength\, or methods to protect our own psychic energy? Defining Boundaries is a manifestation of sanctuary; a necessary action for when our vulnerability is exhausted or abused. Retreat and the cultivation of personal sacred space opens dialogue\, and acceptance surrounding communal elevation out of racial and sexual proliferation. \nTange uses her experience as a sonic medium to build an atmosphere rife with sex\, shame\, secrets\, and identity. In Defining Boundaries\, Tange projects into Human Resources the recorded confessions collected in past performances—Confession Box (2015-2016)\, A Bare Witness (2016) and Boundaries (2016-2018)— where public space became an interactive confessional. Unlike previous performances where her own sexual vulnerability was used to allow others to expose theirs\, Tange now paints a filter from the confessions as the audience reflects on their own capacity to build a protected interiority. The physical boundary she designs within\, resembles a white a cube; a space not so different than the interior of white galleries that art critic Brian O’Doherty reflects upon. “The outside world must not come in\, so windows are usually sealed off. Walls are painted white. The ceiling becomes the source of light . . . . The art is free\, as the saying used to go\, ‘to take on its own life.’” \nDefining Boundaries is a call to protect interior worlds\, tight-knit artistic communities and to celebrate the words of Anais Nin: Had I not created my whole world\, I would certainly have died in other people’s. This two day performance and installation urges for self-preservation against confessions representing larger issues\, including addressing the media saturated with sexist representations mirroring the interconnected power of patriarchy and capitalism. Although we are exposed to the intimate disclosures Tange has collected\, we witness her enacted isolation; a process that inspires insulation and protection of our own sacred interior spaces. Once this internal dominion is created\, the self re-connects and re-gathers the deeply buried\, fragmented inner parts and welcomes refuge where stillness and the inner workings of the mind\, heart and spirit expand. \nKayla Tange was born in South Korea in 1982\, and adopted at age six months by a Japanese American family residing in Lemoore\, California. She moved to Los Angeles in 2000 and her love for photography slowly progressed into a conceptual performance practice where boundaries\, sexuality and identity are recurring themes. Tange has had solo performances at Coagula Curatorial\, Miami Art Basel\, Highways Performance Space\, New York Burlesque Festival and Asian Burlesque Extravaganza and performed alongside Ron Athey\, Taylor Mac and Sheree Rose. She is the co-producer of Dear Mother (2017) —a short film about her Korean adoption and relationship to performance. Dear Mother has shown at the the Korean American Film Festival New York\, Asian Pacific Film Festival in Los Angeles\, San Francisco Short Doc Fest and Boston Asian American Film Festival.  \ntext by Ezequiel Olvera \nsound design by Brent Kiser \nphoto by Luka Fisher
URL:https://www.h-r.la/event/kayla-tange-defining-boundaries/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181215T140000
DTEND;TZID=America/Los_Angeles:20181215T160000
DTSTAMP:20260423T070304
CREATED:20181213T054754Z
LAST-MODIFIED:20181213T065440Z
UID:4139-1544882400-1544889600@www.h-r.la
SUMMARY:Views from Here: Los Angeles | A panel discussion about being based in LA
DESCRIPTION:Moderated by Michelle Grabner with Jennifer Bolande\, Neha Choksi\, Courtney Fink\, Galia Linn\, Shana Lutker\, Forrest Olivo\, Paul Pescador\, and Paul Mpagi Sepuya \nJoin us for a conversation about regionality\, locality\, and the myriad of ways in which arts-workers find themselves living and working in Los Angeles. This panel is comprised of artists\, curators\, and art advocates who have spent time in Los Angeles looking out\, and outside of Los Angeles looking in. We come together to take a deeper look at ourselves\, as Angelenos. \nMilwaukee-based artist Michelle Grabner\, an informed “outsider\,” will lead a conversation among panelists and the audience about Los Angeles-ness. A lifelong midwesterner\, Grabner has questions about what’s happening in LA\, and wants to hear about Here. \nThis is the fourth X-TRA Forum\, a series of programs using the 20-year archive of contemporary art quarterly X-TRA as a springboard. Grabner looked back to her first contribution to X-TRA for inspiration for this program. In 1997\, she wrote a review of The Eagle Rock Show\, an exhibition organized by Laura Owens at the Eagle Rock Cultural Community Center printed in X-TRA Volume 1\, number 3. In her text\, Grabner considers the importance of “social skills and generosity” that infused the exhibition\, a group show of artists working in and around Eagle Rock. Now\, 20 years later\, what are the key elements that infuse our art lives in Los Angeles? \nModerator \nMichelle Grabner is an artist\, writer\, and a curator based in Wisconsin. She is the Crown Family Professor of Art at the School of the Art Institute of Chicago where she has taught for twenty-three years. In addition\, Grabner has also held teaching appointments at The University of Wisconsin-Madison\, Cranbrook Academy of Art; Yale Norfolk; Milton Avery Graduate School of Arts\, Bard College; Yale University School of Art; and Skowhegan School of Painting and Sculpture\, Maine. The Indianapolis Museum of Art\, MOCA Cleveland\, Illinois State Galleries\, and INOVA at University of Wisconsin Milwaukee have each hosted survey exhibitions of Grabner’s work. \nGrabner co-curated the 2014 Whitney Biennial and curated the 2016 Portland Biennial. She was the Artistic Director for the inaugural exhibition\, FRONT International\, the 2018 Cleveland Triennial for Contemporary Art. Her reviews are regularly published in X-TRA and Artforum. In 2010\, Mary Jane Jacob and Grabner co-edited THE STUDIO READER\, published by the University of Chicago Press. \nWith her husband Brad Killam\, she founded The Suburban in 1999 in Oak Park\, IL hosting a range of international contemporary art. After 16 years in the Chicago vicinity\, The Suburban began programming exhibitions in Milwaukee’s Walker’s Point neighborhood. In 2009 Grabner and Killam opened The Poor Farm in rural Waupaca County\, Wisconsin. The Poor Farm is dedicated to annual historical and contemporary exhibitions\, lectures\, performances\, publications\, screenings and alternative educational programs. \nPanelists \nJennifer Bolande came of age as part of New York’s Pictures Generation during the 1980s. Rooted in conceptualism\, her work employs various media—primarily sculpture\, photography and film—to explore the quiet affinities between particular sets of objects and images\, and the mercurial meanings they manufacture. Reviewing a show of her work at Metro Pictures\, New York Times’ critic Holland Cotter praised Bolande’s art for it’s “low-key wit\, lively inventiveness\, and subtle eye for metaphor.” Bolande is a professor in the New Genres area of UCLA’s Department of Art. A solo exhibition of her work\, titled The Composition of Decomposition\, is on view at Pio Pico gallery. \nNeha Choksi is a visual artist who works in multiple media\, across disciplines\, and at times collaboratively and in unconventional settings. She was awarded the India Today Best New Media Artist of the Year Award (2017) and the designation of Cultural Trailblazer by the City of Los Angeles DCA (2017/2018). She serves on the editorial board of X-TRA and is currently working with Anuradha Vikram on a series for X-TRA Online called “Views From Here” that will present perspectives on “here” from artists across the globe. Her work was included in Made in LA at the Hammer Museum earlier this year\, and her exhibition and installation\, ELEMENTARY\, is currently on view at 18th Street Arts Center in Santa Monica. \nCourtney Fink is an organizer\, arts advocate\, curator and writer. She is co-founder and founding executive director of Common Field\, a national network of independent visual arts organizations and organizers that connects\, supports\, and advocates for the artist-centered field. From 2002-2015 she was the executive director of Southern Exposure in San Francisco\, a non-profit organization dedicated to supporting visual artists. She serves on the Board of Directors of the Andy Warhol Foundation for the Visual Arts and the Seed Fund. \nForrest Olivo is the founder of Contemporary Art Daily\, a website that publishes high quality documentation of exhibitions from around the world every day. He is executive director of the small non-profit that produces that project as well as Contemporary Art Quarterly\, a set of exhaustive online archives documenting individual art practices. \nGalia Linn a sculptor and site-specific installation artist living and working in Los Angeles. Linn constructs relationships between subject\, object and their environments by creating elemental tensions; a delicate balance between the mediums’ limits and Linn’s exploration with life’s imperfections.  She has shown nationally and internationally\, and is part of numerous private collections in Los Angeles\, Miami\, New York\, Paris\, Brussels and Tel Aviv.  Linn is the founder of Blue Roof Studios is a multidisciplinary art hub located in South Los Angeles. It offers a place for artists to work in an environment that fosters creativity and community. \nShana Lutker is an interdisciplinary artist whose work explores the relationship between language and the unconscious. She has had solo exhibitions at the Hirshhorn Museum and Sculpture Garden in Washington DC\, and the Pérez Art Museum Miami\, and was included in the 2014 Whitney Biennial and Performa 13. Lutker received her MFA from UCLA. She serves as the Executive Director of Project X Foundation for Art & Criticism\, the nonprofit publisher of X-TRA. \nPaul Pescador is an artist\, filmmaker\, performer and writer discussing social interactions and intimacy as they pertain to his own personal identity and history. He graduated with an MFA from University of California\, Irvine and a BA from University of Southern California. Select exhibitions and screenings include: The Main Museum\, Los Angeles; The Pit\, Glendale; 18th Street Art Center\, Santa Monica; 5 Car Garage\, Santa Monica; Coastal/Borders\, Getty Pacific Standard Time: LA/LA at Angels Gate Cultural Center; LAND at The Gamble House\, Pasadena; Vacancy\, Los Angeles; Ashes/Ashes\, Los Angeles; Park View\, Los Angeles; and Human Resources\, Los Angeles. Select performances include: Machine Projects\, Los Angeles; Los Angeles Contemporary Archives; Performa 2015; Colony\, New York; UC Berkeley: Durham Studio Theater; PAM\, Los Angeles; Hammer Museum\, with KCHUNG TV\, Los Angeles; REDCAT\, Los Angeles; Guggenheim Gallery at Chapman University\, Los Angeles; and ForYourArt\, Los Angeles. \nPaul Mpagi Sepuya’s work is rooted in portraiture\, elements of storytelling\, and homoerotic visual culture. By inserting mirrors and collage-like photographs and staging his friends\, partners\, and lovers as his subjects\, Sepuya investigates the role of the studio as a social environment. He received his MFA from the University of California Los Angeles in 2016 and a BFA from New York University Tisch School of the Arts in 2004. Sepuya’s work has been featured in numerous exhibitions including at the Museum of Contemporary Art Los Angeles; The Studio Museum in Harlem; Franklin Art Works\, Minneapolis; and the Artist Institute\, New York. \nX-TRA Forums are made possible with additional support from Pasadena Art Alliance\, Isambard Kingdom Brunel Society of North America\, and The Andy Warhol Foundation for the Visual Arts. The preceding X-TRA Forums were “A Jennifer Moon Songbook” organized by Malik Gaines\, “Clean Needles Now and Now” organized by Patrick Staff\, and “Something About Feet” with Dorit Cypis and Simone Forti in conversation. \nPhoto by Shana Lutker
URL:https://www.h-r.la/event/views-from-here-los-angeles-a-panel-discussion-about-being-based-in-la/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20181208
DTEND;VALUE=DATE:20181218
DTSTAMP:20260423T070304
CREATED:20181205T231541Z
LAST-MODIFIED:20181212T222749Z
UID:4135-1544248800-1545026399@www.h-r.la
SUMMARY:Terror en lo Profundo
DESCRIPTION:Opening Saturday 12/8 7—10pm\nOn view through 12/16\nGallery hours Thursday-Sunday\, noon-6pm \nArtistas / Artists: Rosalee Bernabe\, Wendy Cabrera Rubio\, Juan Caloca\, Christian Camacho\, Paloma Contreras Lomas\, El Pelele\, Elsoldelrac\, Julieta Gil\, Sebastián Gonzales de Gortari\, Abraham Gonzáles Pacheco\, Cristobal Gracia\, Madeline Jimenez\, Enrique López Llamas\, Morgan Mandalay\, Richard Mendtorr\, Irak Morales\, Jazael Olguín Zapata\, Diego Ramírez\, Marisa Raygoza\, SANGREE\, Israel Urmeer\, Lucía Vidales\, Tatyana Zambrano \nEl Popocatépetl solloza: enfurecido explosiona sus hirvientes y humeantes líquidas garras sobre tus largos campos de petróleo\, silicio y maíz. Ruge a tu montañoso rostro exigiendo una respuesta\, pero tus lánguidos labios de barro apenas pueden abandonar el llanto. Su cuerpo\, roto y abnegado\, estalla una última vez para abrir camino hacia lo profundo de tu propio terror colonial. \nDeslave se complace de presentar “Terror en lo Profundo” para Human Resources LA\, una exhibición conformada por el trabajo de 23 artistas que desde el humor\, el horror y la ficción enuncian estrategias que analizan críticamente los estragos de los mecanismos de colonización\, tanto del pasado como actuales\, blandos o violentos\, de sumisión o seducción. \nLa exposición se compone de pinturas y dibujos que dialogan\, o se oponen\, a los legados del arte occidental; objetos escultóricos que transitan entre la simulación y lo documental en relación con eventos prehispánicos o religiosos; trabajos de video que utilizan la puesta en escena para recrear\, reimaginar o deconstruir eventos históricos o mitológicos; y una serie de prácticas conceptuales que analizan la encrucijada política entre tradición cultural y territorialidad. \nDeslave es un proyecto curatorial y espacio para la producción\, exhibición y discusión de arte contemporáneo. Actualmente dirigido por Mauricio Muñoz y Andrew Roberts\, se encuentra ubicado en Tijuana desde la primavera de 2017. \nwww.deslave.art \nThe Popocatépetl mourns: enraged explodes its boiling and smoking liquid claws on your long fields of oil\, silicon and corn. Demanding an answer\, it roars to your mountainous face\, but your languid lips made of mud can scarcely leave your profound weeping. His body\, broken and self- sacrificing\, bursts one last time to open a way to the depths of your own colonial terror. \nDeslave is pleased to present Terror en lo Profundo for Human Resources LA\, an exhibition comprised of the work of 23 artists who\, from humor\, horror and fiction\, formulate strategies that critically analyze the ravages of colonizing mechanisms\, both in the past and in the present\, soft or violent\, of submission or seduction. \nThe exhibition is composed of paintings and drawings that dialogue —or oppose— to the legacies of Western art; sculptural objects that transit between the simulation and the document in relation to pre-Hispanic or religious events; video works that use staging to recreate\, re-imagine or deconstruct historical or mythological events; and a series of conceptual practices that analyze the political crossroads between cultural tradition and territoriality. \nDeslave is a curatorial project and space for the production\, exhibition and discussion of contemporary art. Currently run by Mauricio Muñoz and Andrew Roberts\, it is located in Tijuana since the spring of 2017.
URL:https://www.h-r.la/event/terror-en-lo-profundo/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181202T120000
DTEND;TZID=America/Los_Angeles:20181202T213000
DTSTAMP:20260423T070304
CREATED:20181110T210241Z
LAST-MODIFIED:20181110T210241Z
UID:4096-1543752000-1543786200@www.h-r.la
SUMMARY:Alexander Kluge: "News from Ideological Antiquity"
DESCRIPTION:Alexander Kluge’s film\, News From Ideological Antiquity: Marx-Eisenstein-Capital\, begins with Eisenstein’s ambitious but unrealized plan to combine Capital and Ulysses. For over nine hours\, the film expands in concentric circles as Kluge\, his guests\, interlocutors and monologists make associative links on a range of topics that starts from a filmic discussion of Eisenstein’s notes. Kluge’s film is divided into three parts: I. Marx and Eisenstein in the Same House; II. All Things are Bewitched People; III. Paradoxes of Exchange Society. At several points in the film we get a sense of what Eisenstein had in mind with his project. In one scene\, we see that a “pot of soup has become a water kettle\, boiling away and whistling: the image recurs at several moments in the exposition (Eisenstein’s notes projected in graphics on the intertitles)\, in such a way that this plain object is ‘abstracted’ into the very symbol of energy. It boils impatiently\, vehemently it demands to be used\, to be harnessed\, it is either the whistling signal for work\, for work stoppage\, for strikes\, or else the motor-power of a whole factory\, a machine for future production …” (Frederic Jameson in the New Left Review\, July/August 2009). By insistence and repetition this banal object\, a commodity\, transforms into a larger-than-life symbol\, and we start to get a sense of the full range of cognitive and material links this commodity has to the web of life that surrounds it. (Marty Kirchner) \nGermany\,  2008\, 570 minutes. Documentary/essay anthology film. German with English subtitles\nWriter/Director: Alexander Kluge\, Cinematography: Michael Christ\, Erich Harandt\, Werner Lüring\, Claudia Marcell\, Heribert Kansy\, Thomas Mauch\, Thomas Willke\, Walter Lennertz\, Editor: Kajetan Forstner\, Andreas Kern \nPresented in its entirety as a 9.5 hour “marathon” screening / Installation. Come and go as you like. Bring extra pillows/cushions for comfort. Refreshments will be served throughout the event. \n \npresented in collaboration with Los Angeles Film Forum and Goethe-Institut Los Angeles as part of their MARX NOW project.
URL:https://www.h-r.la/event/alexander-kluge-news-from-ideological-antiquity/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181201T163000
DTEND;TZID=America/Los_Angeles:20181201T220000
DTSTAMP:20260423T070304
CREATED:20181124T213254Z
LAST-MODIFIED:20181125T030152Z
UID:4118-1543681800-1543701600@www.h-r.la
SUMMARY:(de) Color-Es 2018/ Primera Generación Dance Collective
DESCRIPTION:Saturday\, December 1\, 2018 \n5:00pm and 8:30pm doors open 30min before the show \nDiscounted Tix $15 before 11.23.18 with code: “pgdc”; General Tix $20 \nTICKETS: www.brownpapertickets.com/event/3625627 \n(de) Color-Es is an event that questions what color and marginalization is\, how it is constructed by/within art and where it can go/what it can do. The project seeks to cultivate community and networks amongst artists of color and first generation individuals through the coalition of art. This event is made possible through the generosity of HUMAN RESOURCES LA. The overall vision is produced and curated by Primera Generación Dance Collective and their goal to promulgate a community held between the experience of marginalization that seeks visibility and mobility; sociality that includes where they come from\, where they are\, and where they are going. \nFeatured artists: Isis Avalos\, Jonathan Godoy\, Sebastian Hernandez\, Mujeres en Resistencia\, Justin Morris & Steven Rosa\, Tom Tsai\, and Tranze Danza Contemporánea \n(de) Color-Es literally translates to “of color is”\, and moves towards the celebration of bodies of color interested in who they are\, what our community can be\, and what this all is/es. \nAudiences will be encouraged to navigate the multifaceted space at human resources as performances and durational art exhibits take place.
URL:https://www.h-r.la/event/de-color-es-2018-primera-generacion-dance-collective/
CATEGORIES:one-time event at HR
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181127T200000
DTEND;TZID=America/Los_Angeles:20181127T200000
DTSTAMP:20260423T070304
CREATED:20181125T030456Z
LAST-MODIFIED:20181126T221305Z
UID:4121-1543348800-1543348800@www.h-r.la
SUMMARY:Audrey Chen • Nour Mobarak • Conscious Summary
DESCRIPTION:– live in concert – \nsolo performances \nAudrey Chen (Berlin/Baltimore)\nNour Mobarak\nConscious Summary \n8pm-11pm\ndonate eight \n  \nAUDREY CHEN \nArticulate down to a single vocal cord click\, Berlin-based improvisor Audrey Chen hyperextends voice\, mining material in between – and beyond – previous utterance. Finding sound via microtones of larynx squeak\, blowing wind turbulence with lip-flip flutters\, and plumming the corporeal with full throated phonation\, Chen also channels an electric flow of tone and pulse accompanying herself on a Ciat Lonbarde synth. Though clearly diverged from staid forms\, she thankfully maintains the rigor of her Classical training to service ever-new and of-the-moment free expression! Returning to L.A. for this solo scorcher and hopefully more\, Chen has worked with Maria Chavez\, Nate Wooley\, C. Spencer Yeh\, and Martín Escalante among many other players in the field. She also maintains a couple of core duos\, regularly parrying with Phil Minton\, and playing in Beam Splitter with Norwegian trombonist Henrik Munkeby Nørstebø. \nhttp://www.audreychen.com \n  \nNOUR MOBARAK \nScouting a new situation with each outing\, Nour Mobarak is an artist whose performance practice rarely repeats a scene\, though – it could be said\, out loud – her voice itself occupies a core presence in her work. Recently Mobarak has investigated the limits of language via a vexing and hyper-personal mode of inquiry: recording conversations with her father\, who speaks clearly\, but is constrained by a fugue state and a perpetually fleeting memory. Topics progress only so far\, before they cycle back or drift away\, even as the polylingual pair hop from one tongue to another. As she readies a record that draws from these convos\, she also prepares a late 2018 live performance at Human Resources Los Angeles. What it will be\, and how we will remember it\, may differ from one moment to the next. \nhttp://nour.computer \n  \nCONSCIOUS SUMMARY \nRightly associated with the autonomous zone that is (the) Handbag Factory performance venue and the Seahorse Sound recording studio\, Samur Khouja has also long poured the surreal into a solo project called Conscious Summary. This is a sound space where possibilities remain open. As this master of tech patches together an organic array of electronic process\, we can access other existential planes via swelling hums and dream of desert sand blowing. Just as easily\, auditory incursions of the weird and jagged shock us back into place. Conscious Summary’s latest Exhaustions has been issued just this month on Skintrade Recordings. \nhttps://conscioussummary.bandcamp.com
URL:https://www.h-r.la/event/audrey-chen-nour-mobarak-conscious-summary/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181118T190000
DTEND;TZID=America/Los_Angeles:20181118T190000
DTSTAMP:20260423T070304
CREATED:20181110T211230Z
LAST-MODIFIED:20181110T211306Z
UID:4102-1542567600-1542567600@www.h-r.la
SUMMARY:Nikki Darling: "Fade Into You"
DESCRIPTION:Join us for the launch of Nikki Darling’s debut novel Fade Into You With guests Luis J Rodriguez and Raquel Gutierrez. \n(You can read an excerpt here) \n 
URL:https://www.h-r.la/event/nikki-darling-fade-into-you/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181117T190000
DTEND;TZID=America/Los_Angeles:20181118T120000
DTSTAMP:20260423T070304
CREATED:20181029T181840Z
LAST-MODIFIED:20181110T211421Z
UID:4088-1542481200-1542542400@www.h-r.la
SUMMARY:Perpetual Drone
DESCRIPTION:This night is an official benefit for Maps.org to help raise awareness and money for their efforts to help make psychedelic assisted therapy a legal treatment option in America\, this is something they have made great strides towards completing and has garnered lots of support worldwide. All the performers\, Artists and organizers are donating their time and talents. 100% of the proceeds from ticket sales go directly to Maps.org who will have some speakers at the events. \nThe Event will start 7pm Saturday November 17th and will end at noon on Sunday November 18th. \nHuman Resources can offer almost complete isolation from the outside world and it has lots of floor space to accommodate people lying down so it is the ideal venue in Los Angeles for this kind of event. \nThe Theme of the night takes inspiration from Max Richter’s Sleep concerts\, Tibetan sound meditation\, Dublab’s overnight Tonalism events\, Phil Niblock’s Experimental intermedia foundation\, and LaMonte Young’s Dreamhouse. \nWe are creating a comfortable setting that people can feel free and safe to stay as long as they want and bring any cushions\, pillows\, sleeping bags\, blankets\, etc to stay overnight so the overnight musical performances be the soundtrack to the audience’s sleeping and dreaming. \nThe musical sets from midnight onward will be beatless/ ambient/modular synth/drone and as chill as possible so that it is comfortable for people to sleep in and not have any startling awakenings. \nAttendees are free to come and go as they please but we would ideally like to create an atmosphere where people would like to spend the night and have an immersive/deep listening/durational/meditative experience. This is why we won’t be programming any overstimulating performances aka noise/beats/drums/loud singing/extreme volumes or excessive high frequencies. \nAmbient/Soundbath/Drone/Modular/Quadraphonic/Deep listening & AV performances from: \nTelefon Tel Aviv\nSam Gendel\nSecret Circuit\nHeare\nMark Van Hoen / Locust\nElectric Sound Bath\nGeorgia (J. Tripp solo)\nKid606\nOne Child Policy\nCristopher Cichocki-Circular Dimensions\nBrad Laner\nDevin Sarno\nYann Novak\nRobert Crouch\nIzapa\nEllen Phan\nAnna Luisa Petrisko\nLogreybeamMusic\nGeorge Jensen\nGeneva Skeen\nThe Eternal Chord & Zachary Paul\nconscious summary\nAlex the Brown\nRichard Chartier /pinkcourtesyphone\nChristopher Reid Martin (Shelter Death)\nAlex Pelly\nNaomi Mitchell\nLauren Bousfield\nKate Parsons\nMike Dobler\nC1t1zen\nJames Powell\nMitchell Brown\nDerek MonyPeny\nAaron Meyers\n& more TBA \ntickets: https://restlessnites.com/perpetualdronemaps
URL:https://www.h-r.la/event/perpetual-drone/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20181116
DTEND;VALUE=DATE:20181127
DTSTAMP:20260423T070304
CREATED:20181029T180137Z
LAST-MODIFIED:20181113T223100Z
UID:4084-1542348000-1543211999@www.h-r.la
SUMMARY:Seashell Aesthetics
DESCRIPTION:Seashell Aesthetics is an exhibition building upon a 2017 essay of the same name by Martabel Wasserman published in Yes Femmes. It explores catastrophes posed by carbon\, plastic\, oil and other byproducts of capitalism polluting the ocean. The shell becomes a way to think with a material that eventually decomposes into fossil fuel. It is both about materiality and possibilities for metaphor. The photographic work by Wasserman that frames the exhibition explores connections between the structural challenges we face (housing\, scare work opportunities\, high cost of living) with those facing the shelled sea critters at the who share our coast. Seashell Aesthetics takes as its subjects “bottom feeders” or smaller creatures who are less often evoked as spokes creatures in mainstream climate change discourse. The work seeks to create connections between the disintegration of shells caused by ocean acidification and desire for security and structure as the public sphere is attacked. Camp becomes the aesthetic approach\, in an attempt to mobilize humor and melancholy simultaneously as a call for increased interspecies solidarity. While Susan Sontag wrote “nothing in nature can be campy\,” the work is this show insists upon camp as a strategy to look at the ways in which nature and culture co-constitute each other. \nJoshua Thomen will be showing (If I knew how to cry) (2018) which explores his existence that lays between two poles: one where his queer brown body is systemically erased and the reality where his body is hypervisible and easily identifiable. The form shape shifts between an everyday baseball hat (à la Claes Oldenburg) to biological bodily symbols of a protective shell. Joshua Thomen uses softness as a radical idea to push against hegemonic masculinity and speak to labor of the subaltern. He is featured with his oceanic soft sculptural work in Wasserman’s photographs. Additionally\, they will be collaborating on soft sculptures of kelp\, a crucial element of coastal health. A collaborative sculptural centerpiece by Dulce Ibarra Soledad\, Thomen and Wasserman inspired by Botticelli’s Birth of Venus will visually ask how love can be reborn to respond to the multiplying crises of the anthropocene. Viewers can stand on a reinterpreted half shell and channel their desires for a flourishing future beyond sustaining the status quo. \nThe exhibition will feature sculptural installation and a night of performances\, Nature Camp\, on November 25\, in conversation with the idea of seashell aesthetics. Michelle Antonisse and Edgar Fabián Frías\, two of the curators/ performers of Nature Camp will have corresponding installations in the show. Additionally\, in the upstairs gallery Sarah Zucker will be presenting Neon Womb\, an immersive and healing experience. \nopen gallery hours are as follows: \nThurs 11/15: 2-7pm\nFri 11/16: 2-7pm\nSun 11/18: 12-4pm\nWeds 11/21: 2-7pm\nFri 11/23: 2-7pm\nSat 11/24: 12-6pm\nSun 11/25: 4-9 performance and reception \nAdditional hours can be arranged by appointment
URL:https://www.h-r.la/event/martabel-wasserman-seashell-aesthetics/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/10/DSC5293.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181109T130000
DTEND;TZID=America/Los_Angeles:20181111T170000
DTSTAMP:20260423T070304
CREATED:20181030T004734Z
LAST-MODIFIED:20181030T005234Z
UID:4091-1541768400-1541955600@www.h-r.la
SUMMARY:Barry Markowitz: Some Fundamental Changes To Majestic Objects
DESCRIPTION:Barry Markowitz: Some Fundamental Changes To Majestic Objects \nNovember 9 – 11\nReception: Friday November 9\, 7 – 10pm\nGallery hours: Saturday\, November 10 1-6pm\nClosing party: Sunday\, November 11 12-5pm
URL:https://www.h-r.la/event/barry-markowitz-some-fundamental-changes-to-majestic-objects/
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/10/unnamed-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181030T180000
DTEND;TZID=America/Los_Angeles:20181030T210000
DTSTAMP:20260423T070304
CREATED:20181008T213306Z
LAST-MODIFIED:20181008T213306Z
UID:4033-1540922400-1540933200@www.h-r.la
SUMMARY:Whale Song: A Workshop
DESCRIPTION:“The greatest amount of change appears when singing is most pervasive and the effort of each singer is most intense.”\n— Katy Payne \nSince they were first recorded by hydrophones in the late 1960s\, the haunting songs of humpback whales have been objects of human inquiry. These “long\, complexly organized patterns of sounds\,” which include\, “the highest and lowest frequencies that humans can hear\,” are shared between whales\, and sung seasonally\, with differences arising as the songs repeat over time. \nWe do not know precisely why the whales sing. But as Katy Payne\, an acoustic biologist and preeminent scholar of humpback whale song\, observed in 1985\, “we have not yet been able to discover any ‘leaders’…. [It is] as though decisions on how the song should change were made democratically.” \nCo-led by vocalist\, composer\, and cantor Daniela Gesundheit and media scholar Sarah Kessler\, this workshop will facilitate an environment within which a primary experience of the compositional techniques and structures at play in humpback whale song can emerge. Together\, we will employ leaderless collaboration and experimentation to examine and illuminate the vocalizations of the world’s largest broadcasting mammals\, and to see what we might discover about group identity\, distance\, competition\, innovation\, and empathy in the process. \nAfter a presentation and discussion of the key insights uncovered by Katy Payne’s groundbreaking research\, we will put our own voices to work\, apprenticing ourselves to the songs of these masterful composers. All voices welcome. \nWhile this event is free to attend\, space is limited: email for RSVP: info@humanresourcesla.com
URL:https://www.h-r.la/event/whale-song-a-workshop/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/10/Whale-Song-w-emoji.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181028T140000
DTEND;TZID=America/Los_Angeles:20181028T160000
DTSTAMP:20260423T070304
CREATED:20181025T053530Z
LAST-MODIFIED:20181025T053530Z
UID:4071-1540735200-1540742400@www.h-r.la
SUMMARY:Conversation between Cauleen Smith and Raquel Gutiérrez
DESCRIPTION:Sunday\, October 28\, 2pm\nOrganized as a part of A grammar built with rocks \nThe event brings together Cauleen Smith’s 2008 video work\, Remote Viewing\, which is currently on view at Human Resources\, and Raquel Gutiérrez’s newly-developed essay on the border wall prototypes\, to discuss intersecting themes of land art\, monumentality\, and the racialized erasure people and place. \n\nCauleen Smith is an interdisciplinary artist based in Los Angeles. Her work reflects upon the everyday possibilities of the imagination. Drawing upon structuralism\, third-world cinema\, and science fiction\, her work deploys activist tactics in service of ecstatic social space and contemplation. She is the recipient of various awards\, including but not limited to: Rockefeller Media Arts Award\, Creative Capital Film/Video\, the Foundation for Contemporary Arts\, United States Artists Award\, and the Ellsworth Kelly Award. She serves on the faculty at California Institute of the Arts. \nBorn and raised in Los Angeles and currently taking the Southwest by surprise\, Raquel Gutiérrez writes and performs about brown ontology\, art\, space and institutionality and publishes chapbooks by queers of color with the tiny press Econo Textual Objects\, established in 2014. Gutiérrez was recently awarded a Creative Capital | Andy Warhol Foundation Arts Writers Grant this year to support a short-form essay series about contemporary artistic practices in Los Angeles (or what does it mean to be a brown artist in the Trump era?). \n 
URL:https://www.h-r.la/event/conversation-between-cauleen-smith-and-raquel-gutierrez/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181027T200000
DTEND;TZID=America/Los_Angeles:20181027T200000
DTSTAMP:20260423T070304
CREATED:20181016T225022Z
LAST-MODIFIED:20181019T051341Z
UID:4052-1540670400-1540670400@www.h-r.la
SUMMARY:Maggi Payne | Maria Chavez | Kaori Suzuki | Joseph Hammer
DESCRIPTION:VOLUME presents legendary composer\, video artist\, recording engineer\, and multi-instrumentalist Maggi Payne (Oakland). Joining the lineup are Maria Chávez (NYC)\, Kaori Suzuki (Oakland)\, and Los Angeles local Joseph Hammer for what will surely be a night of focused and sustained immersive listening. \nPayne will present several works from recent years\, including Heat Shield (2018)\, Black Ice(2014)\, and Quicksilver (2011). Black Ice and Heat Shield will both be presented in four-channel audio. Of the works\, Payne notes\, “At times multiple spaces coexist […] There is always a sense of place\, an atmosphere\, in these acoustic constructs. The sounds are choreographed in an expanded three-dimensional space beyond boundaries\, with no walls\, ceilings\, or floors to constrain them.” Payne’s work in electroacoustic and electronic media spans an historical era in California’s experimental composition. The three compositions she will perform tonight reflect both the technical and conceptual rigours and fascinations of our locale––explorations of land\, light\, and space; highly technical expressions of immersive experiences. \nKaori Suzuki returns to Los Angeles on the heels of her second solo record of the year out on Second Editions (Berlin)\, titled Conduit. This evening she will perform the record live as it was originally composed\, for full\, extended duration and high volume playback. The work is immersive\, physically charging\, and will magnetize listeners in a venue as reverberant as Human Resources. \nChávez’s work in improvised turntablism is also a special treat for listeners in a space as reverberant as Human Resources. Her approach examines the nature of the materials used––turntable\, needle\, vinyl\, time\, choice\, chance\, and accident. These interests in deterioration and generation are also reflected in her scholarly and visual work\, which has been widely celebrated and internationally supported. \nAbout the artists \nMaria Chávez\, born in Lima\, Peru\, and based in NYC\, is best known as an abstract turntablist\, conceptual sound artist and DJ. Her improvised solo turntable performance combines recorded sounds from vinyl records with the electroacoustic sounds of vinyl and needle in various deteriorating phases. Her conceptual sound installation practice tends to be site specific\, allowing each space to highlight its own sonic qualities. Her solo exhibitions are often interactive\, ranging from spatial sound presentations to turning an entire art space into a gigantic string instrument for the audience to perform. \nChávez has been a research fellow of the Sound Practice Research Department\, Goldsmith’s University\, a composer fellow with Civitella Ranieri in Umbertide\, Italy\, and an artist fellow at the Robert Rauschenberg Foundation. Her instructional book of essays and illustrations\, OF TECHNIQUE: Chance Procedures on Turntable\, was published in 2012. She has participated in various artist residencies including the CEC Artslink/Back Apartment residency in St. Petersburg\, Kunstmeile Krems sound artist residency in Austria\, The Kitchen in New York and the Royal Academy of Music in Denmark. Her work has been exhibited internationally\, including at HeK – haus der elektronischen Künste-Basel\, INKONST Art Center\, Sweden\, The Judd Foundation\, Marfa\, Texas\, The Brooklyn Museum of Art\, The Getty Museum\, Black Mountain College Museum and Documenta14 in Kassel. More at www.mariachavez.org \nIn the field of found sound\, Joseph Hammer is the master of survey and delay; with looped tape and a gloved hand\, he taps a magnetic vein\, coaxing fragments of occluded origin into a sonic sui generis. Hammer is longstanding contributor to the undulating Los Angeles experimental music scene. PAN\, which released a record of Hammer’s in 2010\, describe the work as a “journey into playful yet heavily focused idiot-savant infinite psychedelic inertia […] utilising consumer audio technology and 20th century detritus.” He is a member of the trio Solid Eye\, a frequent collaborator and improviser\, and member of LAFMS. \nMaggi Payne is a composer primarily of electronic and electroacoustic music\, a flutist\, and a video and installation artist. She is a recording engineer/editor\, archivist\, and historical remastering engineer. She taught composition\, electronic music\, and recording engineering at Mills College from 1972-2018. \nHer electroacoustic works often incorporate visuals\, including dancers outfitted with electroluminescent wire and videos she creates using images ranging from nature to the abstract. Many works address issues around the environment\, especially noise pollution. She has composed music for dance\, theatre\, and video\, including the music for Jordon Belson’s video Bardo. She collaborated for several years with video artist Ed Tannenbaum in his Technological Feets performance. \nShe received Composer’s Grants and an Interdisciplinary Arts Grant from the National Endowment for the Arts; video grants from the Mellon Foundation and the Western States Regional Media Arts Fellowships Program; and was awarded six honorary mentions from Concours International de Musique et d’Art Sonore Electroacoustiques de Bourges and one from Prix Ars Electronica. Her works appear on Aguirre\, The Lab\, Lovely Music\, Innova\, Starkland\, Music and Arts\, New World Records (CRI)\, Root Strata\, Ubuibi\, Asphodel\, and/OAR\, Centaur\, MMC\, Digital Narcis\, Capstone\, Mills\, and Frog Peak labels. \nKaori Suzuki (b.1984) is a Japanese-born music maker currently based in Oakland\, CA. She has toured and presented her work in various venues across the U.S.\, Japan\, Mexico\, and Canada. Her compositions combine electronics\, bowed percussion and string instruments\, resonating objects\, computer\, and others. Her feedback/synthesizer recordings are found on Newsun (Sounds et al)\, and her recent release of a durational composition for very high frequencies\, Conduit\, is out on Second Editions (Berlin). \nIn addition to her solo music\, she plays drums in the Oakland-based minimalist psych-punk group Night Collectors\, and collaborates with partner\, John Krausbauer\, on voice\, amplified strings\, bells\, and immersive light/sound happenings. Her works have been presented at San Francisco Electronic Music Festival\, Debacle Fest\, Berkeley Art Museum\, CCRMA\, The Lab\, Mills College\, Elastic Arts\, and many others. \n  \nPlease note that as seating for this event is limited\, advance ticket purchase is recommended. For more info\, and to purchase tickets\, please visit https://volume.wedid.it/events/56
URL:https://www.h-r.la/event/maggi-payne-maria-chavez-kaori-suzuki-joseph-hammer/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2018/10/Suzuki-Payne10-27promo.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181026T190000
DTEND;TZID=America/Los_Angeles:20181026T220000
DTSTAMP:20260423T070304
CREATED:20181025T052631Z
LAST-MODIFIED:20181026T170132Z
UID:4068-1540580400-1540591200@www.h-r.la
SUMMARY:THE INFORMANTS
DESCRIPTION:Friday\, October 26\, 7pm\nScreening and performance: THE INFORMANTS\nAdam Khalil\, Jackson Polys\, and KITE\nFollowed by a conversation with Adam Khalil\, Jackson Polys\, KITE\, K. Wayne Yang\, and Oscar Gutiérrez\nOrganized as a part of A grammar built with rocks \nThrough video and performance\, THE INFORMANTS will examine the desire for indigeneity in the myths\, dreams\, and political foundations of the so-called Americas. \nDemands for indigeneity have long been entwined with efforts to erase and replace the Indigenous. Channeled through practices of salvage ethnography and “playing Indian\,” subliminal attractions evince yearnings for a spectral indigeneity that is removed from actual Indigenous people. The relegation of Indigenous identities to the past denies the presence of bodies currently living on colonized land. \nIndigenous artists who participate in the art world of settler-colonial states are expected to provide knowledge in a relationship similar to that between informant and anthropologist. In our current period of existential and environmental catastrophe\, desires for Indigenous epistemologies increase and enterprising settlers labor to extract this understanding as a natural resource. From an Indigenous perspective\, this has palpable consequences\, from romanticization and commodification to appropriation and cultural erasure. \nMany non-indigenous people find ways to frame themselves as indigenous\, just as Indigenous people perform indigeneity themselves. If these tendencies are so deeply entrenched in this nation’s self-image to be apparently inescapable\, can they be studied\, manipulated\, or employed by Indigenous people to catalyze an expansion of Indigenous agency\, amplifying the power of the informant? Can desires that push Indigenous people to an ideal and irretrievable past instead be channeled to promote the imagining of Indigenous futures? \nAdam Khalil is a filmmaker and artist from the Ojibway tribe who lives and works in Brooklyn. His practice attempts to subvert traditional forms of ethnography through humor\, relation\, and transgression. Khalil’s work has been exhibited at the Museum of Modern Art\, Sundance Film Festival\, Walker Arts Center\, Lincoln Center\, and Whitney Museum of American Art\, among other institutions. Khalil is the recipient of various fellowships and grants\, including but not limited to: Sundance Art of Nonfiction\, Sundance Institute Indigenous Film Opportunity Fellowship\, UnionDocs Collaborative Fellowship\, and Gates Millennium Scholarship. Khalil received his BA from Bard College. \nJackson Polys is an artist from Tlingit territory\, living and working between what are currently called Alaska and New York\, whose work examines negotiations toward the limits and viability of desires for Indigenous growth. He holds an MFA in Visual Arts from Columbia University (2015)\, and is recipient of a 2017 NACF Mentor Artist Fellowship. His individual and collaborative works have appeared at the Alaska State Museum\, Anchorage Museum\, Artists Space\, Burke Museum\, Images Festival\, Sundance Film Festival\, Union Docs\, and the Whitney Museum of American Art. \nKITE aka Suzanne Kite is an Oglala Lakota performance artist\, visual artist\, and composer raised in Southern California\, with a BFA from CalArts in music composition\, an MFA from Bard College’s Milton Avery Graduate School\, and is a PhD student at Concordia University. Her research is investigates contemporary Lakota philosophy through research-creation\, computational media\, and performance practice. Recently\, KITE has been developing a body interface for movement performances\, carbon fiber sculptures\, immersive video & sound installations\, as well as co-running the experimental electronic imprint\, Unheard Records. \nK. Wayne Yang is involved in urban education and community organizing\, and writes about decolonization and everyday epic organizing\, particularly from underneath ghetto colonialism\, often with his frequent collaborator\, Eve Tuck. He is interested in the complex role of cities as sites of settler colonialism\, as stages for empire\, as places of resettlement and gentrification\, and as always-already on Indigenous lands. He is Associate Professor in Ethnic Studies at UCSD. \nOscar Gutierrez is a community organizer with Communities for a Better Environment (CBE) from Southeast Los Angeles (Tongva Territory) and a PhD student in the Department of Ethnic Studies at UC San Diego.
URL:https://www.h-r.la/event/the-informants/
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/10/wichoiye-image.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181023T200000
DTEND;TZID=America/Los_Angeles:20181023T200000
DTSTAMP:20260423T070304
CREATED:20181008T215701Z
LAST-MODIFIED:20181008T220820Z
UID:4036-1540324800-1540324800@www.h-r.la
SUMMARY:Astor | Sean McCann\, Matthew Sullivan & Alex Twomey | Erika Bell
DESCRIPTION:Erika Bell\, Astor\, and a trio performance by Sean McCann\, Alex Twomey\, and Matthew Sullivan. \nErika Bell will be presenting a new\, four-channel work titled Saint-Girons\, which was inspired by a recent field recording she took in a workshop led by Christina Kubisch. The recording captures both the electromagnetic sounds (via Kubisch’s headphones) and the acoustic atmospheric sounds of Saint-Girons\, France in real-time. This field recording will be paired with\, and accompanied by\, a small ensemble. \nOriginally hailing from Australia\, Astor’s music can range from claustrophobic to cosmic while incorporating a wide range of techniques spanning the history of electronic music. Their most recent solo album\, 2018’s Lina in Nida on UK-based Penultimate Press\, featured a spoken word contribution from Estonian artist Kris Lemslau alongside a proposed anthem for Britain during a potential invasion by ISIS and more. This event will be a rare opportunity for fans of field recordings\, musique concrete\, dark ambient\, and fringe electro-acoustic music to experience this artist in a live setting. \nSean McCann\, Alex Twomey\, and Matthew Sullivan will perform as a trio\, bringing together three highly notable LA-based artists involved in sacred and propane music. Their debut live performance\, following the release of their cassette\, The Bird. \n“There is something about this music that reminds me of the great Walter Marchetti\, and I almost never say that. One of my favourite tapes from the last few years that doesn’t have me on it.” – Scott Foust (Idea Fire Company/Swill Radio) \nChristopher Reid Martin will provide music between sets. \nTickets for the event may be purchased for $9.99 in advance or for $12 at the door. \n  \nBios: \nAstor is an Australian publisher\, event curator\, and sound artist who is now residing in London\, United Kingdom. Under this guise\, they deploy a wide variety of techniques including field recording\, musique concrete\, electronics\, and spatialisation. All of these forms are approached with a sense of bypassing the clichés imbedded within in order to coerce a sound world which is simultaneously contemporary\, foreign\, beautiful\, unsettling and engaging. Astor has released 2 acclaimed LPs on Kye (USA) and has a third Lina in Nida on Penultimate Press (UK). \nErika Bell is a Los Angeles-based composer and instrumentalist. Her work comes from a place of intuition\, preference and the personal\, with an emphasis on exploring the timbre of sonic realms. Bell often derives from found text\, objects\, and sounds\, and juxtaposes strict notation with elements of openness in the use of time and material. With her work slowly and methodically unraveling she allows full immersion into the audible phenomenon of beating\, cyclical melodic/harmonic loops\, and washes of texture. Bell’s Sucking Stones (2017) for large-ensemble was performed at the Walt Disney Concert Hall in L.A. Phil’s 2017 Noon to Midnight concert. She has received commissions from the wulf.\, premiered her large-ensemble work < | > (2018) in Dog Star Orchestra’s fourteenth festival and will have a piece performed at the Göteborg Art Sounds festival in Sweden this September. Currently Bell is preparing two album-length audio releases of her music and an installation version of her large-ensemble work Moving Like Icebergs Against Each Other (2018). Erika holds a BFA in music composition from California Institute of the Arts where she studied with Michael Pisaro and Laura Steenberge. \nPresented by VOLUME and Last Visible Dog Records.
URL:https://www.h-r.la/event/astor-sean-mccann-matthew-sullivan-alex-twomey-erika-bell/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/10/showflyer.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181018T180000
DTEND;TZID=America/Los_Angeles:20181018T200000
DTSTAMP:20260423T070304
CREATED:20181016T183419Z
LAST-MODIFIED:20181016T183738Z
UID:4043-1539885600-1539892800@www.h-r.la
SUMMARY:Una obsesión peligrosa book release
DESCRIPTION:Bikini Wax (Mexico City) and Human Resources (Los Angeles) celebrate the release of  A Dangerous Obsession / Una obsesión peligrosa which features texts written for the exhibition of the same title published by Gato Negro press \nat Ooga Booga\n943 N Broadway #203 (upstairs)\nChinatown Los Angeles\, CA 90012\nFree
URL:https://www.h-r.la/event/una-obsesion-peligrosa/
CATEGORIES:off-site event
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2018/10/unnamed.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180929
DTEND;VALUE=DATE:20181106
DTSTAMP:20260423T070304
CREATED:20180814T045310Z
LAST-MODIFIED:20250316T050324Z
UID:3869-1538200800-1541397599@www.h-r.la
SUMMARY:A grammar built with rocks
DESCRIPTION:Image: Cauleen Smith\, Remote Viewing\, 2009\, video still\, 15:13 min. Courtesy of the artist\, Corbett vs. Dempsey\, Chicago\, and Kate Werble Gallery\, New York. \nOpening: Saturday\, September 29\, 7-10pm\nSeptember 29 – November 4\, 2018\n\nExhibition\nCarmen Argote\, Julien Creuzet\, DAAR (Decolonizing Architecture Art Residency)\, Sandra de la Loza\, Regina José Galindo\, Adam Khalil\, Zack Khalil and Jackson Polys\, Zara Kuredjian\, Uriel Orlow\, Gala Porras-Kim\, Susan Silton\, and Cauleen Smith\n\nPublic programs\nOctober 20 & 21\, noon-6pm\nScreening\, Basma Alsharif: Ouroboros (on loop during gallery hours)\n\nOctober 26\, 7pm\nScreening and performance\, Adam Khalil\, Jackson Polys\, and KITE: The Informants\nFollowed by a conversation with Adam Khalil\, Jackson Polys\, KITE\, K. Wayne Yang\, and Oscar Gutiérrez. More info here.\n\nOctober 28\, 2pm\nConversation between Cauleen Smith and Raquel Gutiérrez. More info here.\n\nA grammar built with rocks presents artistic practices that trace the racialized and gendered relationship between bodies and land\, and question narratives of socioecological crisis that contribute to the displacement and erasure of people and collective formations. Through a two-part group exhibition\, public programming\, and publication\, the project aims to think with the land—materially and relationally—in order to unpack and historicize notions of waste and contamination as they relate to the politics of access\, property\, and the violence of land allotment. Together\, the featured works explore how the materiality of land permeates our identities and representational structures\, and simultaneously molds the body.\n\nThe project appropriates its title from Édouard Glissant’s writings\, as it looks to the ways in which the landscape contains\, unfolds\, and narrates its own history. It searches for traceable fissures within contested sites\, as an aftermath of violence and altering states of upheaval. The exhibition at Human Resources considers the material\, psychic\, and social relations that constitute place as a site of knowledge production\, and the “below” (below-ground\, below-surface) as emblematic of both resistance and retreat. Together\, the works and programs expose the violence inherent in geographic processes (of territorialization\, privatization\, and urban renewal) and offer artistic methodologies (of documentation\, performance\, and embodied archival practices) that surface buried histories and reorient perspectives to understand land as a bearer of relationships\, resilience\, and memory. The exhibition at ONE Archives at the USC Libraries extends this inquiry to center on the interrelation between the body and place\, exploring how discourses of value and waste (through motifs of the toxic\, the disposable\, the contaminant) influence individual and collective spatial agency.\n\nA grammar built with rocks began with research into the 1950s history of the Chavez Ravine evictions\, and expanded with the following questions:\nHow does unearthing soil\, sediments\, remnants\, and buried life-forms open up space for concealed voices and histories\, and reveal interconnected systems of power and violence on people and place? What does thinking geography relationally rather than territorially look like? How do\nmeta-narratives of development\, modernization\, and crisis contribute to practices of dispossession?\n\nCurated by Shoghig Halajian and Suzy Halajian.\n\nThe project includes the following exhibition and programming:\n\nONE Archives at the USC Libraries\nOpening Saturday\, October 13\, 5-8pm\nOctober 13 – December 22\, 2018\n\nExhibition\nMarwa Arsanios\, Pauline Boudry / Renate Lorenz\, Shannon Ebner\,
and Park McArthur\n\nPublic program\nOctober 13\, 7:30pm\nPerformance\, Dorian Wood: Eucalipto\n\nREDCAT\nDecember 10\, 8:30pm\nScreening and Q&A\, Jumana Manna: Wild Relatives\n\nPublication\nNewly commissioned and existing text contributors include:\nAntke Engel and Renate Lorenz\, DAAR (Decolonizing Architecture Art Residency)\, Sandra de la Loza\, Raquel Gutiérrez\, Shoghig Halajian\, Suzy Halajian\, Candice Lin\, and Carl A. Zimring. Design by Tanya Rubbak.\n\nA grammar built with rocks is supported by the Cultural Services of the French Embassy\, Goethe-Institut\, Foundation for Contemporary Arts Emergency Grant\, ONE Archives at the USC Libraries\, and Pasadena Art Alliance.
URL:https://www.h-r.la/event/a-grammar-built-with-rocks/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/08/housescreen1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180921T200000
DTEND;TZID=America/Los_Angeles:20180922T220000
DTSTAMP:20260423T070304
CREATED:20180826T002344Z
LAST-MODIFIED:20180826T004913Z
UID:3900-1537560000-1537653600@www.h-r.la
SUMMARY:Beck+Col: The Monstern!
DESCRIPTION:The Monstern! \nBeck+Col \nwith \nvon curtis + James Crawford \nFriday\, September 21 8-­10PM performance at 9PM \nSaturday\, September 22 7-­9PM screenings at 8PM \nThe Monstern! is a performance\, installation and film screening. During the performance\, a dozen monsters attend a burlesque show at the Rainbow Saloon. A vicious bar fight erupts\, continually interrupting the evening’s entertainment. Using the genre of the western\, Beck+Col investigate the inherent violence of capitalism\, the myth of american exceptionalism and the toxic masculinity ingrained within it. \nThe Western genre has historically been used as propaganda\, romanticising America’s past. It reflects our pro­individual\, pro­capital and pro­patriarchical system of values. The constant and repetitive violence in The Monstern addresses the ongoing brutality of American exceptionalism. Employing the spectacle\, The Monstern is so Western\, so violent­­ “it reminds us that capitalism is already violent\, that under capitalism violence is ambient and systematic\, and that capitalism will only yield through greater and different violence.”(1)Blood splatters almost constantly in the film. It opens with a tight shot of a monster being decapitated\, a scene as visually disturbing as the sound of the snapping sinew that accompanies it. \nIn The Monstern!\, there are no heroes­­only villains. It’s main character is America’s greatest export: violence. No one lives. \n1. Steven\, Mark. Splatter Capital: a Guide for Surviving the Horror Movie We Collectively Inhabit. Repeater\, 2017.
URL:https://www.h-r.la/event/beckcol-the-monstern/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180911T000000
DTEND;TZID=America/Los_Angeles:20180915T180000
DTSTAMP:20260423T070304
CREATED:20180829T232456Z
LAST-MODIFIED:20180911T222835Z
UID:3910-1536624000-1537034400@www.h-r.la
SUMMARY:Punishment’s Place
DESCRIPTION:Join us for the Los Angeles Premiere of Punishment’s Place. Written directed and fabricated by Brian Getnick\, performed by Kathleen Keogh\, Oscar Alvarez and Peter Tomka. Lighting design by Chu Hsuan Chang. \nExhibition Dates: Wednesday\, Sept 12th — Saturday\, Sept 15th \nGallery Hours: 12-6pm (The work of artist-performers Kathleen Keogh\, Oscar Alvarez and Peter Tomka will be on display from September 12th to the the 15th during these hours. Rehearsals are open to the public.) \nPerformance: Friday\, Sept 14th doors at 8pm\, performance at 8:30pm \nSaturday\, Sept 15th doors at 8pm\, performance at 8:30pm \nPunishment’s Place is a play that emerges from somatic explorations of a shattered monument to Prometheus Bound. Wings\, chains\, a snake’s skin\, and pieces of a man are taken up by artist-performers Kathleen Keogh\, Oscar Alvarez and Peter Tomka as the building blocks for the image of the cyclically punished demigod Prometheus. Punishment’s Place grafts the contemporary political climate of punitive logic symbolized by the monument onto the subjectivity and circumstances of the performers involved. The starting point is that we are all predators and all prey\, that there is no moral high ground to stand upon\, no stable image of retributive justice that satisfies us. The kind of work we do and how we play out these emotions is what allows us to move from punishment’s place into a shared and multidimensional human space. \nBrian Getnick is an artist and facilitator of contemporary performance in Los Angeles. His performance work animates sculptural figures that are containers for research into the intersections of memory\, history and mythology. Currently Getnick is developing a body of sculptural and performative works titled Effigy Live honing in on objects that become sites for magical retribution\, a playing out of the exchanges between ideologies and people. Punishment’s Place is the first work in this series. \nOscar David Alvarez is a performance artist with a studio practice in sculpture\, and installation. He is currently working with totemic hierarchies\, clown rituals\, metaphysical grids\, and abject embodiments of male psyches. He is currently pursuing his MFA at USC Roski School of Art and Design. Oscar will also be performing at the Broad on October 11th as part of the En Cuatro Patas series curated by Xandra Ibarra and Nao Bustamante. \nPeter Tomka’s photos serve as both the invitation and memento mori to social events taking place in rearranged spaces. Recent performances include ‘Tour the Coliseum’ & ‘Present Yourself at the Table’ following Sparkling\, Still\, or Spirit: The Ansonia Survey\, an exhibition he curated. Tomka is currently a 2020 MFA candidate from the University of California Riverside and holds a BA from the University of Iowa in 2011. \nKathleen Keogh creates dance performances that favor the virtuosity of absurdity and mundanity. Her primary outlet for her work is within the dance trio Woolly Mammoth Comes to Dinner. Formed in  in Portland OR with Rikki Rothenberg and Katie Arrants Woolly(…) is an aesthetically-inclined\, trans-pop-culture\, dance-therapy performance group working in  venues ranging from burned-out buildings\, black box theaters\, cowboy dance halls\, and downtown alleyways. Traversing between hilarious absurdity and a dark intensity\, they have been bringing audiences to the precipice of tantalizing confusion since 2006. \nPunishment’s Place was developed by staging workshop productions throughout the year at POST Gallery\, Pieter Space\, PAM and USC Graduate Studios. Thank you Nathan Bockelman\, HK Zamani\, Dorothy Dubrule\, Jmy James Kidd\, and Vardui Sharapkhanyan for hosting us. Thanks also for the critical guidance and feedback of Michal Kobialka\, Dorit Cypis\, Tim Reid\, Mathew Polzin and Asher Hartman. Photos and Videography by Julie Weitz\, Ian Byers Gamber and Angel Alvarado. This performance could not have been made without the ingenuity\, trust and invention of the performers.
URL:https://www.h-r.la/event/punishments-place/
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/08/0012945.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180908T200000
DTEND;TZID=America/Los_Angeles:20180908T200000
DTSTAMP:20260423T070304
CREATED:20180825T234218Z
LAST-MODIFIED:20180904T200500Z
UID:3893-1536436800-1536436800@www.h-r.la
SUMMARY:Sonoptik + HR present:  Tom Hall | Anthony Baldino | Ellan Phan + Nisa Karnsomport | Sleep Clinic
DESCRIPTION:A night of synesthetic journey \nTom Hall \nAnthony Baldino \nEllan Phan + Nisa Karnsomport \nSleep Clinic \nDoors 8pm / $5 \nTom Hall is an Australian audio/visual artist\, residing in Los Angeles. \nHis practice involves micro exploration into place\, space and time. Inspired by peripheral space\, he focuses on using multiple approaches to engage and recontextualise them into live audio video works\, installations and recordings. Using sound as a means to translate and create hybrid environments and notions of journey. \nStylistically these outcomes vary\, including structured drone\, noise\, melody and installation; portrayed using synthesis\, programming and synesthetic delivery. Hall has released a number of recordings in the past decade on labels such as Elli\, Overlap\, Arlen\, and Presto!? along with extensive exhibitions and tours. \nPhan + Karnsomport \nEllen Phan is an artist working primarily in the field of computer music. Recent releases on Anomia and Banh Mi Verlag have been informed by her work as Neuro-Linguistic Programming Practitioner. Therapy-specific methodologies are employed as source material\, modulated autonomously by para-sympathetic activity through a variety of processing and synthesis\, with an aim to gather insight into cognitive and emotional states on a subconscious level. Hers is a distinctly hallucinatory psychoacoustic sound world aimed directly\, with intent and focus\, at the subconscious mind. Phan is based in Los Angeles. \nNisa Karnsomport is a media artist based in Los Angeles. Her work focuses on overlapping experimental media practices with new technology. She currently works as an Software Developer and collaborates with other artists on interactive video installations \nBaldino \nBaldino is a composer and sound designer based in LA whose work spans an enormous range of production avenues. The likelihood that you haven’t heard his work is nearly impossible with music and sound design in too many trailer campaigns to list. With Prometheus\, Interstellar\, Ex-Machina\, Star Wars: Rogue One and Avengers: Infinity War just to name a few\, from there his work ventures to the opposite pole of production with custom sound design based compositions mixed in Atmos for Dolby Labs\, beautifully glitched out remixes and continues on to mind bending modular synthesizer performances. \nSleep Clinic \nReturns to Los Angeles from performing across Europe on stage with the infamous EBM outfit Front Line Assembly. This is bound to be a blistering set.
URL:https://www.h-r.la/event/sonoptik-hr-present-tom-hall-anthony-baldino-ellan-phan-nisa-karnsomport-sleep-clinic/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20180906
DTEND;VALUE=DATE:20180910
DTSTAMP:20260423T070304
CREATED:20180831T052440Z
LAST-MODIFIED:20180831T052504Z
UID:3927-1536213600-1536472799@www.h-r.la
SUMMARY:Color Objectivism\, Harmonic Distortion and the Illusion of the Noise-Free System\, Vol. 2
DESCRIPTION:A series of light and sound performances by Sam Rowell \nThursday\, September 6th: 8pm & 10pm \nFriday\, September 7th: 2pm\, 4pm\, 8pm\, 10pm & midnight \nSaturday\, September 8th: noon \nJoin in an investigation of the hidden nature of color. Experience the perception of light in the non-visual centers of your brain. Listen to the communal neural network. Examine your viscera through the confluence of light and sound. \nSam Rowell is a musician\, creative broadcaster\, and visual artist. She is one-half of radical improv project Eloe Omoe and curates the radio program Special Collections on KCHUNG. Neither a visualization of sound nor a sonification of color\, her sound/light practice combines lush and undulating hues with abstract and dissonant sounds to create meditative and explorative space for the eyes\, ears\, and mind. \nImage: Photo of the interior of the artist’s eye (2018)
URL:https://www.h-r.la/event/color-objectivism-harmonic-distortion-and-the-illusion-of-the-noise-free-system-vol-2/
CATEGORIES:exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20180824
DTEND;VALUE=DATE:20180905
DTSTAMP:20260423T070304
CREATED:20180813T012830Z
LAST-MODIFIED:20180821T230019Z
UID:3863-1535090400-1536040799@www.h-r.la
SUMMARY:A Motorbike Sunbathes on a Patch of Plastic Turf
DESCRIPTION:Opening Reception: August 24\, 6-10pm\nExhibition Dates: August 24—September 3\, 2018\nGallery Hours: Tuesday—Sunday\, 12—6pm \nA Motorbike Sunbathes on a Patch of Plastic Turf is a series of videos\, installations and sculptures by Berlin-based Tra My Nguyen and London-based Annie Mackinnon. Drawing upon family and the artists’ Vietnamese and Chinese backgrounds\, the works focus upon identifying connections\, disconnections and nostalgia surrounding commodities within the tangling nexus of hyper-consumption. \nTra My Nguyen’s work examines motorbike culture in Vietnam\, examining it from both a Western and local standpoint. Stemming from childhood memories riding in Vietnam\, to her mother selling her motorbike to move to Germany\, the motorbike becomes symbolic of freedom to many locals. This is in contrast to Western tourist’s fascination and fetishisation\, where the image of an overstocked Vietnamese Motorbike is perceived almost as novelty. \nAnnie Mackinnon explores the idea of lying products and marketing lies: promises of reconnecting with nature through purchasing North Face Jackets. Through repurposing discarded outdoors gear into products which ‘connect you with nature’\, the videos and installations slip between nature documentary and interactions with quasi functional designed objects. Interview scenes with her Mother who grew up with nine siblings in rural China\, explore the transformation from having no conceptualisation of ‘nature’ beyond basic survival\, to an increasingly materialistic shift\, where her Grandma now parades diamanté jackets in fashion shows in her old people’s home.
URL:https://www.h-r.la/event/a-motorbike-sunbathes-on-a-patch-of-plastic-turf/
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180818
DTEND;VALUE=DATE:20180821
DTSTAMP:20260423T070304
CREATED:20180723T190105Z
LAST-MODIFIED:20180816T080304Z
UID:3559-1534572000-1534744799@www.h-r.la
SUMMARY:One-Two
DESCRIPTION:Gallery Hours: 2pm – 9pm \nAn exhibition by John Dieterich and Carlin Wing \nWith work by Cuauhtli \nA talk by Leopoldo Peña on pelota mixteca and his photography series Oaxacalifornia @ 7pm on Saturday August 18\, 2018 \nAnd a performance with Corey Fogel @ 7pm on Sunday August 19\, 2018. \nOne-two\, give-and-go\, pass the ball and make a run towards the possibility of receiving it again in a new position. This is a method for coordinating the movement of two people to move a third object past opposing players and up the field. Ball players of all kinds know the drill. Three things are necessary to run a one-two: the ability to control the ball in whatever position you find yourself; the ability to move in such a way that your teammate can return the ball to you; and the ability to read the movement of the person you are passing to. So\, the run dictates the pass. And the pass dictates the run. It must be both. When you train this way what you are training is empathy\, the ability to read someone’s (sometimes many someones’) tells. Our bodies are always telling stories about us\, with and without our awareness and direction. One thing that sets great players apart is their ability to read closely quickly\, anticipating the thoughts and movements that other players are telegraphing\, responding in the instant. In these moments\, they know you better than you know yourself. They feel what you are going to feel next. They attune themselves and time their own actions accordingly. A second thing that sets great players apart is their ability to use their bodies’ to tell you the specific story they want. They telegraph truths to their teammates and sell stories to their opponents and referees. A one-two is one kind of collaboration. It rests on communication. It is a deeply human enterprise. \nArtist biographies: \nJohn Dieterich is an Albuquerque-based guitarist\, improviser\, composer and soccer player.  Since 1999\, John has been a member of the rock band Deerhoof. John is also involved in many musical collaborations\, including Gorge Trio\, Endlings (with Raven Chacon)\, Dieterich & Barnes (with Jeremy Barnes)\, and The Hand to Man Band\, and has initiated art collaborations with Chilean visual artist Marcos Sanchez and Los Angeles artist and media studies scholar Carlin Wing. \nCarlin Wing is a Los Angeles based artist\, educator\, and media scholar. Her current book project\, Bounce: A History of Balls\, Walls\, and Gaming Bodies\, follows an array of bouncing balls through the histories of electronic and non-electronic games\, across the spectrum of play\, game\, and sport\, and into the domains of physics\, material science\, animation\, and computing. The book is part of Hitting Walls\, an iterative project made with a wide range of media that uses ball-wall games as a point of departure for approaching interwoven histories of industrialization\, colonization\, and global spectacle. She is an Assistant Professor of Media Studies at Scripps College. \nCuauhtli is a painter and muralist. He has painted murals\, planted gardens\, and made community spaces in Los Angeles for 15 years. \nLeopoldo Peña was born in Michoacán\, México and has lived in Los Angeles since 1992. Currently\, he is a Ph.D. candidate in the Department of Spanish and Portuguese at University of California\, Irvine. He also works as a freelance photographer/language educator and on personal photo projects and spends most of his free time with his son and daughter. His photographic work is centered on two themes: immigration and modern environment. He works on long-term documentary projects with an emphasis on cultural performance. His environmental work seeks to accentuate a human-intervened environment. His work has been published in Boom California\, La Jornada\, StreetNotes\, La Opinión\, Al Borde\, Derive\, Grey Magazine\, Retina\, NACLA: Report on the Americas\, B/W Magazine and El Tequio. \nCorey Fogel (b. 1977) is a drummer and artist currently living in Los Angeles\, CA.  His practice is based in momentary encounters\, often involving the intersection of sounds\, objects\, textiles\, foods and frequently include other musicians and artists.  Fogel engages the viewer to considering sound as a medium on par with paint and cellulose\, a constant in our daily lives. Through his work he challenges us to consider the contexts in which we create\, store and understand sound. Fogel’s works have been presented at Machine Project\, Los Angeles;  Los Angeles County Museum of Art\, Human Resources\, Los Angeles; Redling Fine Art\, Los Angeles; The Wulf\, Los Angeles; The Hammer Museum\, Los Angeles; the Museo de Arte Contemporaneo de Oaxaca\, and REDCAT; Los Angeles. His performance work was also included in J. Paul Getty Museum’s Pacific Standard Time Performance and Public Art Festival and West of Rome’s Trespass Parade. Fogel also performs and composes in many rock\, jazz\, noise\, folk\, and chamber music ensembles. In addition to touring and recording internationally\, Fogel has been a member of groups: Julia Holter\, Missincinatti\, The Mae Shi\, Gowns\, Cryptacize\, Barbez\, Monstro\, The Curtains\, Learning Music\, Nowcloud\, Dominique Leone\, 18 Squared. Corey is currently working on his PhD in UC Irvine’s Integrated Composition\, Improvisation\, and Technology (ICIT) program.
URL:https://www.h-r.la/event/one-two/
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180816
DTEND;VALUE=DATE:20180819
DTSTAMP:20260423T070304
CREATED:20180805T185159Z
LAST-MODIFIED:20180813T180008Z
UID:3853-1534399200-1534571999@www.h-r.la
SUMMARY:Poison Remedy Scapegoat
DESCRIPTION:Beginning 5pm August 16th\nPerformance and Exhibition Open August 16th and 17th\n5pm – 11pm \nLike a cave made out of purple and dark green walls. I roasted things in the oven and you picked at the vegetables like a bird. You’d squeeze the sponge hard so it wouldn’t sit wet and moldy on the counter. One time we drove to the Oregon Coast and I sat in the middle seat in the back. \nPoison Remedy Scapegoat is an intra-acting ecosystem of people\, sculptural elements and choreographed dance sequences. A collaboration between Olivia Erlanger and Nikima Jagudajev. \nWe wrestled in the sand and Mad lost the keys. Ned had AAA and we rode home in a tow truck\, with a stop on the way at some kind of buffet style diner. Remember that huge lumberjack sculpture in the front? We contaminated each other and grew into ourselves\, parting ways and again over time growing closer. \nTime passes differently in PRS\, night is longer than day\, as the atmospheric elements change according to solar wind data streams. Portal sculptures interrupt the floor\, standing next to objects of proposed intimate engagement. Visitors are invited to lie down on mattresses\, eat cake and generally hang out. \nWith the angels\, Ezra Fieremans\, Mor Mendel\, Laurel Atwell\, Jordan Balaber\, devika v. wickremesinghe\, Gaunlett Cheng and systems design by Tommy Martinez. \n………………… \nOlivia Erlanger (b.1990\, New York\, NY) is a sculptor based in Los Angeles. Recent and upcoming solo projects include a solo project at MotherCulture\, LA\, mouths filled with pollen at AND NOW\, Dallas\, Body Electric\, BMW Frieze Open Work commission at Frieze\, London 2017\, Dripping Tap at Mathew\, New York and The Oily Actor at What Pipeline\, Illinois. Recent group shows include Entangled Tales at Rupert\, Lithuania\, Annex at M+B Gallery\, LA\, New Human Agenda at AND NOW Dallas\, TX\, Wormwood at Ellis King\, Dublin\, Other People’s Things\, Brown University\, RI. Erlanger is the recipient of Open Work\, a BMW Frieze commission. She was a fellow at IdeasCity 2017 in Arles\, France and a visiting artist at Brown University in 2016. She co-authored Garage with Luis Ortega Govela\, due out September 2018 from MIT Press\,  in addition to the self-published Hate Suburbia and Born Goth—which was included in Harvard Design Magazine’s Summer 2017 issue. Their documentary\, Garage will premiere this fall. \nNikima Jagudajev (b. 1990) is a choreographer. Her work\, expanding formal dance into the construction of open-ended socialities\, has been presented at the Whitney Museum and Judson Church\, in the context of 89+ at LUMA/Westbau (Zurich)\, Rockbund Art Museum (Shanghai)\, Villa Empain (Brussels)\, and as part of the Marrakech Biennale (Morocco). She has worked with\, among others luciana achugar\, Olivia Erlanger\, Asad Raza\, Tino Sehgal\, Mårten Spångberg and Gillian Walsh. She was assistant editor to the anthology Post-Dance (2017) and has published various essays. \nEzra Fieremans is a performer working for and in collaboration with choreographers and film makers. \nSince 2008\, Laurel Atwell has been living in Brooklyn and making work that has recently become more interdisciplinary with her research conducted as a 2016 Movement Research Artist in Residence. Her work has been presented at Abrons Arts Center\, Dixon Place\, Center for Performance Research\, Draftworks at Danspace Project\, Domestic Performance Agency\, Links Hall in Chicago\, IL\, Movement Research at Judson Church\, Pieter Performance Space in Los Angeles\, CA as well as throughout apartments\, parks\, bars\, and galleries in Brooklyn\, Manhattan\, and Queens. Laurel has the pleasure of collaborating with Tess Dworman; the two recently created WellMan\, a class drawing from qi gong and meditation practices. Laurel has recently appeared in the work of Mariangela Lopez\, Phoebe Berglund\, Kim Brandt\, Melanie Maar\, Kathy Westwater\, Tess Dworman\, Ursula Eagly\, Nikima Jagudajev\, and Milka Djordjevich. She edits the Dance Pamphlets for 53rd State Press\, teaches qi gong\, and will be back in LA for dual residencies at PAM and Central Park Gallery this October with Jessica Cook. \nMy name is Mor Mendel and I remember myself dancing under the kitchen table at the age of three and I don’t think I stopped dancing since\, professionally and personally. Movement and music are an inspiration\, something to feel life through\, a drive and a force. I was born in Pittsburg but moved back to Israel where I grew up when I was two. The region and culture I come from\, keep on informing and influencing the way I live and move in the world. In Israel I earned my BA in Dance Theater. I later moved to NYC and completed my MFA in dance from Sarah Lawrence College on 2014. I still live in NY where I am creatively engaged with other artists and focus my teaching around people with Parkinson and elderly communities. \nJordan Balaber is a composer\, producer and sound artist based in Queens\, New York \ndevika v. wickremesinghe is a dancer person and Los Angeles Expressive. Since 2014\, devika has worked in dance and performance with L.A artists including Alexx Makes Dances\, Milka Djordjevich\, Dorothy Dubrule\, Laurel Jenkins\, Sarah Leddy\, Gwyneth Shanks\, and Flora Weigmann. devika is a founding member of taisha paggett’s WXPT. In 2015 she was a part of Maria Hassabi’s PLASTIC at the Hammer Museum. Alongside Alexx Shilling devika curates and produces the long running series Hi\, Solo at Pieter Performance Space\, a series dedicated to developing the work of emerging L.A choreographers. Most recently\, under the direction of Elkahnah Pulitzer and Laurel Jenkins\, devika performed in Leonard Bernstein’s MASS at Lincoln Center. She has had the pleasure of working with many New York artists including Diana Crum\, Showtime Goma\, K.J Holmes\, Vanessa Justice\, ana isabel keilson\, Mariangela Lopez’s ACCIDENTAL MOVEMENT\, Jill Sigman and Buck Wanner. Alongside collaborator Samantha Allen\, devika creates film and live performance as the Institut IDGAF @institut.idgaf
URL:https://www.h-r.la/event/poison-remedy-scapegoat/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180728
DTEND;VALUE=DATE:20180813
DTSTAMP:20260423T070304
CREATED:20180723T185421Z
LAST-MODIFIED:20180728T213746Z
UID:3553-1532757600-1534053599@www.h-r.la
SUMMARY:Every Unlikely Story
DESCRIPTION:Image credit: Cameron Coffman\, slow crawl\, 66″ x 22″ x 34″\, wood\, clay\, resin\, glass\, ladybug\, aphids\, waterbug\, plants\, dirt\, plastic\, 2018 \nOpening Reception: Saturday\, July 28\, 7-10pm\nExhibition Dates: July 28 – August 11\, 2018\nGallery Hours: Wed-Sun\, 12-6pm \nImagine the chapters in a long book as individual\, freestanding fragments. Take this collection of distinct plot twists\, allegories\, flashbacks\, and scenic descriptions and shuffle them. There is always something compelling about the exquisite corpse—its reliance on chance\, its absurdist form that is at once distorted\, grotesque\, and yet still enticing. \nThis exhibition brings together a disparate grouping of images\, anecdotes\, and narratives that coalesce into a cohesive portrait of the now. They rely on drama\, on fantasy\, and on farce. Some stories plumb the depths of history. Others examine their immediate surroundings. Many are deeply rooted in the personal and explore identity through the lenses of race\, gender\, and nationality. Process is the focal point in some pieces\, where the journey towards the end takes on more significance than the end itself. Other works are more concise portraits; and while they might employ a plainer vocabulary\, they are no less complex. \nThere is a grandmother as she is hoisted from her deathbed. Elsewhere\, on a different empty bed\, crumpled unmade sheets mark the trace of a distant lover. In other spaces\, one finds a hand lit on fire\, but inexplicably luminous and unscathed. And there is another hand whose thin arm connects to the body of a snake\, its outstretched finger resting on a strange box of bugs and dirt. There are layered stories told in song\, gathered in found internet footage from gospel church choirs. There are pieces of buildings—bricks\, stained concrete\, chipped walls—whose nicks and dents tell of one location’s past. Here we are transported to ancient\, foreign lands. At the same time\, we dwell on the political implications of the rapidly changing neighborhoods and gentrifications of our own city. \nAs in all recollection\, there is both sadness and joy. Where there is heartbreak today\, there was once intrigue\, piercing chemistry\, and so many bouquets of flowers. One might get blisters on their feet from salsa dancing all night\, but the memory of a late night out trumps the morning hangover. \nAdrian Abela\nAlex Anderson\nCarey Coleman\nCameron Coffman\nColeman Alexander Collins\nJenny Gagalka\nMariam Graff\nShasha Dothan\nNasim Hantehzadeh\nLouis Heilbronn\nJohn Hulsey\nTodd McQuade\nKamaria Shepherd\nSean Sprague\nHiejin Yoo \nCurated by Simone Krug and Eric Kim
URL:https://www.h-r.la/event/every-unlikely-story/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/07/Cameron-Coffman-1.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180719
DTEND;VALUE=DATE:20180725
DTSTAMP:20260423T070304
CREATED:20180717T001236Z
LAST-MODIFIED:20180717T004452Z
UID:3545-1531980000-1532411999@www.h-r.la
SUMMARY:Arc\, Wobble\, Fade\, Fold
DESCRIPTION:Image: Sasha Bergstrom-Katz\, Cup and Ball\, cast aluminum\, 2018 \nOpening Reception: July 19\, 7-10pm \nGallery Hours: Thursday – Monday\, 12pm-6pm \n  \nSasha Bergstrom-Katz  \nRachel Borenstein  \nNiloufar Emamifar  \nMiranda Javid \nKyle Welker \nKim Garcia  \nJoshua Ross  \nEva Słapa \nAmy Mackay  \n  \nConsider the idea of the fold. It is both a gesture and a mark\, a mode of concealment and of obfuscation. One can get lost in the fold just as the act of folding might provide direction or even answers. A fold is a fracture in the surface and it is a gentle graze. It is\, in this way\, a clever contradiction. A fold implies elasticity\, movement\, and variation. The works in Arc\, Wobble\, Fade\, Fold rely on the tensility of their materials\, the malleability of their formation. These pieces come together in their shifting\, volatile dispositions.  \nIs a fold a boundary? Some works delve into the politics of geographic “air rights” and the arbitrary property rights used to delineate borders and measure public space. Other pieces consider the inherent choreography of the garment as it wrinkles\, puckers\, and cinches on the body. There are abstract documents of constructed or staged group experiences\, where a large-scale painting of curved\, undulating strokes might serve to mark\, or archive\, a collective event.  \nThe fold—or the fissure—is hidden in the systems of other artworks. In one sculptural installation of tangled glass tubes\, both the flow and the source of tube water is concealed by the coiling continuity of its transparent conduit. Another artist explores the interior apparatus of the magician’s false “cup-and-ball” props. Here\, the trick is embedded into the object itself\, eliminating any need for sleight of hand.  \nSome cast structures carry impressions and indentations of tactile molds. These fabricated forms likewise hint at tensions\, misunderstandings\, missed connections—an elaborate index of social interactions. Another work seeks to demarcate definitive moments in more abstract pursuits such as mapping the pollination range of honey bees. Still other pieces dissect the flat surface of the canvas\, carving holes and manipulating material into intricate contours. Short looping animations dwell on mortality and the passage of time\, the folding of the day as the sun sets.  \nAs both a cover and an idea that might open out into something else\, the fold is a point of entry into deconstruction\, revision\, and the broader notion of change. When we see these artworks together\, we see the seams that hold our surroundings.  \nCurated by Simone Krug and Eric Kim 
URL:https://www.h-r.la/event/arc-wobble-fade-fold/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/07/uci-image.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20180711
DTEND;VALUE=DATE:20180717
DTSTAMP:20260423T070304
CREATED:20180626T010426Z
LAST-MODIFIED:20180707T172308Z
UID:3521-1531288800-1531720799@www.h-r.la
SUMMARY:Sarah Rara: Alias
DESCRIPTION:  \n  \nsolar rays reached the surface without meaning \ndepending on the day\nthe observer melts exactly where the sun rises \nthe heavy sun tethers to hangers-on\nthrows them counter-clockwise \nthe northern axis points in the direction\nno one yields \ncolors de-saturate in the dark \na cylindrical projection graphs the sun\nrolled for an eye to look through \nfeel what happened to the horizon after the fires \nwe need to take all that we can\, read the azimuth\, and run \nwhen the sun flickers\, time abolishes pleasing positions \n  \nHuman Resources presents Alias\, an exhibition of new video work by Los Angeles-based artist Sarah Rara. \nRara’s multi-disciplinary practice—incuding performance\, writing\, and video—explores the position of witness within fragile systems. \nFor Alias\, Rara focuses on a characteristic distortion of sampled images—Aliasing—where one grid fails to cleanly capture another\, and separate entities become indistinguishable. One form ingesting another\, a parasite larger than its host: Alias is a story about solar energy\, ruined by observation. \n  \nClosing reception Sunday July 15th\, 3-6pm \nGallery hours Weds 7/11—Sun 11/15 12p—6p
URL:https://www.h-r.la/event/sarah-rara-alias/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/06/alias-stills.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180702T140000
DTEND;TZID=America/Los_Angeles:20180702T230000
DTSTAMP:20260423T070304
CREATED:20180629T001943Z
LAST-MODIFIED:20180726T003727Z
UID:3530-1530540000-1530572400@www.h-r.la
SUMMARY:Moonstone #2
DESCRIPTION:Moontone #2 \n  \nPerformance:\nMariel Carranza: 2pm-8pm\nhttp://www.marielcarranza.com/ \nJennifer Locke: 7pm\nhttp://www.jenniferlocke.net/ \n  \nMovement:\nAustyn Rich:  8pm\nhttps://www.instagram.com/blaqdemarco/?hl=en \n  \nDrag:\nDirect from NYC – Millicent: 7:30pm \n  \nPhotography: \nHiroshi Clark \nhttp://hiroshi-clark.com/ \n  \n  \nCurated by Marcus Kuiland-Nazario \n$10 Suggested donation \nPrecise details coming soon.\nShaking out to be an afternoon into evening event as we are presenting durational performance. \n  \n  \nImage by Hiroshi Clark
URL:https://www.h-r.la/event/moontone-2/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/06/hiroshi-clark.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180607T190000
DTEND;TZID=America/Los_Angeles:20180624T180000
DTSTAMP:20260423T070304
CREATED:20180504T175517Z
LAST-MODIFIED:20250316T050432Z
UID:3444-1528398000-1529863200@www.h-r.la
SUMMARY:Frau Fiber Vs. the Machines
DESCRIPTION:Frau Fiber Vs. the Machines \nGallery will be open noon-6pm\, Thursday-Sunday.\n\nOpening reception Thursday June 7th 7-10pm\n\n \nThe works in this exhibition document Frau Fiber’s on-going battle with contemporary apparel manufacturing. In video\, photography and artifacts\, the exhibition makes space to witness Frau Fiber’s attempt to spin yarn\, knit a tube sock and knit a sweater as fast as a machine. This series of textile productions are inspired by the folk lore of the ultimate working-class hero: John Henry. Henry\, who was immortalized in verse and myth in the 1800’s\, fought and lost a valiant battle against the drill machine that took his life and ultimately replaced the jobs of tireless railroad workers. \nThe exhibition is curated by Frau Fiber’s archivist and biographer\, Carole Frances Lung. \nFrau Fiber is a textile super-hero who uses pedagogical\, material and playful approaches to teach communities about the human cost of mass production and consumption. Many of her spirited durational performances and other projects take place at Frau Fiber’s store-front headquarters in downtown Long Beach\, CA\, called the Institute for Labor Generosity Workers and Uniforms(ILGWU). Her legacy project is the Sewing Rebellion\, a national campaign to “STOP SHOPPING AND START SEWING!”. The Rebellion is a grass roots movement that empowers people through skill-sharing\, facilitates community building\, and advocates for social change. The Rebellion connects participants to the history of “thrift and reuse circles” and “quilting bees\,” organizing people to come together to share resources\, talk politics\, and promote change in the fashion and textile industry. Sewing Rebellions have been hosted in Chicago; New York City; New Orleans; Denver; Sheboygan\, WI; Ames\, Iowa; San Francisco; Los Angeles; Long Beach\, CA; Asheville\, NC; Portland\, ME; Portland\, OR; London\, UK; and Weimar Germany. \nCarole Frances Lung is an artist and Associate Professor of Fashion Fiber and Materials at California State University\, Los Angeles. Through her alter ego Frau Fiber\, Carole advocates for an alternative vocabulary of fashion and textile production and consumption\, one that is less wasteful and has fair labor practices. Frau Fiber’s works crafting of one of a kind garments\, installations\, performances\, and social sculpture pay homage to textile and apparel manufacturing histories andcritique contemporary production systems. Her slow durational practice of careful listening\, problem solving\, skill sharing and community building engages in hands-on experiences\, which attempt to instigate change in the current Fast Fashion system. Frau Fiber’s performances have been exhibited at Craft in America Study Center\, Jane Addams Hull House Museum\, Craft and Folk Art Museum\, Center for Craft Creativity and Design\, Museum of Contemporary Craft\, OTIS College of Art and Design\, Appalachian State University and the Ghetto Biennale Port Au Prince Haiti. Publications include: KCET\, Surface Design Journal\, American Craft Council: Shaping the Future of Craft\, Art in America\, and Art Papers. She has lectured at Bauhaus University in Weimar Germany\, The School of Art and Design Oslo\, Norway\, Arrowmont and Haystack Mountain School of Craft. Carole has been awarded: Kohler Arts and Industry Residency\, Craft Creativity and Design Center Grant\, At the Edge Gallery 400 award and Fred A. Hillbruner Artist Book Fellowship\, and Faculty Fellow for the Public Good. Carole maintains the Institute for Labor Generosity Workers and Uniforms\, Frau Fiber’s headquarters and experimental factory in downtown Long Beach\, CA.
URL:https://www.h-r.la/event/frau-fiber-vs-the-machines/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/05/IMG_4547.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180603T200000
DTEND;TZID=America/Los_Angeles:20180603T230000
DTSTAMP:20260423T070304
CREATED:20180529T080842Z
LAST-MODIFIED:20180726T003649Z
UID:3509-1528056000-1528066800@www.h-r.la
SUMMARY:Dog Star 14: A House is Made With Walls & Beams
DESCRIPTION:Premieres by Stephanie Smith\, Cassia Streb\, Sepand Shahab\, Eric Heep and John Eagle for the 8 channel modular sound system ‘Sound House’\, a collaborative project with Janie Geiser\, John Eagle & Cassia Streb. \n$5-10 donation
URL:https://www.h-r.la/event/dog-star-14-a-house-is-made-with-walls-beams/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/05/32116301_1802288910077863_9184577804883197952_n.jpg
END:VEVENT
END:VCALENDAR