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DTSTART;TZID=America/Los_Angeles:20220224T200000
DTEND;TZID=America/Los_Angeles:20220224T210000
DTSTAMP:20260611T054905
CREATED:20220203T222958Z
LAST-MODIFIED:20220207T212628Z
UID:6582-1645732800-1645736400@www.h-r.la
SUMMARY:Pau S. Pescador - Hot Girl Summer (and other trans myths)
DESCRIPTION:Hot Girl Summer (and other trans myths) \nA Performance by Pau S. Pescador \nFebruary 24\, 8 pm \nHot Girl Summer (and other trans myths) is a three-act performance art event\, which takes place in the optimistic summer days of 2021. Vaccines\, socializing and the act of being seen! Through this solo performance Pescador utilizes costumes\, puppets and props to explore their own successes and failings attempting to reorient the world as a recently transitioned body.  The world is open\, everything is possible…including the bittersweet pain of heartbreak! \nPau S. Pescador is a contemporary trans fem nonbinary artist who works in film\, photography\, and performance that lives and works in Los Angeles\, California. She graduated with an MFA from University of California\, Irvine and a BA from University of Southern California. Select performances include: ForYourArt\, Los Angeles; Hammer Museum\, with KCHUNG TV\, Los Angeles; Lenzer Gallery at Pitzer College\, Claremont\, CA; Los Angeles Contemporary Archives; Guggenheim Gallery at Chapman University\, Orange\, CA; Machine Projects\, Los Angeles; PAM\, Los Angeles; Performa 2015\, Colony\, New York; REDCAT\, Los Angeles and UC Berkeley: Durham Studio Theater. Her first collection of writing\, CRUSHES: A NOVELLA\, was published by Econo Textual Objects in Spring 2017. \nVaccination card is required for entry and attendants are required to wear a mask at all times inside the gallery. \nLimited seating for this is available and reservations are highly encouraged
URL:https://www.h-r.la/event/pau-s-pescador-hot-girl-summer-and-other-trans-myths/
CATEGORIES:performance
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220219T190000
DTEND;TZID=America/Los_Angeles:20220219T210000
DTSTAMP:20260611T054905
CREATED:20220125T235157Z
LAST-MODIFIED:20220210T231123Z
UID:6545-1645297200-1645304400@www.h-r.la
SUMMARY:Mascota a film by Nico Garcini & Misael José Oquendo
DESCRIPTION:Human Resources-Los Angeles presents Mascota an experimental film by Nico Garcini and Misael José Oquendo. \nSaturday\, February 19th  \nDoors: 7pm  \nFilm to begin promptly at 7:30pm  \nVaccination card is required for entry and attendants are required to wear a mask at all times inside the gallery. \nPlease note this film screening has limited capacity. Be sure to arrive early to ensure entry. Please RSVP here.  \nThe story of MASCOTA follows a lost pilgrim (PEREGRINA) who finds themselves furloughed in a town full of live action role players. In need of a square meal\, the Pilgrim meets and follows a vagrant LARPer\, RATBOY\, who is fervently obsessed with an entity called the Floon. The townsfolk are not only all participating in a town wide LARP campaign\, but they all appear to be compulsively partaking in a town lottery. The pilgrim comes to find that each individual’s lottery ticket is what allows them to participate in the town’s activities. Without a ticket\, one is ostracized from all establishments and events\, and like Ratboy\, becomes a Mascota\, and townsfolk then consider them to be a subaltern citizen. Mascotas present as half human/half animal figures\, as they have chosen a path whereby they no longer see the difference between their in-game role-play and their out-of-game persona. These mascotas all live together in a ‘monster camp\,’ a harmonious socialist community just outside of town. Here they worship the ways of the Floon\, a deity whose name has its origin in a LARP term that signifies the feeling of exaltation one gets from participating in a campaign. Our protagonist\, after becoming familiar with this shunned community\, begins to notice certain inherent disparities between these two societies. Noticing a sense of superiority among the townsfolk\, the Pilgrim becomes increasingly worried that the ticket holders and the ticketless will inevitably be brought to conflict. \nMASCOTA is an animated experimental fantasy film created through the use of keyframing\, image plating and motion capture A.I. software. MASCOTA’s story and aesthetic draws from a myriad of sources: Live Action Role Playing\, an interactive role-playing game wherein the participants portray characters through physical action and fashion. This heavily inspired the premise of the film wherein every character in the film aside from the protagonist is a ‘LARPer’ engaged in a fantasy campaign. Through the use of animation\, the film is free to explore and engage anachronistically with any setting\, mythology\, fashion and style. The dialogue of the feature merges LARPing terminology and antiquated speech as a diachronic experiment in\nform. Concerning the etymology of MASCOTA\, look to the 19th century French\, mascotte\, meaning a pet or lucky charm\, a concept by which the feature’s auteurs gather certain thematic symbols. The film’s satirical and abstracted reenactment of the christ myth is told through the haze of unrequited love and its heavily tragic consequences. \nNico Garcini  is a Cuban writer\, filmmaker\, musician and visual artist currently based in Tucson\, AZ. He graduated with a BFA in film from Bard College in Annandale-on-Hudson\, NY\, where he studied under Peter Hutton. \nMisael José Oquendo is a Puerto Rican video artist\, curator and writer based in Los Angeles. He recently graduated from the Aesthetics & Politics (2020\, MA) program at the California Institute of the Arts. He also studied film and visual critical studies at the School of the Art Institute of Chicago where he graduated with a BFA in 2016. His videos have been exhibited at the Gene Siskel Film Center in Chicago and most recently at the LA Contemporary Archive in Los Angeles.
URL:https://www.h-r.la/event/mascota-a-film-by-nico-garcini-misael-jose-oquendo/
CATEGORIES:one-time event at HR
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220217T200000
DTEND;TZID=America/Los_Angeles:20220218T200000
DTSTAMP:20260611T054905
CREATED:20220208T001018Z
LAST-MODIFIED:20220215T003206Z
UID:6592-1645128000-1645214400@www.h-r.la
SUMMARY:Bruce & Norman Yonemoto - GARAGE SALES
DESCRIPTION:Two nights of screenings focusing on a trio of films by the Yonemoto brothers: \nThursday\, February 17th\, 8:00pm:  \nTickets for Thursdays screening of Garage Sale can be reserved here \nBruce and Norman Yonemoto\, Garage Sale\, 1976\, 16mm transferred to digital\, 85 min \nGarage Sale is a campy feature centered on a story of marital upheaval between drag queen Goldie Glitters and her fair-haired husband Hero. Goldie plays an aspiring starlet of the same name\, whose fantasies and expectations have been shaped by Hollywood romance films. The film follows the couple as Hero tries to regain Goldie’s love by seeking the advice of an eccentric cast of characters. \nFollowing the film there will be a brief discussion with Bruce and HR’s managing director\, John Bartle. \n  \n \nFriday\, February 18th\, 8:00pm: Homecoming\, Performances\, & Garage Sale II \nAn evening of 2 historic short videos\, and work by contemporary artists. \nTickets for Fridays event can be reserved here \nBruce Yonemoto\, Homecoming\, 1975\, video\, 29 minutes \nHomecoming documents the 1975 Homecoming Queen election at Santa Monica City College\, where Yonemoto was teaching at the time. The documentary focuses on the campaign of Goldie Glitters\, and its reception by the school. Goldie was a queer artist\, and former member of the San Francisco gender-bending theater group the Cockettes. When asked why they were running\, Goldie said they were “trying to raise the consciousness of everybody.” \nBruce and Norman Yonemoto\, Garage Sale II\, 1980\, video\, 31 min \nFeaturing Fred Halsted\, Branda Miller\, Robbie Morel\, Jerry Dreva\, Mike Kelley\, Tony Oursler\, Joe Potts\, and Camille O’Grady\, Garage Sale II moves between a couple’s sexually dysfunctional relationship and a series of vignettes in which characters attempt to fulfill their desires through prosthetics\, masturbation\, manipulation and S&M. \nThe work of several younger queer artists will accompany this evening including short performances by Kim Ye\, & Page Person\, a bathroom installation by Badly Licked Bear\, and photographs by Mark McKnight. \n \n  \n• Proof of full vaccination required for entry\n• Masks required at all times while inside the space\n• This event has a limited capacity\, plan to arrive in timely manner to ensure entry\n•  Ticket reservations are strongly encouraged
URL:https://www.h-r.la/event/bruce-norman-yonemoto-garage-sales/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220212T200000
DTEND;TZID=America/Los_Angeles:20220212T220000
DTSTAMP:20260611T054905
CREATED:20220202T202427Z
LAST-MODIFIED:20220203T223949Z
UID:6566-1644696000-1644703200@www.h-r.la
SUMMARY:Purple Glitter Slime
DESCRIPTION:An evening of queer performances and works by \nAmanda-Faye Jimenez \nAimee Goguen & Dakota Higgins \nJohn Burdole \nLaub \nNathan Lam Vuong \nZori Swanegan \n\n\n7$ \nDoors open at 8 \nPerformances begin promptly at 830 \n\nTickets can be purchased here: https://withfriends.co/event/13568875/purple_glitter_slime_21222 \n\nAmanda-Faye Jimenez is a writer and comedic performer born and raised in Los Angeles. She is mostly known for being a huge lesbian irl and online @failureprincess and for having long conversations with dogs. \nAimee Goguen (she/they) is a moving-image artist working in analog video\, hand-drawn animation\, and creative writing. She explores the grotesque and abject\, crafting scenarios that reimagine bullying as staged\, repetitive actions. Goguen’s work is anchored in imagination\, fantasy\, and escape. Goguen lives and works in Los Angeles. \nDakota Higgins is an artist\, writer\, and musician based in Los Angeles. He runs the experimental venue\, The DMV\, LA (aka The Departure from music Venue[s]). \nJohn Burdole is a queer artist. They like making work with their friends\, and making out. \n\n\nNathan Lam Vuong’s work deals with Asian-American culture\, the nuances of loneliness and confusion in dating\, and ideas of non-relationships. Born in Pascagoula\, Mississippi and raised in Florida\, Vuong received his BFA from the University of Miami and an MFA from CalArts.  Vuong produced the weekly comic strip\, Post-Ironic\, for The Heat Lightning (Miami). In 2011\, he attended the Banff Art Centre in Canada for the thematic residency “What’s Love Got To Do With It?”  Vuong has exhibited/performed at Soy Capitán in Berlin\, The Center – NYC’s LGBT Community Center\, Krause Gallery NYC\, Machine Projects LA\, LACMA (band performance with J-Lep)\, Aljira Center for Contemporary Art Newark NJ\, and Boston Center for the Arts. \n\nBuddy\, gentle like an angel sent from the heavens\, is Laub with some clown makeup on. Every once and a while he comes out of hiding to sing some songs.  He grew up Mennonite\, in Virginia\, and misses singing every Sunday\, in a congregation of people who sang in four-part harmony. He plays the guitar\, banjo\, piano or octave mandolin and sings from his iPhone\, very seriously\, like a boy in church. Laub\, also known as Taliesin is currently enrolled in massage school and needs practice. If you’d like to make an appointment or inquiries please call 562-583-5773 or DM @laublife. He has great hands and his own portable massage table. Also\, in recent developments\, Laub needs a place to live. \n\n\n\nZori Swanegan is a visual artist based in Los Angeles\, CA. She primarily makes works on paper.\n  \n  \n\nProof of full vaccination and contact info required for entry to this event\nMasks required at all times while inside the space\nThis event has a limited capacity\, pre-sale tickets are highly encouraged
URL:https://www.h-r.la/event/purple-glitter-slime/
CATEGORIES:exhibition,one-time event at HR,performance
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220211T183000
DTEND;TZID=America/Los_Angeles:20220211T230000
DTSTAMP:20260611T054905
CREATED:20220131T215648Z
LAST-MODIFIED:20220131T233106Z
UID:6557-1644604200-1644620400@www.h-r.la
SUMMARY:Noche de Amor
DESCRIPTION:Noche de Amor  \nMusic by Neyva\, Romeo Diablos\, Fairy Boy\, Bae Banxx\, Ora77k\, & Soulm4te  \nFebruary 11\, 2021 6:30—11PM  \n\nProof of full vaccination and contact info required for entry to this event\nMasks required at all times while inside the space\nThis event has a limited capacity\, plan to arrive in timely manner to ensure entry
URL:https://www.h-r.la/event/noche-de-amor/
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2022/01/IMG_9453.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220210T200000
DTEND;TZID=America/Los_Angeles:20220210T230000
DTSTAMP:20260611T054905
CREATED:20220126T044940Z
LAST-MODIFIED:20220126T200658Z
UID:6553-1644523200-1644534000@www.h-r.la
SUMMARY:Pristina / Sauber Zauber / TBHQ
DESCRIPTION:Pristina / Sauber Zauber / TBHQ\n\n• Proof of full vaccination and contact info required for entry to this event\n• Masks required at all times while inside the space\n• This event has a limited capacity\, plan to arrive in timely manner to ensure entry!\n• Getting (free) tickets in advance is strongly encouraged\n\nRESERVE YOUR TICKET HERE
URL:https://www.h-r.la/event/pristina-sauber-zauber-tbqh/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2022/01/220210show.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220205T190000
DTEND;TZID=America/Los_Angeles:20220205T210000
DTSTAMP:20260611T054905
CREATED:20220125T004214Z
LAST-MODIFIED:20220204T010538Z
UID:6517-1644087600-1644094800@www.h-r.la
SUMMARY:Sylvia Wynter's The Big Pride\, (1961.) Film screening by LAND x HRLA
DESCRIPTION:Mrs.Dowling (Nadia Cattouse) and Mallboy Dowling (Johnny Sekka) in The Big Pride\, (1961.) \nHuman Resources Los Angeles in partnership with LAND (Los Angeles Nomadic Division) presents a screening of The Big Pride (1961) the film adaptation of Sylvia Wynter’s play of the concurrent name. \n“Scripted by Guyanese writers Jan Carew and Sylvia Wynter\, The Big Pride is a powerful drama about the quest for freedom. Classically-trained American actor William Marshall and Senegalese-born Johnny Sekka play convicts\, desperate to escape not just the physical bars of the prison cell but also an iniquitous social order that relegates them from birth to the bottom of the heap. However the critique by Dolly Green\, in a virtuoso performance by Trinidadian actor Barbara Assoon\, exposes a third confinement\, ultimately the most devastating of all\, the imprisonment of the mind by bitterness and hatred. In the end for Sutlej and Smallboy Dowling there is no fantasy future. There is only death and surrender.” — British Film Institute \nThe film screening is a part of LAND and LACA’s (Los Angeles Contemporary Archive) course on the work of Sylvia Wynter facilitated by manuel arturo abreu. \nSpecial thanks to Blue for making the film screening possible. \nFor free tickets please RSVP to our Eventbrite here.  \nDoors open at 7:00pm with the film starting promptly at 7:30pm.  \nThe screening will be followed by Q&A between manuel arturo abreu and LAND’s Associate Curator Hugo Cervantes. \nVaccination card is required for entry and attendants are required to wear a mask at all times inside the gallery. \nPlease note this film screening has limited capacity. Be sure to arrive early to ensure entry. \n 
URL:https://www.h-r.la/event/the-big-pride-land-x-hrla/
CATEGORIES:one-time event at HR
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220120
DTEND;VALUE=DATE:20220201
DTSTAMP:20260611T054905
CREATED:20220112T211818Z
LAST-MODIFIED:20220118T213144Z
UID:6494-1642658400-1643608799@www.h-r.la
SUMMARY:Apparitions: a group show
DESCRIPTION:The group stems from a virtual art salon that was facilitated by Miljohn Ruperto at the end of 2020. With their diverse backgrounds and satellite presence\, artists were invited to question the opacity in the contemporary art world while sharing their past and current works. The space of conversation is suspended through virtual meetings\, discussing peer feedback\, group readings\, along with conceptual and practical ideas in art. The salon has expanded to more guest participants –curators\, gallerists and other artists who add to the conversation and overall curiosity of a practicing artist. \n  \nClick here for the exhibition page.
URL:https://www.h-r.la/event/apparitions-a-group-show/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2022/01/Apparitions.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220114
DTEND;VALUE=DATE:20220116
DTSTAMP:20260611T054905
CREATED:20211230T021450Z
LAST-MODIFIED:20220114T233425Z
UID:6464-1642140000-1642226399@www.h-r.la
SUMMARY:Sebastian Hernandez [Postponed]
DESCRIPTION:POSTPONED \nMulti disciplinary trans femme artist Sebastian Hernandez presents a new work with a group of femmes to bring forth a happening in the dark.
URL:https://www.h-r.la/event/sebastian-hernandez/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20211218T180000
DTEND;TZID=America/Los_Angeles:20211218T230000
DTSTAMP:20260611T054905
CREATED:20211215T000516Z
LAST-MODIFIED:20211215T005219Z
UID:6441-1639850400-1639868400@www.h-r.la
SUMMARY:Jasmine Nyende: To keep me warm. While I grieve.
DESCRIPTION:I’m making a quilt. At Human Resources. To keep me warm. While I grieve. If you want. Bring me warm fabrics. Anytime between 6-10pm. While I sew. You can’t actually come inside but bring fabrics/ old clean clothes or other textiles and you can watch while I sew from inside while you are outside. It’s like a drive by funeral for the threads. Come for as long or as short as you like. Because grief is naturally voyeuristic and I’m an performance artist that luckily has the space to do something to feel apart of you during the pandemic. As a metaphor for how it feels to grief. But please bring any clean\, soft\, loving fabrics to sew into a grief map to feel comfort in. I will sleep in it on Christmas Eve and remember your care. \nQuilting as a social practice and all that jazz. \nTo be clear\, I am doing a durational performance art piece about how people are healing post-Covid with the love of our communities. This is an exploratory action into being together. So then making a quilt dependent completely by YOU (and my own fabrics from past donations) to make something to keep me warm. 12/18 at Human Resources\, please leave the fabric outside the door for me to collect and stay outside unless invited in ❤️❤️
URL:https://www.h-r.la/event/jasmine-nyende-to-keep-me-warm-while-i-grieve/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20211217T200000
DTEND;TZID=America/Los_Angeles:20211217T223000
DTSTAMP:20260611T054905
CREATED:20211214T210509Z
LAST-MODIFIED:20211214T210820Z
UID:6432-1639771200-1639780200@www.h-r.la
SUMMARY:Leila Bordreuil • Nephila
DESCRIPTION:UPEND presents \nLEILA BORDREUIL \nNEPHILA \n \n“Leila Bordreuil is a Brooklyn-based cellist\, composer and sound-artist from France. She accesses concepts as diverse as Noise\, contemporary classical\, free jazz\, and experimental traditions but adheres to none of them. Her music mixes deep melancholia with harsh noise-walls at ear-bleeding levels\, and was described by the New York Times as ‘steadily scathing music\, favoring long and corrosive atonalities.’ Driven by a fierce interest in pure sound and inherent texture\, Leila challenges conventional cello practice through extreme extended techniques and unorthodox amplification methods\, to the extent she sometimes seems to be playing the P.A system rather than the cello. Her compositions frequently incorporate sound-spatialization by way of site-specific pieces and multichannel installations\, and focus on neurological perception and our physiological relationship to sound and space.” \nFrom delicate play on the thresholds between tonality and atonality to aggressive scrape and scrunch\, Bordreuil’s solo sets on amplified cello – with no effect pedals – are full frequency affairs\, loud and noisy. These excursions not only plum the possibilities of the instrument\, but also the resonances of the architecture in which they are aired. (Her recent “Not An Elegy” release on Boomkat’s Documenting Sound series brilliantly documents a solo sesh on NYC subway station platform\, for example.) This week\, Bordreuil visits L.A. to fill a new room\, the cavernous and famously “live” space of Human Resources. \nAn active force in New York’s most forward improvising and composing scenes\, Bordreuil has also collaborated with a wide gamut of key players including Tamio Shirashi\, Zach Rowden\, Kali Malone\, Bill Nace\, and Kim Gordon. Bordreuil and bassist Luke Stewart recently staged a live version of their ambitious Works for Feedback Ensemble with Chris Corsano\, C. Spencer Yeh\, Nate Wooley\, and Julia Santoli at Roulette Intermedium. \nhttps://www.leilabordreuil.com/ \n \nNephila — the solo project of Los Angeles-based artist and musician Shannon Kennedy — pulls audiences into a surreal zone of precarity\, where resolution itself hangs in the balance. Cooking a stew with electric cello and electronics\, Kennedy oft sets her own scene with  foraged bits of nature and other novel interventions. Past plays have seen scavenged branches strung up to bow and spaces roped up for the tensioning of existential drama. A perennial performer in town – and also notably a vet of the road – she is well known in the underground across the country for her enduring collaboration with Jonathan Borges in Pedestrian Deposit. She has staged Nephila actions at Mata\, Coaxial\, and the Ende Tymes. \nDoors at 8 \nSound at 9 \nDonate $10 \nvax/mask required \nlimited capacity – arrive in timely fashion to ensure entry
URL:https://www.h-r.la/event/leila-bordreuil-nephila/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2021/12/leila_insta.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20211215T183000
DTEND;TZID=America/Los_Angeles:20211215T230000
DTSTAMP:20260611T054905
CREATED:20211213T132404Z
LAST-MODIFIED:20211213T212613Z
UID:6428-1639593000-1639609200@www.h-r.la
SUMMARY:Doubles & Double Duty: corey's winter soiree
DESCRIPTION:https://www.eventbrite.com/e/doubles-double-duty-coreys-winter-soiree-tickets-226753244057\n\n\n𝙖 𝙨𝙥𝙚𝙘𝙞𝙖𝙡 𝙡𝙞𝙩𝙩𝙡𝙚 𝙬𝙞𝙣𝙩𝙚𝙧 𝙨𝙤𝙞𝙧𝙚𝙚 𝙣𝙚𝙭𝙩 𝙒𝙚𝙙𝙣𝙚𝙨𝙙𝙖𝙮\, 𝘿𝙚𝙘 15. 𝙙𝙤𝙪𝙗𝙡𝙚𝙨 𝙖𝙣𝙙 𝙙𝙤𝙪𝙗𝙡𝙚 𝙙𝙪𝙩𝙮:\n\n1.𝙛𝙞𝙡𝙢 𝙗𝙮 𝙈𝙖𝙧𝙩𝙝𝙖 𝘾𝙤𝙡𝙗𝙪𝙧𝙣 & 𝙋𝙖𝙩 𝙊’𝙉𝙚𝙞𝙡𝙡. \n2.𝙩𝙧𝙪𝙢𝙥𝙚𝙩 & 𝙙𝙧𝙪𝙢𝙨 𝙗𝙮 𝘾𝙤𝙧𝙚𝙮 𝙖𝙣𝙙 𝙩𝙧𝙖𝙫𝙚𝙡𝙞𝙣𝙜 𝙨𝙘𝙝𝙤𝙡𝙖𝙧 𝙈𝙧. 𝙂𝙖𝙗𝙧𝙞𝙚𝙡 𝙒𝙤𝙣𝙘𝙠 𝙛𝙧𝙤𝙢 𝙩𝙝𝙚 𝙐𝙆. \n3.𝙩𝙧𝙪𝙢𝙥𝙚𝙩 & 𝙩𝙪𝙗𝙖 𝙗𝙮 𝙡𝙚𝙜𝙚𝙣𝙙𝙨 𝘾𝙪𝙕𝙣𝙨 : 𝘽𝙤𝙗𝙗𝙮 𝘽𝙧𝙖𝙙𝙛𝙤𝙧𝙙 𝙖𝙣𝙙 𝙒𝙞𝙡𝙡𝙞𝙖𝙢 𝙍𝙤𝙥𝙚𝙧. \n4.𝙨𝙪𝙧𝙧𝙚𝙖𝙡𝙞𝙨𝙩 𝙘𝙤𝙡𝙡𝙖𝙜𝙚 𝙬𝙖𝙡𝙡𝙥𝙖𝙥𝙚𝙧 𝙗𝙮 𝙩𝙝𝙚 𝙣𝙚𝙬 𝙈𝙀𝙎𝙃 𝙂𝙧𝙤𝙪𝙥 : 𝙎𝙩𝙚𝙥𝙝𝙖𝙣𝙞𝙚 𝙎𝙢𝙞𝙩𝙝\, 𝘾𝙡𝙖𝙮 𝘾𝙝𝙖𝙥𝙡𝙞𝙣\, 𝙃𝙚𝙖𝙩𝙝𝙚𝙧 𝙇𝙤𝙘𝙠𝙞𝙚\, 𝘼𝙧𝙘𝙝𝙞𝙚 𝘾𝙖𝙧𝙚𝙮\, 𝙖𝙣𝙙\, 𝙢𝙚 𝙖𝙜𝙖𝙞𝙣. \n5.Corey 𝙬𝙞𝙡𝙡 𝙗𝙖𝙠𝙚 𝙥𝙞𝙡𝙚𝙨 𝙤𝙛 𝙥𝙚𝙧𝙨𝙞𝙢𝙢𝙤𝙣 𝙩𝙧𝙚𝙖𝙩𝙨 \n𝙃𝙪𝙢𝙖𝙣 𝙍𝙚𝙨𝙤𝙪𝙧𝙘𝙚𝙨. 𝙖𝙧𝙧𝙞𝙫𝙚 𝙖𝙩 6:30𝙥𝙢 \n$10 𝙨𝙪𝙜𝙜𝙚𝙨𝙩𝙚𝙙 𝙙𝙤𝙣𝙖𝙩𝙞𝙤𝙣 \nVax cards
URL:https://www.h-r.la/event/doubles-double-duty-coreys-winter-soiree/
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2021/12/dec15th-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20211209T200000
DTEND;TZID=America/Los_Angeles:20211211T220000
DTSTAMP:20260611T054905
CREATED:20211116T224748Z
LAST-MODIFIED:20211116T225723Z
UID:6393-1639080000-1639260000@www.h-r.la
SUMMARY:"Dorian Wood: Songs From a Palace Fire"
DESCRIPTION:After two years\, acclaimed artist Dorian Wood returns to Human Resources LA with three unforgettable performances. \n  \n  \nTickets can be purchased here\, to attend  \n  \n  \nNote: Proof of COVID-19 vaccination must be presented at the door the night of the event\, and masks must be worn at all times during the performance.
URL:https://www.h-r.la/event/dorian-wood-songs-from-a-palace-fire/
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2021/11/PALACEFIRE_1-1-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20211130T200000
DTEND;TZID=America/Los_Angeles:20211130T223000
DTSTAMP:20260611T054905
CREATED:20211129T204921Z
LAST-MODIFIED:20211129T213114Z
UID:6420-1638302400-1638311400@www.h-r.la
SUMMARY:Martín Escalante + Weasel Walter\, Tim Dahl
DESCRIPTION:UPEND presents\n\n\nMARTÍN ESCALANTE + WEASEL WALTER\nTIM DAHL\n\n\n\nTuesday November 30 at 8pm\n\n\n\nThe L.A. debut of the lacerating sax and drums free jazz duo of MARTÍN ESCALANTE + WEASEL WALTER plus a solo set from NYC bass wrangler TIM DAHL. \nA gadfly in multiple realms of the underground and extreme musics for three decades\, Weasel Walter (NYC) has upset the course of discourse of free jazz\, no waves\, and metals alike with the Flying Lutenbachers\, and – for the past decade plus –  has continued to destroy all music from behind a drum kit with a revolving coterie of collaborators poking holes through orthodox notions of improv. T’was kismet then that he’d have an affinity for the agitations of wild sax ripper Martín Escalante\, (Lakewood\, CA / Guanajuato\, MX) who himself destroys on so many levels\, blowing bursts of pure fire through a tenor mouthpiece into a neckless alto. A 2018 sesh begat their absolutely unrelenting debut release ‘Lacerate’ on Weasel’s ugEXPLODE imprint. This will only be the duo’s second live action and their first on the West Coast. \nBrooklyn-based bass wrangler Tim Dahl has brought fuzz and slither to several core noise-rock projects – including Lydia Lunch’s Retrovirus alongside an axe-wielding Weasel. After many years\, gigs\, and seshes of improv and collab with players running the gamut (John Zorn\, Mary Halvorson\, and the Ruins’ Tatsuya Yoshida\, to name a few) Dahl has let loose a trio project called GRID\, and – just earlier this Fall – released a solo disc called SOLO\, which also describes the shape of his set here at HR – electric bass and vocals. \nDoors at 8pm\nDonate $10 at the door \nPlease note:\n• Proof of vaccination required for entry to this event\n• Masks required at all times while inside the space\n• This event has a limited capacity; plan to arrive in a timely manner to ensure entry
URL:https://www.h-r.la/event/martin-escalante-weasel-walter-tim-dahl/
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2021/11/martimweasel_insta.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20211120T190000
DTEND;TZID=America/Los_Angeles:20211120T213000
DTSTAMP:20260611T054905
CREATED:20211110T161950Z
LAST-MODIFIED:20211111T170055Z
UID:6386-1637434800-1637443800@www.h-r.la
SUMMARY:M. A. Guevara: Harmonic Oscillation Video Screening
DESCRIPTION:Join us for a screening M. A. Guevera’s collection of expirimental videos in support of his debut solo exhibition Harmonic Oscillation. The video screening will be followed by a conversation between M. A. Guevara and curator Hugo Cervantes of Human Resouces-Los Angeles. \nDoors: 6:30pm \nScreening and Q&A: 7:00pm \nMasks are required to enter the gallery. \nThis is a ticketed and free event. For tickets click here. \n 
URL:https://www.h-r.la/event/m-a-guevara-harmonic-oscillation-video-screening/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2021/11/FilmScreening.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211106
DTEND;VALUE=DATE:20211130
DTSTAMP:20260611T054905
CREATED:20211003T212411Z
LAST-MODIFIED:20211102T014827Z
UID:6321-1636178400-1638165599@www.h-r.la
SUMMARY:Harmonic Oscillation
DESCRIPTION:Harmonic Oscillation\nM.A. Guevara\nNovember 6 – 28\, 2021 \n\n 
URL:https://www.h-r.la/event/harmonic-osculation/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2021/10/Screen-Shot-2021-10-03-at-2.23.03-PM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211028
DTEND;VALUE=DATE:20211102
DTSTAMP:20260611T054905
CREATED:20210928T194133Z
LAST-MODIFIED:20211002T031054Z
UID:6308-1635400800-1635746399@www.h-r.la
SUMMARY:Halloween curated by Jeff Zilla
DESCRIPTION:
URL:https://www.h-r.la/event/halloween-curated-by-jeff-zilla/
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2021/09/InShot_20210927_043335366.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211009
DTEND;VALUE=DATE:20211026
DTSTAMP:20260611T054905
CREATED:20210929T235815Z
LAST-MODIFIED:20211014T215328Z
UID:6314-1633759200-1635141599@www.h-r.la
SUMMARY:Sam Richardson
DESCRIPTION:(What I’ve Realized About Coping and Coalescing) \nSam Richardson \nThe gallery is open Wednesday-Sunday\, 12-6pm \nLife persists\, life keeps moving\, but it doesn’t look\, smell\, feel and sound the same now. The future\, as we understand it\, is unknown; the future feels like a void for many of us\, and for some it has undoubtedly already felt like this. The outstretch of possibilities has faded to a different landscape\, and so has the ability and the nature of making and creating as we knew it. Or so it feels. \nThe work I was making before March 2020 seems to be part of the past\, part of a time “before\,” an attempt at a record. A time before we could not gather\, could not touch each other\, and could not move freely — albeit in a violent society. This too will shift\, it already has to an extent\, and most foundational realities have not changed. “Normal” was never good\, we should not go back to “before\,” back to “normal.” \n  \nThe work displayed does not commit itself to one particular form of the “photograph” or the image\, both in format or style. Moving between different types of cameras and different moments of capture\, I am intending to show the friction that occurs between intent and circumstance. Some images were planned ahead of time\, others are found in a moment guided by shared thought and found circumstance. \n  \nAn exploration of collaboration is at the core of this work\, and in response to that investigation so is self-portraiture. Exposing the body that makes the image I see as an attempt at negotiating the stakes of capturing another’s likeness. The presence of my  body in these images is conceived as a through line\, an attempt to be an aid for context\, functioning as both the figure seen as well as the body making the photographs/videos. The body can’t exist in the world without being politicized\, both in its form and experience\, and in its bodily history. What interests me is the friction between how the lived structures and rules that surround said bodies rub up against those that run parallel to them—family lives\, sex lives\, production\, desire\, violence\, pain\, joy\, etc. \n  \nA foundation that spawned much of the work here was historical research of a dethroned female bearded saint\, St. Wilgefortis. She came to be the patron saint of all those who wished to be liberated from tribulations of abuse\, in particular abusive husbands\, and survivors of assault\, rape and incest\, as well as those imprisoned. Her removal from the church calendar\, and her contentious relationship with the church due to her likeness to Jesus\, represents an erasure of recorded and historical violence against particular bodies—most notably women\, queer\, non-binary and transgender people. \n  \nThe photographs\, like the video\, begin and end with images made since Covid-19 entered the global experience. The bookends serve to intertwine the past with present\, and further along\, the future. The people in my images are friends\, lovers\, family. There is often reference to images being made with love\, using an apparatus riddled with a history and use of the opposite. To image a person with love\, to me\, means to consider and hold space for an individual experience\, while also paying tribute to their surroundings as much as possible. \n  \n  \nNote: The majority of these images were made from June 2019 – March 2021. The uprisings of June 2020 are noted within the work\, but also do not attempt to document or propose that this moment in history has been different from any other. \n  \nLand Acknowledgement: I would like to respectfully acknowledge that the land HR stands on is ancestral and unceded Indigenous lands\, specifically the territory of the Chumash\, Tongva and Kizh people. Beneath the contemporary surface of any site in the United States\, there are histories of belonging that have been erased\, overlooked\, contested\, and forgotten\, as well as contemporary communities that continue to endure\, create and thrive. \nAs an occupier of these territories\, I recognize the continual displacement of Native people by the US and are aware that land acknowledgements are often used as an empty stand-in for actual decolonization work. This is something to bear in mind while continuing to build frameworks to dismantle the ongoing effects of colonial legacy\, both in the art spaces and elsewhere. \n  \nOrganized by Clara López Menéndez with the help of Jane Orr\, Jordie Oetken\, Erin Bagley and Kate Hall \nTHANK YOU: \nClara López Menéndez \nJordie Oetken \nJane Orr \nErin Bagley \nKate Hall \nJacqueline Amezquita \nCatherine Opie \nHeather Rasmussen \nVirgil Taylor \nCarolyn Lazard \nGabby Miller \nV Haddad and Emily \nHea-Mi Kim \nLuis miguel Bobadilla \nArisleyda Dilone \nEd Beller \nAlison Veit \nValeria Tizol Vivas \nAlison Veit \nElias Pack \nKatherine Finkelstein \nRose Mori \nSydney Acosta \nChester Toye \nAmelia Bande \nVishal Jugdeo \nCandice Lin \nMom and Dad \nSofia Robledo Rower \nKennady Schneider \nJane Margarette \nBlake Jacobsen \nJohn Birtle \nHuman Resources
URL:https://www.h-r.la/event/sam-richardson/
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210930
DTEND;VALUE=DATE:20211004
DTSTAMP:20260611T054905
CREATED:20210928T194752Z
LAST-MODIFIED:20210928T194752Z
UID:6311-1632981600-1633240799@www.h-r.la
SUMMARY:Our Envisioned Future
DESCRIPTION:  \nOur Envisioned Future is the third annual community quilt facilitated by Rachel Silver and Laub.  \n  \nAn open call was put out to answer the following questions:  \n* What are our visions of the future? and how do we practice them in the present so they may grow into tomorrow? \n* How do we contend with inevitable changes while adapting and continuing our dreams of the future? \n* How do we use our imaginations to create the changes that we want to see happening around us? \n\n \nDavid L Bell \nJohn Berpel \nGK Bigler \nOhan Breiding \nQuinn Corey \nLaurie deakers \nLaura DeVeber \nnicole dimarco \nAimee Goguen \niris yirei hu \nMary Beth Johnson \nLaub \nMartha Laub \nFinn Paul \nEddie Sierra Pollock \nThe Revolution \nLara Salmon \nRachel Silver \nJennifer Steverson \nCedric Tai \nkayla tange \nFrankie Toan
URL:https://www.h-r.la/event/our-envisioned-future/
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2021/09/HR-photo.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20210910T080000
DTEND;TZID=America/Los_Angeles:20210912T170000
DTSTAMP:20260611T054905
CREATED:20210909T052621Z
LAST-MODIFIED:20210909T052621Z
UID:6302-1631260800-1631466000@www.h-r.la
SUMMARY:ANIMAL ENCYCLOPEDIA
DESCRIPTION:September 10 – 12\, 2021 \nHuman Resources in Chinatown\, Los Angeles\, CA  \n  \nANIMAL ENCYCLOPEDIA \nPresented by Authentic Children Art Association in collaboration with OneHouse Arts \n  \nCome one\, come all! The circus is in town! Marvel at the array of Animal Encyclopedia – grizzly bears\, toucans\, flying fish\, humpback camels\, Spectres of Shadow\, iguanas\, cockatoos\, and many species more! \n  \nAuthentic Children Art Association eagerly presents over 200 animal portraits by OneHouse Arts students from ages 4 to 10. Pencilless\, these artists immediately place paint brush to paper – creating bold and brave lines\, translating perceptions of their favorite creatures into being. Children’s art\, despite losing its original prestigious positioning on cave ceilings and relegated to transgressive expressions on drywall\, has resurged in the past century as the inspiration for modernism! The influence of these innovative young artists can be seen throughout the movements of contemporary art – featured prominently in the work of such adults as Matisse and Picasso. Truly your favorite artists’ favorite artists. \n  \nAnimal Encyclopedia promises entertainment for all ages of art appreciation. Bring the whole family! \n  \n~ \n  \nAuthentic Children Art Association is a non-profit project committed to nurturing genuine expression\, appreciation\, and compassion in children\, parents and educators by presenting authentic children’s art exhibitions in collaboration with schools and galleries across Southern California. \n  \nOneHouse Arts is an experimental art school and philosophy dedicated to helping children discover art on their own by asking questions about their ideas\, introducing them to various methods\, staying open to their artistic inclinations\, providing them with space to create\, and giving their art a place in the world at large. \n  \n(for parents) \nHuman Resources is a non-profit art gallery in Chinatown showcasing non-traditional forms of art and performances to engage communities across Los Angeles. \n  \n——————————————————— \n  \n美国自然本真儿童艺术协会与艺家艺术体验馆联合举办 \n  \n2021年9月8日（周三） 至 2021年9月12日（周日）中午12点 – 晚上 6pm  \n  \nRachel 老师将于9月12日周日，12-6pm， 全天在画廊与大家见面。请邀请亲朋好友前来参观！  \n  \n​​“动物世界” 儿童画展  \n  \n快來 快來！ 我們的“動物世界”來了！ \n这里有各式各樣的動物 – 灰熊、大嘴鸟、飞鱼、骆驼、熊貓、凤头鹦鹉和魔鬼魚……！ \n美国自然本真儿童艺术协会迫切的要为大家展示来自艺家艺术体验馆的200多幅动物特写儿童画，小画家的年龄在4-10岁。我们不打草稿，直接用丙烯在纸上作画，小画家们用生动大胆的线条，让脑中的动物跃然纸上。 \n  \n沉寂了一大段时间的儿艺术在过去的一个世纪里又重新兴起，其影响贯穿于整个当代艺术运动中！马蒂斯和毕加索等成年人的作品深受儿童艺术的影响！儿童艺术家是你们喜欢的知名艺术家们的偶像！ \n“动物世界”展一定会把欢乐带给全家！ \n  \n美国自然本真儿童艺术协会是一个非盈利项目，致力于通过与南加州的学校和画廊合作举办纯朴的儿童艺术展览，帮助孩子，家长和教育者彼此真诚表达，互相欣赏和理解。 \n  \n艺家艺术体验馆是一所艺术与哲学的实验学校，致力于通过提问帮助孩子开发他们的内在艺术性，教授他们不同的方法，发掘他们内在多姿的艺术方向，提供他们无限的空间并且帮助他们找到自己在这世界中的定位。 \n  \n（致家长） \nHuman Resources 是一个在中国城的公益画廊，展示非传统形式的艺术和表演，以吸引整个大洛杉矶地区的观众。 \n 
URL:https://www.h-r.la/event/animal-encyclopedia/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2021/09/animal-encyclopedia-flyer-general.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20210821T130000
DTEND;TZID=America/Los_Angeles:20210821T180000
DTSTAMP:20260611T054905
CREATED:20210816T155840Z
LAST-MODIFIED:20210816T220433Z
UID:6266-1629550800-1629568800@www.h-r.la
SUMMARY:G. Brenner - Brushfire: Album Release Listening Party & Closing Reception
DESCRIPTION:Photo: Amara Higuera \nHuman Resources-Los Angeles is proud to host G. Brenner’s listening party for their debut album Brushfire on August 21st.  \nPlease join us for an afternoon of drinks\, a DJ set by SOLTERA\, and more celebrating the release of G.Brenner’s debut album Brushfire. This will also be the last chance to view our current exhibition Nuestrxs Putxs\, a two-part exhibition curated by Nika Chilewich and Sara Lent Frier with Anita Herrera\, curator of the Sacred Rose Mercado. Nuestrxs Putxs features works by Isabella Albuquerque\, Bárbara Sánchez-Kane\, and Frieda Toranzo Jaeger. \nSpecial thanks to Amara Higuera and Hugo Cervantes for co-organizing this event. \nPlease note that masks will be required for this event. RSVP here. \nLAR Arts: \nNuestrxs Putxs is organized by LAR Arts and curated by Nika Chilewich and Sara Frier. The exhibition is generously hosted by Human Resources Gallery\, Los Angeles. The Nuestrxs Putxs Sacred Rose Mercadito is curated by Anita Herrera. Lorena Vega designed the exhibition’s graphic identity. Jason Tyler Burns is the exhibition designer and Gerardo Delgado is the exhibition coordinator. \nG. Brenner: \nG. Brenner is the project of LA-based visual artist and musician Gabriel Brenner. Drawing on artists such as Arca\, Grouper\, and Julianna Barwick\, he crafted an idiosyncratic style that has fallen gracefully between folk\, gospel\, and experimental electronic music. Formerly known as Pastel\, Brenner released his debut EP\, It Will Be Missed\, via Manimal Vinyl in 2014. In 2015\, he released his second EP\, Bone-Weary\, via rising Houston-based label Very Jazzed. In 2017\, he self-released an EP entitled absent\, just dust\, a 5-song collection exploring language\, loss\, and identity through ambient-noise soundscapes. On Valentine’s Day 2018\, he released a one-off single “Close” to celebrate the holiday. After releasing a string of covers and remixes to close the chapter on his Pastel moniker\, Brenner is releasing “Brushfire\,” his debut single as G. Brenner. His debut album of the same name will be released August 20\, 2021 via Very Jazzed. At its core\, this album is about being immobilized by worlds collapsing at a fast-forward pace and the struggle to find meaning in the remaining ruins. \nhttp://g-brenner.com \nhttp://gdotbrenner.bandcamp.com \nhttp://twitter.com/gdotbrenner \nhttp://instagram.com/gdotbrenner \nhttp://facebook.com/gdotbrenner \nSOLTERA: \nSOLTERA is a performance and music project formed by Colombian/American artist Tania Ordoñez. Raised in the San Fernando Valley\, now based in Los Angeles\, SOLTERA is a performer\, producer\, dj and filmmaker. They make experimental dance music\, paired with Spanish vocals and dreamy synths. \nhttp://soltera.bandcamp.com \nhttp://soundcloud.com/soltera818 \nhttp://www.instagram.com/soltera818 \nhttp://www.facebook.com/soltera818 \nVery Jazzed: \nhttp://veryjazzed.com \nhttp://veryjazzed.bandcamp.com \nhttp://instagram.com/veryjazzed \nhttp://twitter.com/veryjazzed \nhttp://facebook.com/veryjazzedveryjazzed \nLand Acknowledgment Resources: \nWe want to acknowledge that we will be connecting with you all from the unceded territories and waterways of the Chumash\, Tongva and Kizh\, who are the original peoples of the land we live\, work and learn on. We enact this statement not only as an acknowledgement\, but as solidarity with the land back movement\, and recognize that our role in the work of collective liberation begins with explicit knowing of where we are at and our roles as settlers in unceded land. Additionally\, since portions of this event will be shared digitally on the internet\, this acknowledgement extends to the physical imperial presence the internet embodies as a cable network binding this planet along colonial trade routes we have come to know as the Trans Atlantic Slave Trade. To borrow a phrase from artist Tabita Rezaire\, “the virtual is real” and “the architecture of violence” is embedded in the technology we may consider decentralized. We invite you to consider these histories with us as we enter in a space together and acknowledge that our materials\, our means of connection and the land we live on are not apolitical actors for our creative pursuits. We also want to thank the Indigenous labor that has guided organizing bodies to create land acknowledgements and have linked our resources for creating this land acknowledgement below. \nhttp://landback.org/manifesto \nhttp://native-land.ca \nDeep Down Tidal (2017) – Tabita Rezaire: https://www.youtube.com/watch?v=V9EIywuH-LM&t=0s \nhttps://www.nyu.edu/about/news-publications/news/2015/june/nicole-starosielski-undersea-cables.html \nhttps://howlround.com/intersection-digital-technology-and-live-performance \nhttps://www.active-cultures.org \n 
URL:https://www.h-r.la/event/g-brenners-brushfire-album-listening-party-closing-reception/
CATEGORIES:one-time event at HR
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210821
DTEND;VALUE=DATE:20210913
DTSTAMP:20260611T054905
CREATED:20210722T151819Z
LAST-MODIFIED:20210810T234113Z
UID:6248-1629525600-1631426399@www.h-r.la
SUMMARY:Visual Sovereignty: Indigenous Studies for Artists
DESCRIPTION:Saturday August 21\, Sept 4\, Sept 11 noon-2pm (note\, schedule has shifted) \nJoin us for a series of virtual seminars on Indigenous Studies as a paradigm for decolonial/anti-colonial art practices. This seminar will survey different threads of Indigenous Studies as a political\, educational\, and aesthetic movement. By engaging Michelle Raheja’s  “Visual Sovereignty” as a praxis\, we will emphasize the need for trans-Indigenous worldmaking that deploys individual and community assertions of what representation means in art and literature. The works in this seminar also embody what Maile Arvin calls “regenerative refusal” in which Indigenous peoples voice dissent from colonial hierarchies of being and relating to the world and enable transformed and liberatory futures. “Refusal” emphasizes the need for Native understandings of tradition\, relationality\, and alternative worlds and hierarchies of being that are opposite vis-à-vis western epistemologies that stems from histories of colonialism to modern day neocolonialism\, the military-industrial complex\, neoliberalism\, and late-stage capitalism.  \nRegister here for the seminar: we will send people who sign up a syllabus\, information on the zoom seminar\, and access to the readings. \nThe readings are organized in an archipelagic way\, connecting Native American thought with Indigenous theory of Oceania in the Pacific\, with that in the Caribbean\, and networks of Indigenous coalitions of resistance across the globe. By connecting the broad field of Indigenous Studies through what Audra Simpson calls “nested sovereignties” our readings will consist of varied perspectives of Native peoples and critiques of inherent paradigms of colonial power asymmetries. Categorizing these readings through an archipelagic standpoint connects these divergent narratives\, positions\, times\, and spaces. As Manulani Meyer states: \nIndigenous epistemology [is] a wide-open field of knowledge production and exchange with priorities in practice\, relevance\, context\, consciousness\, and shared common sense. It is knowledge through experience\, individual or collective\, and a way of being via site-specific familiarity through years\, generations\, and life-times. In this way patterns emerge collapsing time into space and all unknowns into mystery and story. \nBy putting together in conversation these formative readings in the wide-ranging field of Indigenous studies\, our focus will be concerned with critical Indigenous pedagogies that center cultural reclamation against the violences of the settler state. \nThis seminar will be led by Nicole Ku’uleinapuananiolikoawapuhimelemeleolani Furtado. She is a Ph.D. student at the University of California\, Riverside. Nicole is of Kanaka Maoli heritage and is from Nanakuli\, Hawaii. She received her B.A. in English from the University of Hawaii at Manoa and her M.A. in English at UC Riverside. Her current research interests are in Speculative Fiction\, Indigenous Studies\, Digital Art\, Disability Studies\, Science and Technology Studies\, and Decolonial Futurities. \nThis seminar is partially supported by UC Riverside. Flyer image: Sofia Kaleomalie Furtado.
URL:https://www.h-r.la/event/visual-sovereignty-indigenous-studies-for-artists/
LOCATION:Online
CATEGORIES:online event,seminar/workshop
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2021/07/Nicoles-design.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210724
DTEND;VALUE=DATE:20210809
DTSTAMP:20260611T054905
CREATED:20210703T180250Z
LAST-MODIFIED:20210705T233030Z
UID:6181-1627106400-1628402399@www.h-r.la
SUMMARY:Marxism for Artists\, redux
DESCRIPTION:Join us for two online seminar meetings dedicated to thinking/learning about money\, currency and value. In our first session (Saturday 7/24\, 11am-12:30 PST) we will return to the sections of Capital centered on money. In our second (Saturday 8/7\, 11am-12:30 PST)\, we will work through a handful of readings centered on cryptocurrency\, blockchain and NFTs (like this).   \nTo participate in this reading group\, an extension of “Marxism for Artists\,” please fill out this registration form. We will send registrants a link to a folder containing readings\, links to video lectures as well as information regarding the seminar zoom sessions. This reading group is intended as a welcoming space for people often marginalized\, silenced\, excluded from conversations about Marxist thought and centers Marxist feminist and Black Marxist perspectives on our subjects. It is furthermore intended to nourish the practices of artists and art workers. These sessions are hosted by HRLA member & UCR professor Jennifer Doyle. 
URL:https://www.h-r.la/event/marxism-for-artists-redux/
LOCATION:Online
CATEGORIES:online event
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210717
DTEND;VALUE=DATE:20210823
DTSTAMP:20260611T054905
CREATED:20210625T194419Z
LAST-MODIFIED:20250316T045621Z
UID:6176-1626501600-1629611999@www.h-r.la
SUMMARY:Nuestrxs Putxs
DESCRIPTION:Isabelle Albuquerque \nBárbara Sánchez-Kane \nFrieda Toranzo Jaeger \nThursday-Sunday\, noon-6pm \n \n\nTHIS HOLY DAY will be the first public viewing of these ritual grounds\, a realm both prelapsarian and post-apocalyptic that stands outside of time. All are invited to revel in the power of femininity\, to rejoice in the timelessness of cuir impurity\, and to collect talismans from its borderless pilgrimage route at the Sacred Rose Mercadito. Nuestrxs Putxs proffers icons for those who have so long been denied the graven image that is their due.\n\nNuestrxs Putxs is organized by LAR Arts and curated by Nika Chilewich and Sara Frier. The exhibition is generously hosted by Human Resources Gallery\, Los Angeles. The Nuestrxs Putxs Sacred Rose Mercadito is curated by Anita Herrera. Lorena Vega designed the exhibition’s graphic identity. Jason Tyler Burns is the exhibition designer and Gerardo Delgado is the exhibition coordinator.\n\nThis exhibition is made possible thanks to support from kurimanzutto\, Nicodim Gallery\, and Reena Spaulings Gallery. Generous support has been provided by Botanica Fine Art\, Tracy O’Brien and Thaddeus J. Stauber\, David and Deborah Chilewich\, Ruchika Garga\, and Galerie Barbara Weiss. Additional support has been provided by Barbara and Edward Goldberg\, Hannah Howe\, and Pamela Robinson.\n\nWe would like to extend a special thanks to Karla Aguíñiga\, Maria Guadalupe and Rudolph Aguíñiga\, Hussam Azzam\, Samantha Blake Goodman\, Jacqueline Bao\, Chris Blue\, Connie Butler\, Norma Alicia Castelazo\, Adalberto Charvel\, David and Deborah Chilewich\, Sandy Chilewich\, Chelsea Culprit\, Jim Fetterly\, Alfonso González Jr.\, Benjamin Lee Richie Handler\, Jesse Jaramillo\, Janet Lent and Ethan Lipton\, Joshua Lipton\, Samuel Luterbacher\, Machine\, Lukas Mitchell\, Sally Montes\, Xóchitl Morales\, Mills Morán\, Niki Nakazawa\, Mihai Nicodim\, Adam Peña\, Haley Penn\, Veridiana Pontes\, Dom Prout\, Jason Pugh\, Revolver Galería\, Sam Richardson\, Tan Uranga\, Peter Valenti\, Luna Vicini\, Chloé Wilcox\, and Bennett Tray Williams\, without whom this exhibition would not have been possible.\n\n 
URL:https://www.h-r.la/event/nuestrxs-putxs/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20210525T190000
DTEND;TZID=America/Los_Angeles:20210525T203000
DTSTAMP:20260611T054905
CREATED:20210517T170310Z
LAST-MODIFIED:20210517T170451Z
UID:6162-1621969200-1621974600@www.h-r.la
SUMMARY:Readings from Best! Letters from Asian Americans in the arts 
DESCRIPTION:Readings from Best! Letters from Asian Americans in the arts  \nTuesday\, May 25th\, 7pm (PST) \n  \nHRLA celebrates the release of the new book Best! Letters from Asian Americans in the arts\, edited by Christopher K. Ho and Daisy Nam. This is an online event with readings from contributors\, including Jesse Chun\, Josh Kline\, Kim Nguyen\, Christine Y. Kim\, John Tain\, C. Spencer Yeh. \n  \nRegister in advance for this meeting \nhttps://ucr.zoom.us/meeting/register/tJYocuqqrDksE9zYjHOJf6M3DfMkowFM_wpL  \nAfter registering\, you will receive a confirmation email containing information about joining the meeting. \n  \n  \nThis collection of seventy-three letters written in 2020 captures an unprecedented moment in politics and society through the experiences of Asian-American artists\, curators\, educators\, art historians\, editors\, writers\, and designers. The form of the letter offers readers intimate insights into the complexities of Asian American experiences\, moving beyond the model-minority myth. Chronicling everyday lives\, dreams\, rage\, family histories\, and cultural politics\, these letters ignite new ways of being\, and modes of creating\, at a moment of racial reckoning. \n  \nWith Contributions By:  \nAily Nash and Sylvia Schedelbauer\, Ajay Kurian\, Alexander Lau\, Anicka Yi\, Anne Anlin Cheng\, Anoka Faruqee\, Aruna D’Souza\, Asad Raza\, Brendan Fernandes\, Brian Kuan Wood\, Byron Kim\, C. Spencer Yeh\, Candice Lin\, Cathy Park Hong\, Celine Wong Katzman\, CFGNY\, Chitra Ganesh and Sung Hwan Kim\, Chris Wu\, Christine Y. Kim\, Dawn Chan\, Furen Dai\, Hera Chan\, Herb Tam\, Holly Shen\, Hồng-Ân Trương\, Howie Chen\, Hyperlink Press\, Iftikhar Dadi\, J Fan\, j.p. mot\, Jean Shin\, Jen Liu\, Jesse Chun\, Jessica Hong\, Jia Tolentino\, John Tain\, John Yau\, Josh Kline\, Ka-Man Tse\, Ken Lum\, Kenneth Tam\, Kim Nguyen\, Luke Luokun Cheng\, Lumi Tan\, Maia Chao\, Marc Handelman\, Marci Kwon\, Margaret Lee\, Martha Tuttle\, Martin Wong\, Mary Lum\, Matthew Shen Goodman\, Megha Ralapati\, Mel Chin\, Michelle Lopez\, Mimi Wong\, Mo Kong\, Naeem Mohaiemen and Yara El-Sherbini\, Pamela M. Lee\, Patrick Jaojoco\, Patty Chang\, Paul Pfeiffer\, Philip Poon\, Prem Krishnamurthy\, Ralph Pugay\, Sarah McCaffery\, Zheng Shengtian\, WangShui\, Sreshta Rit Premnath\, Tausif Noor\, Vinay Hira\, Yayoi Shionoiri\, and Zulfikar Ali Bhutto. \n  \nURL: https://shop.nplusonemag.com/collections/featured/products/best-letters-from-asian-americans-in-the-arts \n  \nReaders Bios \nJesse Chun is an artist working and living in New York\, NY. Chun’s work has been presented internationally at SculptureCenter\, New York\, NY; the Queens Museum\, New York\, NY; the Drawing Center\, New York\, NY; the Brooklyn Academy of Music\, New York\, NY; the Bronx Museum of the Arts\, New York\, NY; the Vera List Center for Art and Politics\, New York\, NY; the Museum of Contemporary Art Toronto\, Toronto\, Canada; Oakville Galleries\, Oakville\, Canada; and the Nam June Paik Art Center\, Seoul\, South Korea\, among others. Her recent digital and print publications include WORKBOOK (New York: Triple Canopy\, 2019); Intangible Heritage (Brooklyn: Wendy’s Subway x BAM\, 2018). Chun’s work is in public collections including the Whitney Museum Library\, New York\, NY; Artist Book Collection\, the School of the Art Institute of Chicago\, Chicago\, IL; Archive of American Art\, the Smithsonian Institution\,Washington\, DC; Yale University Library\, New Haven\, CT; and Asia Art Archive in America\, New York\, NY.  \n  \nChristine Y. Kim is Associate Curator of Contemporary Art at the Los Angeles County Museum of Art in Los Angeles\, CA. Her recent exhibitions include Diana Thater: The Sympathetic Imagination (2015 – 2016); My Barbarian: Double Agency (2015); James Turrell: A Retrospective (2013 – 2014)\, which won first place for the Best Monographic Museum Exhibition in the US by the International Art Critics Association in 2014; and Teresa Margolles\, an outdoor sculpture project in collaboration with the Los Angeles Nomadic Division\, a nonprofit organization for public art which she cofounded in 2009. Prior to her post at LACMA\, Kim was Associate Curator at the Studio Museum in Harlem (2000 – 2008)\, in New York\, NY\, where she organized exhibitions such as Kehinde Wiley\, The World Stage: Africa Lagos-Dakar (2008)\, Flow (2008)\, Philosophy of Time Travel (2007)\, Henry Taylor: Sis and Bra (2007)\, Black Belt (2003)\, and Africaine (2002); and surveys Frequency (2005) and Freestyle (2001) with Thelma Golden. Kim’s recent exhibitions at LACMA include Isaac Julien: Playtime (2019) and Julie Mehretu: A Survey (2019). \n  \nJosh Kline (b. 1979\, Philadelphia\, PA) lives and works in New York. His art has been exhibited internationally\, including in solo exhibitions at Astrup Fearnley Museet\, Oslo\, Norway; Modern Art Oxford\, Oxford\, UK; Fondazione Sandretto Re Rebaudengo\, Turin\, Italy; Portland Art Museum\, Portland\, OR; Modern Art\, London\, UK; and 47 Canal\, New York\, NY. In 2019\, Kline’s work was shown in the 2019 Whitney Biennial in New York\, NY; The Body Electric at the Walker Art Center\, Minneapolis\, MN; and New Order: Art and Technology in the Twenty-First Century at the Museum of Modern Art\, New York\, NY. In 2021\, he will have a solo exhibition at LAXArt\, Los Angeles\, CA. \n  \nKim Nguyen is a writer and curator based in San Francisco\, CA\, where she is Curator and Head of Programs at the CCA Wattis Institute for Contemporary Arts. She has curated exhibitions\, projects\, and programs with a wide range of artists\, including Maia Cruz Palileo\, Jeffrey Gibson\, Hồng-Ân Trương\, Cinthia Marcelle\, Akosua Adoma Owusu\, Abbas Akhavan\, and Ken Lum. Between 2019 and 2020\, Nguyen led the Wattis’s sixth research season\, which was dedicated to the work of Trinh T. Minh-ha. Her writing has appeared in exhibition catalogues and periodicals nationally and internationally. She is a recipient of the Hnatyshyn Foundation Award for Emerging Curator of Contemporary Canadian Art and the Joan Lowndes Award from the Canada Council for the Arts for excellence in critical and curatorial writing. She is currently working on her first collection of writings—a series of texts on alienation\, art\, and the long goodbye. \nSpencer Yehis recognized for interdisciplinary activities as an artist\, improviser\, and composer\, as well as for his music project Burning Star Core. His video works are distributed by Electronic Arts Intermix\, and he is a contributing editor to BOMB Magazine and Triple Canopy. Yeh has also been a longtime programmer and trailer editor for the microcinema Spectacle Theater in Brooklyn\, NY. His exhibitions and presentations include Shocking Asia\, Empty Gallery\, Hong Kong; Two Workaround Works Around Calder\, Whitney Museum of American Art\, New York\, NY Modern Mondays and David Tudor’s Forest Speech\, MoMA\, New York\, NY; Sound Horizon\, the Walker Art Center\, Minneapolis\, MN; Tarek Atoui: Organ Within\, Kurimanzutto and the Solomon R. Guggenheim Museum\, New York\, NY; The World Is Sound\, the Rubin Museum of Art\, New York\, NY; Mei-Jia & Ting-Ting & Chih-fu & Sin-Ji\, MoCA\, Cleveland\,OH\, Closer to the Edge\, Singapore; Crossing Over\, Kuala Lumpur\, Malaysia\, The Moon Represents My Heart: Music Memory and Belonging\, the Museum of Chinese in America\, New York\, NY; and Inner Ear Vision: Sound As Medium\, Bemis Center for Contemporary Arts\, Omaha\, NE. Yeh was a 2019 grant recipient of the Foundation for Contemporary Arts. The RCA Mark II\, a project on vinyl record\, was released by Primary Information in 2017. \n  \nJohn Tain is Head of Research at Asia Art Archive\, where he leads a team based in Hong Kong\, New Delhi\, and Shanghai. He was the curator of Crafting Communities\, an exhibition on the Thai-based Womanifesto initiative\, on view at AAA in the summer and fall 2020. In 2018\, he co-curated an exhibition for the Serendipity Arts Festival in Goa\, India\, and\, with Jasmine Alinder\, the exhibition Yasuhiro Ishimoto: Someday\, Chicago for the DePaul Art Museum in Chicago\, IL\, as part of the Terra Foundation’s Art Design Chicago. Among his other projects\, he co-convened MAHASSA (Modern Art Histories in and across Africa\, and South and Southeast Asia\, 2019–2020)\, a collaboration with the Dhaka Art Summit and the Institute for Comparative Modernities at Cornell University\, and serves as a series editor for Afterall’s Exhibition Histories\, the most recent volume of which is Uncooperative Contemporaries: Art Exhibitions in Shanghai in 2000. His writings have appeared in Artforum\, Flash Art\, Art Review Asia\, and elsewhere. He was previously a curator at the Getty Research Institute in Los Angeles\, CA. \n  \n  \nThis event has been supported by GYOPO\, and UC Riverside 
URL:https://www.h-r.la/event/readings-from-best-letters-from-asian-americans-in-the-arts/
LOCATION:Online
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210503
DTEND;VALUE=DATE:20210616
DTSTAMP:20260611T054905
CREATED:20210518T170648Z
LAST-MODIFIED:20210519T035327Z
UID:6167-1620021600-1623736799@www.h-r.la
SUMMARY:Don't Look Now
DESCRIPTION:  \n“Don’t look now\,” is a demand to defer—and an apt characterization of the mood of the past year. Danie Casino\, Jiyoon Kim\, Hings Lim\, Jose Guadalupe Sanchez III\, Diane Williams\, and Rachel Zaretsky—the USC Roski MFA class of 2021—have spent the past year making work in a suspended state\, in the face of isolation and slow-motion tragedy\, wherein time no longer seemed linear. \nTemporal glitching characterizes Nicolas Roeg’s 1973 film\, Don’t Look Now\, as early as its first sequence\, in which a then-inexplicable red mirage spills across a piece of slide film. Blood\, paint\, chemical; it’s unclear exactly what the substance is\, but it is clear that it is foreboding insofar as it immediately disrupts the logic of time. Slide film should record the past\, but this particular image\, of a church in Venice\, Italy\, is more refraction than reflection. \nThe works included in Don’t Look Now also function as prisms of a sort: reflections\, windows\, ghostly presences\, premonitions\, and portals pervade. Installed and documented at Human Resources in April\, for an audience that would only view it later on screens\, the work is undeniably touched by temporal confusion. Through mirrored narratives\, Don’t Look Now doubles as a retort to and record of limitations imposed upon these six artists\, who all found ways to deepen their practices in spite of the demand to defer. \nOrganized by Hugo Cervantes\, Rachel Zaretsky\, Kate Rouhandeh. \n  \nDanie Cansino \nJiyoon Kim \nJose Guadalupe Sanchez III \nHings Lim \nDiane Williams \nRachel Zaretsky \nTo view Don’t Look Now click here. 
URL:https://www.h-r.la/event/dont-look-now-v2/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20201212T130000
DTEND;TZID=America/Los_Angeles:20201212T150000
DTSTAMP:20260611T054905
CREATED:20201205T230033Z
LAST-MODIFIED:20201206T200209Z
UID:5508-1607778000-1607785200@www.h-r.la
SUMMARY:October\, November and MARCH: How Has the Weather Changed?
DESCRIPTION:October\, November and MARCH: How Has the Weather Changed? \nA Roundtable Discussion on Art & Strategy + MARCH 01 Issue Launch\nSaturday\, December 12 @ 1PM PST/4pm EST/9pm GMT\nThis event is free and online: RSVP\n\n“We are in the period of November\, when revolution seems to be over\, and peripheral struggles have become particular\, localist and almost impossible to communicate. In November\, the former heroes become madmen and die in extra-legal executions somewhere on a dirty roadside and information about it is so diffused with predictable propaganda\, that hardly anyone takes a closer look.” \nIn a scene from Hito Steyerl’s November (2004)\, we hear these words distinguish between the revolutionary days of October and “ours” as the artist is seen participating in a protest against the US and allies’ invasion of Iraq. Yet\, that ‘present’ is now sixteen years old and separated from our present by a pandemic which has caused over 1.5 million deaths worldwide\, global uprisings in defense of Black lives\, massive deportations and barring of asylum seekers\, major housing and student debt crises\, drone assassinations and proxy wars\, oil spills and environmental catastrophes – alongside  ever louder calls for the abolition of the institutions of capitalism: the police\, the prison and the military\, among others.  \nIn its inaugural print edition\, MARCH: a journal of art & strategy occupies the first issue of October (itself a direct reference to the 1917 October Revolution) in order to reopen an inquiry into the relationship between revolutionary practice\, theoretical inquiry and artistic innovation in our time. Through this process we ask: Can publication (the act of making public) be an act of protest (public making)? Can publication be thought of spatially and materially as a consequential conspirator? Incendiary insurrection? What strategies do (and can) we employ? Towards what goals? Can an abolitionist framework be applied to the institution of art? Can we avoid the pitfalls of allegorical thinking? \nThe conversation brings together perspectives from Nora N. Khan\, Serubiri Moses\, Zoé Samudzi\, Andrea Steves\, MARCH founders Sarrita Hunn and James McAnally\, and is moderated by Gelare Khoshgozaran with Human Resources for the occasion of MARCH: a journal of art & strategy’s inaugural print edition.  \n***\nHuman Resources was founded in 2010 by a team of creative individuals who seek to broaden engagement with contemporary and conceptual art\, with an emphasis on performative and underexposed modes of expression. Human Resources is not-for-profit and seeks to foster widespread public appreciation of the performative arts by encouraging maximum community access. Human Resources also serves as a point of convergence for diverse and disparate art communities to engage in conversation and idea-sharing promoting the sustainability of non-traditional art forms. We are a volunteer organization. https://www.h-r.la/ \n  \nMARCH: a journal of art & strategy embraces publishing as an act of protest to address the critical social and political issues of our time. MARCH was founded in 2020 by Sarrita Hunn and James McAnally as an expansion of their previous publication\, Temporary Art Review (2011-2019). MARCH features an annual print edition alongside an active online platform commissioning essays\, interviews\, and experimental critical writing with a global perspective. https://march.international/ \n\nSarrita Hunn is an interdisciplinary artist\, editor\, curator and web developer whose often collaborative practice focuses on the culturally\, socially and politically transformative potential of artist-centered activity. She is the co-founder and editor of MARCH\, a journal of art & strategy; artistic coordinator for Saas-Fee Summer Institute of Art; and managing editor of artbrain.org. Additionally\, she is a founding member and co-chair of Liebe Chaos Verein e.V. and founding member of the queer cyberactivist collective Cypher Sex. \n  \nNora N. Khan is a critic\, an educator\, and a curator. She is on the faculty of Rhode Island School of Design\, in Digital + Media\, and has two short books: Seeing\, Naming\, Knowing (The Brooklyn Rail\, 2019)\, on machine vision\, and with Steven Warwick\, Fear Indexing the X-Files (Primary Information\, 2017). Forthcoming this year is The Artificial and the Real\, through Art Metropole. She is currently an editor of Forces of Art: Perspectives From a Changing World\, alongside Serubiri Moses and Carin Kuoni.  \n  \nGelare Khoshgozaran is an undisciplinary artist and writer who\, in 2009 was transplanted from street protests in a city of four seasons to the windowless rooms of the University of Southern California where aesthetics and politics were discussed in endless summers. Gelare is a keyholder at Human Resources. \n  \nJames McAnally is a strategic critic and dependent curator based in St. Louis\, MO. He is the co-founder and editor of MARCH: a journal of art & strategy\, the co-founder and director of The Luminary\, an expansive platform for art\, thought\, and action\, and a founding member of Common Field\, a national network of independent art spaces and organizers. McAnally is a recipient of the Creative Capital | Andy Warhol Foundation Arts Writers Grant for Short-Form Writing. \n  \nSerubiri Moses is a writer\, editor\, and curator\, and currently Adj. Asst. Professor in the Art and Art History Department at Hunter College. He is co-curator of the 5th perennial contemporary art survey\, Greater New York (2021)\, founded in 2000 at MoMA PS1\, Long Island City\, and previously was on the curatorial team of the 10th Berlin Biennale of Contemporary Art (2018). His current research focuses on theories in African visual art and art exhibitions.  \n  \nZoé Samudzi is a writer and doctoral candidate in Medical Sociology at the University of California\, San Francisco. Her writing has appeared in The New Republic\, Art in America\, The New Inquiry\, The Funambulist\, and other places\, and she is a contributing writer at Jewish Currents. Along with William C. Anderson\, she is the co-author of As Black as Resistance: Finding the Conditions for Our Liberation (AK Press\, 2018). She is currently a fellow with Political Research Associates. \n  \nAndrea Steves is an artist\, curator\, researcher\, and organizer currently based in Brooklyn. Her recent projects deal with museums and public history\, monuments and memorials\, and the complex legacies of the Cold War. Andrea also works in the collective FICTILIS and the Center for Hydrosocial Studies\, and is co-founder of the Museum of Capitalism. She is currently a visiting scholar at the Center For Capitalism Studies at The New School. \n\nimage caption: Hito Steyerl. November (still)\, 2004. See: https://vimeo.com/88484604
URL:https://www.h-r.la/event/march/
CATEGORIES:one-time event at HR,online event
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20201127T080000
DTEND;TZID=America/Los_Angeles:20201210T170000
DTSTAMP:20260611T054905
CREATED:20201222T224140Z
LAST-MODIFIED:20210120T195451Z
UID:5624-1606464000-1607619600@www.h-r.la
SUMMARY:Hande Sever: 2 or 3 Things I Know About Her
DESCRIPTION:2 or 3 Things I Know About Her \nHande Sever \n  \nBefore dawn on September 12\, 1980\, a right-wing military junta took power in Turkey. During the nine years that followed\, the Turkish Armed Forces persecuted over three million people from the revolutionary movement. Between 1980 and 1985\, the military government arrested 750\,000 of them; blacklisted 1\,683\,000; tried 230\,000 in 210\,000 lawsuits; sentenced 7\,000 to death; revoked the citizenship of 17\,000; and denied 388\,000 the right to obtain a passport. The government admits that 400 people disappeared (the true number is certainly higher); another 400 died in prison. This coup was leveraged by the Carter administration\, and then supported through military aid by the Reagan Administration. \n2 or 3 Things I Know About Her is an exhibition by artist Hande Sever\, who recalls her mother’s experience of the junta in Turkey through reconstructed memories\, walnut frames\, and oral history. After the coup\, prisons became synonymous with torture centers – the most notorious of which were Metris\, Diyarbakır and Ulucanlar. The artist’s mother was kept in the Metris Military Prison – now known as Metris Closed Penitentiary. Taking up her mother’s memories of being a political prisoner\, the work tackles subjects such as military violence\, censorship\, and mass incarceration. Turning to the past in order to make sense of the present\, 2 or 3 Things I Know About Her unearths the historical processes that led to the extermination of a generation\, and\nreplaces within the scale of bodies the violence perpetrated by US-backed political interests in West Asia\, reminding its audience of the consequences of actions taken by military officials for national domination\, and what the dominated was left to witness. \n  \n \n“They would give me a batch of flyers. The flyers contained anti-facist and anti-imperialist information. My task was to get to a crowded public square\, or preferably to a bus\, then toss the flyers in the air. I would run away as the flyers dropped on the floor. I needed to get out of there before the cops arrived. We aimed to find new allies and supporters through this. They would find us through the flyers.” \n— from a conversation with the artist’s father. \n  \n  \n \n“I was first imprisoned in Selimiye Military Prison in 1980\, then\, in 1981\, I was transported to Metris Military Prison. Selimiye was barracks hurriedly converted into a detention center to accommodate the mass incarceration of political dissidents. You know Ataol Behramoğlu. The poet. I was in the same ward with his partner. She believed that we would be released quickly because they couldn’t find enough evidence to press charges against me. It cost me four years of being detained. At the end of four years I was released.” \n— from a conversation with the artist’s mother. \n  \n  \n \n“Once I read that there are over one million victims of military torture in Turkey. I thought\, what an understatement. The number is definitely higher. After I was detained I was immediately blindfolded and handcuffed by the military. They left me for hours like that. What they called “Palestinian hanging” was the most common torture method the military used againt political dissidents. I couldn’t stop thinking about the torturers. Did they have loved ones? Can someone with such an appetite for cruelty have loved ones?” \n— from a conversation with the artist’s mother. \n  \n  \n     \n  \nThis exhibition was hosted by Actual Size\, as part of HRLA’s TSM Residency program
URL:https://www.h-r.la/event/hande-sever-2-or-3-things-i-know-about-her/
LOCATION:actual size\, 741 New High St.\, Los Angeles\, CA\, CA\, 90012
CATEGORIES:Artist in Residence,off-site event
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20201101
DTEND;VALUE=DATE:20210202
DTSTAMP:20260611T054905
CREATED:20200131T000031Z
LAST-MODIFIED:20211228T050428Z
UID:5317-1604210400-1612159199@www.h-r.la
SUMMARY:Stoking The Flame
DESCRIPTION:Stoking The Flame brings together DJs\, Poets\, Artists\, Musicians whose work invokes new worlds imagined and forged within nightlife.  \nStoking The Flame aligns itself with artists who wield the allure and radicality of nightlife to experiment and amplify new sounds\, moves\, and ways of being with one another amidst the on-going state violence.  \nStoking The Flame will feature one artist per week over the span of the last months of 2020. In a combination of mixes\, videos\, interviews\, and other virtual experiments Stoking The Flame stages a site to add onto nightlife’s constant forging of other worlds\, of more nights\, and ways of being. \nDJ Erika Kayne \nBAE BAE \nGemma Castro \nSebastian Hernandez \nKelman Duran \nJasmine Nyende \nXina Xurner \nElliot Reed \nKaili \n 
URL:https://www.h-r.la/event/stoking-the-flame/
LOCATION:Online
CATEGORIES:exhibition,online event
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20201023
DTEND;VALUE=DATE:20201027
DTSTAMP:20260611T054905
CREATED:20201014T165717Z
LAST-MODIFIED:20201014T170106Z
UID:5350-1603432800-1603691999@www.h-r.la
SUMMARY:Dawn of the New Age
DESCRIPTION:HRLA Time Space Money artist-in-residence Sarah Gail presents their painting\, Dawn of the New Age on Oct 23-25 at 7pm\, at Actual Size Gallery (741 New High St. Los Angeles\, CA 90012). They will be showing their piece with performance art and music to accompany it. This presentation has been created in an effort to inspire all to look within and discover the world that they desire to live in\, to believe that a harmonious world can exist\, and to put forth the effort into making that happen.
URL:https://www.h-r.la/event/dawn-of-the-new-age/
LOCATION:actual size\, 741 New High St.\, Los Angeles\, CA\, CA\, 90012
CATEGORIES:Artist in Residence
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END:VCALENDAR