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DTSTART;TZID=America/Los_Angeles:20220909T173000
DTEND;TZID=America/Los_Angeles:20220910T220000
DTSTAMP:20260413T024015
CREATED:20220830T202528Z
LAST-MODIFIED:20220907T204251Z
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SUMMARY:Hanieh Khatibi: Space has always reduced me to silence
DESCRIPTION:Friday\, September 9th 5:30pm — Saturday\, September 10th 11pm \n  \nSpace has always reduced me to silence is a site-specific\, durational performance that explores the politics of domestic space and the threshold of the personal. From dawn to dusk\, artist Hanieh Khatibi will attempt to bind over 10\,000 yards of thread around her childhood home before unraveling. The performance will be live streamed in its entirety at HRLA.  \n  \nHanieh Khatibi (b.1985\, Tehran\, Iran) is an LA-based artist whose work considers the continuity\, resistance\, agency and interrelationships that exist in nature and society through sculpture\, performance\, and video. Her work has been exhibited at the Echo Park Film Center\, Track 16\, Commons LA\, Peter and Merle Mullin Gallery\, CalArts\, among others. Khatibi was a participant of the 2020 ArtCenter DTLA Residency Project\, Love’s Remedies.  \nSpecial thanks to Vardui Sharapkhanyan for curating\, Javid Ghaem Maghami\, Bita Fayyazi\, Pouya Parsamagham\, Mohsen Shahmardi\, Fardin Ali-Asghari\, Ahmad Khatibi\, and Sodabeh Amini who made the project possible. \nSpace has always reduced me to silence is funded in part by the Foundation for the Arts\, Emergency Grant. \nThe performance takes its title from a line in The Poetics of Space by Gaston Bachelard.
URL:https://www.h-r.la/event/performance-by-hanieh-khatibi/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:performance
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220907T203000
DTEND;TZID=America/Los_Angeles:20220907T220000
DTSTAMP:20260413T024015
CREATED:20220822T174937Z
LAST-MODIFIED:20250316T045100Z
UID:6909-1662582600-1662588000@www.h-r.la
SUMMARY:FORCED LEISURE by Kyle Patrick Roberts
DESCRIPTION:FORCED LEISURE by Kyle Patrick Roberts is a series of nine vignettes performed in parts by an ensemble cast. Exploring an individual’s informed and uninformed autonomy within perceived dimensions of freedom and choice\, conscious or unconscious role-play within these structures\, the protocol of these actions\, and their consequences/effect.
URL:https://www.h-r.la/event/forced-leisure-by-kyle-patrick-roberts/
CATEGORIES:performance
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220826
DTEND;VALUE=DATE:20220906
DTSTAMP:20260413T024015
CREATED:20220725T222919Z
LAST-MODIFIED:20221214T201142Z
UID:6892-1661493600-1662357599@www.h-r.la
SUMMARY:Very Be Careful -- Silver Anniversary
DESCRIPTION:  \nVery Be Careful — 25th Anniversary Celebration & Photo Exhibition\nAugust 26 – September 4 \nVery Be Careful\, the Vanguards of Vallenato for Los Angeles\, celebrate their 25th year together with a photo exhibition and celebration at Human Resources LA in Chinatown. VBC friend and official photographer\, Keith Sirchio\, has been shooting the VBC scene since 1999 from Coast to Coast and across the Seas. Sirchio’s photography traces the band’s earliest moments living in New York\, touring Japan\, and up to the present at their home in Los Angeles. \n  \nGallery Hours: Tuesday-Sunday\, 1pm-6pm \nOpening reception Friday August 26th\, 2022\n7pm-12am\nFull Bar \nMusical Performances by:\nVery Be Careful\nEl Haru Kuroi \nand Featuring:\nLas Sucias Social Club\nMarionettes – La Smiley & El Triste\nDJs – Linda Nuves & Cisco\nReception tickets $25 available  \n \nAdventure has never been a task for VBC.  A Caribbean soul and a California heart have sustained two decades of ceaseless romp-downs and raucous times for L.A.’s vallenato veteranos\, inciting 10s of 1000s of men\, women\, children\, and even some wild animals\, to boogie to the Colombian coastal beat. From the debaucherous streets of: Austin’s SXSW\, Germany’s WorldCupTour ’06\, L.A.’s Sunset Junction Street Fair; to the cultural pinnacles of: Chicago’s Summer Dance Series\, New York’s Central Park Summer stage\, L.A.s’ Grand Performances & Levitt Pavilion\, London’s Hammersmith Apollo; colossal concerts: L.A. Sports Arena Cumbia Fest\, Glastonbury Music Festival & Bestival UK\, Fuji Rock Festival & Asagiri Jam Japan; clubs and hubs: N.Y.’s SOBs\, L.A.’s HOBs\, backyard BBQs\, Very Be Careful has tamed the beasts within or unleashed the ones without\, helping to popularize the beauty of the 1950s-1970s sound of Colombian vallenato and cumbia. \nBootlegged across the Americas\, pumped in the clubs\, and ripped in cyberspace and the airwaves around the world\, VeryBeCareful forges ahead globetrotting alongside legends and antiheros: Joe Strummer\, Alfredo Gutierrez\, Antibalas\, Carlos Vives\, Grupo Niche\, Kronos Quartet\, Gogol Bordello\, Buena Vista Social Club\, Jack White\, Celso Piña\, Vampire Weekend\, Fruko Y Sus Tesos. Their infamous fifteen year traditions hosting old school “dances” for Valentine’sDay\, NewYear’s Eve\, 20 de Julio\, Halloween\, and the legendary July Fourth Brooklyn “Cumbia Under The Sparks” rooftop affair\, has brought together people from around the globe itchin’ for those early roots sounds that prove a stripped down parranda is the fiercest and funnest way to party. \n  \nKeith Sirchio moved to New York in 1992 to study cinematography at the School of Visual Arts. He began working as a camera operator on independent films and music videos from the likes of Elliott Smith to Wu-tang Clan\, but soon found himself more intrigued taking stills of what was happening behind the scenes; between the takes. Since then\, Keith was chosen for a residency program at the Camera Club of New York\, interned at the prestigious Magnum Photos Agency and has photographed album covers for music labels such as Universal Decca\, Epitaph and Fat Beats. His work has been featured in Hamburger Eyes and Upper Playground’s “Backyard Shakedown” along with dozens of other publications. His most recent solo exhibition\, “Soft Tissue\, Hard Bones” at Lorimoto Gallery in NYC documented Muay Thai fighters from 2015-2017 in Chiang Mai\, Thailand. Keith met Very Be Careful by chance at a Brooklyn loft party they crashed over 20 years ago\, just a few months after they migrated from the West. His lens has been capturing their Cumbia capers ever since. \n \nAll images by Keith Sirchio
URL:https://www.h-r.la/event/very-be-careful-silver-anniversary/
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220806
DTEND;VALUE=DATE:20220822
DTSTAMP:20260413T024015
CREATED:20220720T035418Z
LAST-MODIFIED:20220809T144626Z
UID:6887-1659765600-1661061599@www.h-r.la
SUMMARY:Casey Kauffmann & John de Leon Martin
DESCRIPTION:Human Resources LA presents a two person show of painting\, drawing\, video\, and sculpture by visual artists Casey Kauffmann and John de Leon Martin.  \nThe exhibition opens Saturday\, August 6th from 6-9pm  and will run until  Saturday\, August 20th. Gallery hours: Wed-Sun\, 12-6pm. \n  \nThis show was initiated by Jeann Bofwel\, who saw similarities in the maximalist fascination with pleasure and suffering in both Kauffmann and Martin’s work. Both Martin and Kauffmann take on the dual roles of critic and fan\, investigating media consumption as an interpersonal act. While Kauffmann’s digital video collages utilize images from reality television and other limitless online resources to examine culture’s relationship with the feminine\, Martin’s paintings and drawings\, largely inspired by his love of Dungeons and Dragons\, employ fantasy tropes to create sites of queer possibility and pain. The landscapes of California\, both emotional and actual\, also loom subtextually in both artist’s work- They appear in the faces of Kauffman’s Hollywood stars and the Redwood Dryad that centers Martin’s oil painting If You Were a Tree\, What Kind of Tree Would You Be? \n  \nPerhaps the greatest commonality between Martin and Kauffmann is that they are both collagists\, constantly mining from the media and experiences they love. In 19th and early 20th century Europe\, in works like the Cottingley Fairy photographs or the collages of Lady Filmer\, collage was a format utilized by mostly female artists to evoke the otherworldly and call into question the treachery of images. It was considered a hobbyist craft not to be taken too seriously by the artistic elite. But why? Perhaps because a recurring mode of western art has been to present art works as the product of a singular artist who in solitude plumbs each creative idea from the depths of their genius.  Collage\, with its direct acknowledgement that not everything in an artwork is created by the artist\, instead points to the interrelated nature of life.  Perhaps in some ways this threatens that aforementioned premise of artistic solitude? It is Kauffmann and Martin’s hope that you will feel threatened by this show in similar ways.  \n  \nCasey Kauffmann is an interdisciplinary artist working in drawing\, installation\, video\, and a variety of digital mediums. She is a lecturer at the University of California San Diego. Kauffmann was born in the San Fernando Valley in Los Angeles\, California in 1989. She lives and works in Oceanside\, California and received her MFA from The University of Southern California in 2020 and her Bachelor of Arts from The Evergreen State College in Olympia\, Washington. Her work has been featured in publications such as Artnet\, Artillery\, LAWeekly\, The New Yorker\, I-D Vice\, and Hyperallergic. She has exhibited her work nationally and internationally in galleries such as Transfer Gallery\, Centro de Cultura Digital\, the Brand Library in Glendale\, Lyles and King\, Coaxial\, Arebyte\, Cirrus\, and more. Kauffmann’s collage Instagram project @uncannysfvalley\, which she started in 2014\, features digital collage works and GIFs created using only her iPhone. The pieces Kauffmann posts to this account are an ever-accumulating collection of material from all corners of the internet\, sourced from Tumblr\, Instagram\, and Google. This Instagram account and body of work has been exhibited in many galleries\, written about in several esteemed publications\, and led to her admission to the MFA program at the University of Southern California. Kauffmann’s drawing practice functions as an inquiry into the representation of femme emotion and hysteria in both art history and popular culture.  \n  \nJohn “Johnnie JungleGuts” de Leon Martin is an interdisciplinary artist working in drawing\, installation\, painting\, and performance. Martin was born in Riverton\, New Jersey in 1987. He lives and works in Highland Park\, Los Angeles and received his Bachelor of Arts from California Institute of the Arts in Valencia\, California. Martin’s primary goal as an artist is to express enthusiasm and hope\, although he has also started to allow feelings of anxiety and fear to be present in his visual art. As a result\, Martin’s work often straddles the line between artist and fan. He curated a cosplay fashion show and a panel discussion on Pokemon as part of Kchung Radio’s Hammer Museum Residency and Made In LA exhibition. Martin is also a fan of animals- he has volunteered hands on with a variety of primates\, canids\, turtles\, and cats both big and small. In 2011 Martin was awarded the Michelle Lund artist’s residency at Earthfire Institute Wildlife Sanctuary in Idaho. His work has been displayed at MOCA Geffen\, Night Gallery\, Machine Project\, and on an episode of A&E’s Storage Wars where he appraised a collection of My Little Ponies. His work has been featured in publications such as Artforum\, The New York Times\, and Art in America. He has been a frequent guest lecturer at Calarts and was a guest lecturer at Cornell University in 2021. In his work for this show Martin utilizes fairies\, preternatural beings which are a part of nature but mysterious to society at large\, as a metonym for being gay.  \n 
URL:https://www.h-r.la/event/casey-kauffmann-john-de-leon-martin/
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220729T190000
DTEND;TZID=America/Los_Angeles:20220729T210000
DTSTAMP:20260413T024015
CREATED:20220726T000825Z
LAST-MODIFIED:20220726T005305Z
UID:6899-1659121200-1659128400@www.h-r.la
SUMMARY:Poetry at HRLA
DESCRIPTION:  \nHRLA presents a night of poetry this Friday\, July 29th at 7pm with the poets: \nTatiana Luboviski-Acosta\nKata De la Rosa\nLupita Limón Corrales\nViva Padilla \n*A 5 dollar donation is encouraged* \nMasks are encouraged inside the gallery. \n 
URL:https://www.h-r.la/event/poetry-at-hrla/
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220723
DTEND;VALUE=DATE:20220802
DTSTAMP:20260413T024015
CREATED:20220701T220843Z
LAST-MODIFIED:20220721T204203Z
UID:6873-1658556000-1659333599@www.h-r.la
SUMMARY:Fidelia Lam - New seed. XXXXXX. New seed. XXXXXX.
DESCRIPTION:Opening: Saturday July 23\, 2022\, 7-10pm\nOn view weds-sun 12-6pm\, July 23-31 and by appointment. \nNew seed. XXXXXX. New seed. XXXXXX.  grapples with the affective and aesthetic legacies of empire and colonialism as they continue to shape the racial architectures of Asian diasporic femme subjectivities. The exhibition features new multimedia works that speak to\, with\, and nearby speculative ancestral figures\, drawing on Anne Anlin Cheng’s theory of ornamentalism to create sites for grieving\, honoring\, and queering modes of synthetic personhood. Playing with recursive processes and speculative rituals\, the pieces arrive in formations of plastics\, light\, and digital technologies to meditate on the racializations of matter and inter-textual modes of being. \nDear Ghost in my Shell which points are we passing pass by reference only please Dear wiring and connections our encodings have too many channels and have started to fray Dear OS update to use new features we are made obsolete our ram is getting slower Dear Major you are enmeshed with the synthetic sentience of the Puppets teach me your navigational practices Dear Minor Dear Method Dear Margaret\, have you found your robot yet? Would you help me find mine? Look at my errors at my seams at my torn pixels they might point the way \nFidelia Lam is a Canadian multimedia artist and scholar whose work attends to the shared ground of Asian/American diaspora\, aesthetics\, technology\, and urban space through recursive assemblages of code\, animation\, projection\, sound\, bodies\, and critical inquiry. \n(image: Still from when stillness culminates (2022)\, interactive installation.)
URL:https://www.h-r.la/event/fidelia-lam-new-seed-xxxxxx-new-seed-xxxxxx/
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/2022/07/Lam-beholden-01.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220715T193000
DTEND;TZID=America/Los_Angeles:20220715T210000
DTSTAMP:20260413T024015
CREATED:20220707T232836Z
LAST-MODIFIED:20250329T011813Z
UID:6882-1657913400-1657918800@www.h-r.la
SUMMARY:Soft Trace/Line Break
DESCRIPTION:Poetry\n\nefren castro\n\naimee goguen\n\ngennyvera pacheco\n\np staff
URL:https://www.h-r.la/event/soft-trace-line-break/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220708T120000
DTEND;TZID=America/Los_Angeles:20220717T180000
DTSTAMP:20260413T024015
CREATED:20220701T202311Z
LAST-MODIFIED:20220708T183458Z
UID:6869-1657281600-1658080800@www.h-r.la
SUMMARY:Alex Delapena & Daniel Arthur Mendoza: Soft Traces
DESCRIPTION:Soft Traces \nAn exhibition by Alex Delapena & Daniel Arthur Mendoza. \nOpening July 8th\, 6-9pm \nWalk-through w the artists & Jennifer Doyle: Sunday July 10\, 3pm \nGallery is open daily 12-6pm till Sunday\, July 17th. \n  \nSoft is delicate\, supple\, pliable\, velvety\, cushiony\, flexible\, fleshy\, yielding. Trace is a fragment\, a hint\, a shred\, a breath\, a vestige\, a snippet\, an intimation\, a marking.  \nSoft Traces is an exhibition of new works by Daniel Arthur Mendoza and Alex Delapena. It is an invitation to be marked\, to be flesh\, to be breathed\, to yield.  \nIn one of Delapena’s photographs\, a tender paper cut out of a human gazes over a stretch of abstracted landscape under a moon\, considering a future\, or the remains of a past\, hope and grief mix here. Quickly\, the infamous almost redundantly poignant political slogan “Another world is possible” comes to mind. This image transports me to more  \nresistance\, less fear\, more action\, more accountability\, away from screens\, capital\, deception\, failed leadership\, scorned bodies. The past\, or is this the future?  \nMendoza and Delapena’s works’ gentle and accessible wants are fulfilled\, carrying a viewer close inside a canopy imbued with hope\, history\, and possibilities for change. In this shelter\, we are asked to examine the weightiness of the visual propaganda instilled by capitalist patriarchy. Cartoonish bodies laid on sheer fabric and naive cut out forms stilled in images immediately allow us entry. Malleable methodologies\, such as the pliable placing and puppeteering of paper\, stitching\, and quilting\, suggest possibilities for an editing and an altering\, of our realities and social norms that are all too fixed by forces outside of ourselves. The artists signal our need to boldly reformat our realities\, forge\, stage or construct what we want to see in the world\, and they propose a call to step into these new shapes.  \n“Our strategy should be not only to confront the Empire but to lay siege to it. To deprive it of oxygen… With our art\, our music\, our literature\, our stubbornness\, our joy\, our brilliance\, our sheer relentlessness–and our ability to tell our own stories. Stories that are different from the ones we’re being brainwashed to believe.” – Arundhati Roy  \nSensitive histories spill out from both artists’ practices\, from material levity we land in their dense if not urgent politics\, yet we are cared for here. Mendoza meticulously celebrates queer history and its historical veiled-ness within the confines of daily life. Animated imagery and abstractions stitched from repurposed bed sheets and gauzy fabrics: affect\, violences\, intimacies\, glamor and vulnerability merge here. Reconstituted materials\, as always\, point to resistance. Meanwhile\, Delapena images spirits and historical traces from his complex home of Hawaii. Together photographed paper forms and soft monochromatic landscapes sensitively interrogate Hawaii’s oppressive colonial history as well as its landscape’s potency. Some of Delapena’s images point to the system of categorization and domination\, wherein plantation laborers from different ethnic groups were distinguished by bango tags\, in varying shapes and sizes. (We too are marked here). Images of sugarcane invite your body\, but the stalks are also starkly reminiscent of human bones as the landscape widens to include more of what has been hidden. (We become flesh here). Then\, Mendoza’s luscious hanging circular work persuades you effortlessly to commune inside of it. (Respite\, be breathed here). On this hanging monument\, illustrated quilted bodies belong to each other. Soft welcoming faces and embraces brim forth from glowing purple fabric\, evangelized by light. A space for layered corporeal bliss\, a space all too needed.  \nA shared deviation from genre specific making allows for Delapena and Mendoza to confront the masculine blunt edges of the digital\, the technical\, the proficient\, the automated. It’s in their denial of directness\, in their responsive gestures\, the sheerness\, the naive\, the poetic\, the papery\, the camouflage\, the feeling\, in the shadows\, where these artists position themselves. As I consider these works\, in this moment\, when bodies increasingly lay under siege\, as I wander through the diaphanous\, the malleable thinking\, the handmade-ness–- I feel the hands of the artists. And I am reminded that art making is a physical gesture of love\, and to this love\, we may also choose to yield.  \n-Zoe Koke \n 
URL:https://www.h-r.la/event/alex-delapena-daniel-arthur-mendoza-soft-traces/
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220703
DTEND;VALUE=DATE:20220705
DTSTAMP:20260413T024015
CREATED:20220621T181059Z
LAST-MODIFIED:20250329T011848Z
UID:6845-1656828000-1656914399@www.h-r.la
SUMMARY:Trans Prom
DESCRIPTION:Time to pull out your best looks. It’s prom night! Join us for a trans centered queer dance night at HRLA on July 3rd\, from 8pm-midnight. From your black tie\, to your blue jeans\, or even that puffy dress you haven’t time to wear\,  we want to see you dress for the queer prom of your dreams. There will be dancing\, drinks\, photobooth\, and a themed costume competition where we will be crowning our “Prom Deities”. All profits for this event will go to the Trevor Project! \nTicket prices: $5-10 Sliding Scale \nDrinks: Venmo\, cash bar \n21+ over\, proof of covid vaccination is required to attend this event. \nPURCHASE TICKETS!
URL:https://www.h-r.la/event/trans-prom/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220630T193000
DTEND;TZID=America/Los_Angeles:20220630T210000
DTSTAMP:20260413T024015
CREATED:20220621T233742Z
LAST-MODIFIED:20220621T234547Z
UID:6854-1656617400-1656622800@www.h-r.la
SUMMARY:Run\, Run\, Roxie Pickle! by Holly Harrell
DESCRIPTION:Join us on Thursday\, June 30th at 7:30pm for a performance by Holly Harrell: Run\, Run\, Roxie Pickle!  \n  \nHolly Harrell adapts past videos into a live performance. Through successive layers of interpretation\, Harrell’s monologues are transformed by a recursive\, increasingly abstract vocabulary of words\, symbols\, and gestures. Like some halter-topped John Cougar heroine\, Run\, Run\, Roxie Pickle! enacts a hectic\, chameleonic social and personal history steeped in pathos\, histrionics\, and myth. The piece stars Holly Harrell and Bryan Morello\, and features Jonathan Chacon as Jonathan Chacon and Luis Ortega Govela as the tree.Special thanks to the Foundation for Contemporary Arts\, this performance is supported by the FCA Emergency Grant.
URL:https://www.h-r.la/event/run-run-roxie-pickle-by-holly-harrell/
ATTACH;FMTTYPE=application/pdf:https://www.h-r.la/wp-content/uploads/2022/06/poster.pdf
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220625T190000
DTEND;TZID=America/Los_Angeles:20220625T230000
DTSTAMP:20260413T024015
CREATED:20220603T002207Z
LAST-MODIFIED:20250316T045259Z
UID:6832-1656183600-1656198000@www.h-r.la
SUMMARY:Performances
DESCRIPTION:Skylar Haskard \nLiz Nurenberg | Anthony Bodlovic \nKarla Ekatherine Canseco \nCarlos Agredano \nPaul Outlaw | Joe Seely \nKristina Wong \n \n\nSaturday\n\nJune\, 25th\n\n7-11pm\n\n \n\n \n\nDescriptions of perfromances:\n\nSkylar Haskard\n\nCurator assembles sculpture slowly.\n\n \nLiz Nurenberg | Anthony Bodlovic \nIn the shadow of the upcoming solstice\, this performance will be an interactive ritual of connection.  Utilizing ideas of sympathetic magic\, the work acts as a a liminal play ground that moves through 3 phases: self-awareness\, connection\, and community. The piece will move between object and body in an attempt to engage viewers in both active and passive roles. In this process we bridge our two practices using connection as a commonality while bringing Liz’s sculptural forms into the process of ritual act and narrative. Anthony will act as a conduit between the sculptures and viewers by taking on the role of both object and person. The construction and deconstruction of the space will be part of the performance. \n \nKarla Ekatherine Canseco \nKarla will perform in a clay and leather armor. The armor\, resembling that between and a warrior and dog\, is the manifestation of protection for a wounded heart. She will be speaking to/from/about love as she calls for guidance from the nagual that would appear to her mother as a tall black dog in Atlixco.\n\n \nCarlos Agredano \nRoma Amor explores a genealogy of cleanliness rituals through my family’s complex devotion to soap. The performance involves a series of choreographic oppressions related to the self-comportment and respectability politics instilled in American schoolchildren.\n\n \nPaul Outlaw | Joe Seely \nDUET\nPainful\, crusty: Two seasoned satyrs wrap themselves in a velvet artifice of memory. DUET is our eleventh collaboration since 2011 (five with Asher Hartman’s Gawdafful National Theater)\, but the first time performing as a pair.\n\n \nKristina Wong \nKristina Wong is a self proclaimed Food Bank Influencer of World Harvest Food Bank at 3100 Venice Blvd.  She loves it so much she’s creating a new performance on it.  Watch as she doesn’t just throw the spaghetti against the wall\, but the boxed spaghetti close to expiry date against the wall.
URL:https://www.h-r.la/event/performances/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220609T200000
DTEND;TZID=America/Los_Angeles:20220609T230000
DTSTAMP:20260413T024015
CREATED:20220520T192701Z
LAST-MODIFIED:20220520T193601Z
UID:6810-1654804800-1654815600@www.h-r.la
SUMMARY:FUJIIIIIIIIIIITA • Tashi Wada
DESCRIPTION:UPEND presents\, the U.S. Premiere of Japanese sound artist and instrument builder FUJI|||||||||||TA and a special performance from L.A.’s own Tashi Wada. \nFUJI|||||||||||TA \nJapanese sound artist Yosuke Fujita wanted to hear sounds yet-unheard and devised a way to make them – by building an organ from scratch\, with no previous experience\, and following no lead but his imagination. With no keyboard\, and using only eleven pipes\, his invention features a bellow-like air pump called a “fuigo” – similar to those used by Japanese blacksmiths – to push air into sound. Over more than a decade\, Fujita has used the instrument to create evocative landscapes out of tone clusters\, beat frequencies\, and deft minimalist melodies\, all whilst hovering above the quiet clicking of his airpump. After years of honing\, his idiosyncratic sound pallette became more familiar to ears worldwide via a 2019 release »iki« on Swiss label Hallow Ground. \nFujita has collaborated with key figures of different generations of the Japanese avant-garde – Akio Suzuki\, Keiji Haino\, and EYヨ – and performed widely in Europe on bills with artists such as Kali Malone\, Stephen O’Malley\, and Rashad Becker. \nThis performance will be FUJI|||||||||||TA’s U.S. Premiere. \n“FUJI|||||||||||TA has created a work that operates as a beautiful nexus between the material and immaterial qualities of music. It is a lived-in dreamscape of deep\, rich tonality.” – Lawrence English \nTASHI WADA \nLong a crucial contributor to the fabric of sound activity in town\, composer and performer Tashi Wada returns to Human Resources. Via recordings and international performances – and his deft use of alternative tunings – Wada’s distinctive and highly expressive works have come to figure heavily within the flow of contemporary minimalism worldwide. Instead of latching on to a single tuning system\, he plums the possibilities of several\, including those of his own devise. Wada contemplates – literally by ear – the harmonic structure for a piece: often embracing the relative\, rather than the ballast. With pieces that utilize synthesis and a range of acoustic instrumentation\, small ensemble and duo collaborations are key to his process. On this occasion\, Tashi Wada will be joined by Julia Holter. \nTashi Wada is a composer and performer based in Los Angeles. Wada studied composition at CalArts with James Tenney and for many years performed alongside his father\, Yoshi Wada. He has presented his music internationally and collaborated with a range of artists including Charles Curtis\, Simone Forti\, and Julia Holter. Wada founded and runs the label Saltern. His most recent album Nue was released by RVNG Intl. \n“Like his father Wada is obsessed by the brain scrambling properties of sustained tones and maximalist microtonal confusion…” – Volcanic Tongue \n  \nAdvance tickets available here: https://withfriends.co/event/14425290/General_Admission
URL:https://www.h-r.la/event/fujiiiiiiiiiiita-tashi-wada/
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2022/05/FUJIIII-ig.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220604
DTEND;VALUE=DATE:20220621
DTSTAMP:20260413T024015
CREATED:20220517T214358Z
LAST-MODIFIED:20220618T022615Z
UID:6796-1654322400-1655704799@www.h-r.la
SUMMARY:PHILTH HAUS: LYLEX 1.0
DESCRIPTION:In light of a violent attack on the exhibition\, LYLEX 1.0\, by PHILTH HAUS\, presented by the Feminist Center For Creative Work\, the exhibition will not reopen at HRLA. A schedule for the \ncontinuing phases of this project\, at NAVEL and FCCW\, will be updated and announced soon\, as scheduling for the project is now being reworked in light of this incident. \nFollowing the aforementioned attack\, HRLA regrettably mismanaged our response. Up to this point\, we have failed to listen to the suggestions of the artist and the FCCW with the necessary seriousness or care which we should have from the very beginning of our response. This is our second statement about the events that took place. It is meant to respond to the continued requests and suggestions of the artist and the FCCW to publish a statement with complete and current information.  \nThis version replaces our previous statement\, accounts for our activities in response to the occurrence\, and atones for misstatements\, the causes for which range from oversights and lack of information to a desire to minimize our culpability with regards to insufficient protection at the time of and immediately following the attack\, as well as\, in our response throughout the following weekend. \nAfter some consideration\, we are revising this statement\, with a special emphasis on acknowledging the efforts that the exhibition organizers\, and centrally\, the artist\, continue to expend in order to be heard and taken seriously regarding the level of threat the attack at HRLA on June 9th presented (described in more detail below).  \nWe now recognize that our failure to respond appropriately over the last week\, from our communications following the attack\, through the authoring of the present statement\, has perpetuated the undue and unfair labor regularly put on trans people to protect themselves from violence. \nOver the past days\, new information has come to light as part of our continuing efforts to form a complete picture of the incident on June 9th\, and its reverberating effects. Here is a more complete account: \nOn Thursday night\, June 9\, an audience member\, who was attending a music event hosted by HRLA\, intentionally and violently attacked a section of the installation in the LYLEX 1.0 exhibit. A videographer\, not affiliated with HR\, captured the last moments of the attack on video\, after the attacker\, noteably a white cis man\, pushed over the artwork and shouted disturbing language\, condemning the exhibit — which is focused on trans lives and bodies\, among other themes — as satanic and like death\, remarks\, that frightened and alarmed many members of the audience. Trusted eyewitnesses noted that they first noticed the man\, becoming aggravated in the moments before the attack\, arguing with a femme he seemed to be close to\, later identified as the man’s partner. This incident took place right before the music program was set to begin\, in the same space as the exhibit. The HRLA team facilitating the night’s event decided to continue the program\, after acknowledging the harm done in a brief introduction. The performance was thus staged around the damage. There were conflicting eyewitness reports that we can’t confirm\, but feel that it was our duty to report regardless: that the man circled the block 2 or 3 times after storming out of the space\, and that he left in a car after.  \nFollowing the performance\, HRLA shared multiple videos of the performance\, including some that showed the damaged work. We acknowledge that allowing the performance to continue put our audience members\, performers\, and volunteers on site\, at risk— a risk which we should be more especially sensitive to in light of the nation’s current climate of violence. Additionally\, we regret posting videos to our social media in the aftermath\, as this act\, regardless of our desire to share the performance\, was deeply insensitive to the artist. \nLeaders at Human Resources\, who reported the incident to FCCW the following day\, offered very limited information about the incident and aggressor\, specifically\, painting the attack as more random and circumstantial than aggravated and targeted. Additionally\, we contacted the artist directly which violated an appropriate chain of communication\, as it would have been more suitable for this violent occurrence to be conveyed with care by the FCCW. \nThe video that was captured\, along with multiple eyewitness accounts\, confirms the intensity and specificity of the threat. We recognize our error and apologize for initially misrepresenting the nature of the attack— a misrepresentation that endangered the artist\, as well as the queer staff members who returned to HRLA the following day without a full and accurate account of the incident. \nIt has also become evident that HR volunteers have not received proper crisis training\, and were unable to provide an adequate and coordinated response to ensuring attendees’ safety on the night of the attack. \nOur decisions in this incident’s immediate wake minimized the severity of the destruction\, amplifying the vulnerability of everyone working on the exhibition. We are continuing to reflect on how these actions\, as well as the tone of the earlier statement failed to live up to our aspiration to keep trans women safe. \nThis destructive act\, and our response to it\, reinforced especially trans and femme vulnerabilities within a transphobic\, transmisogynist society. We placed the artist and FCCW in a position of needing to work to raise our awareness\, and belabored them with multiple rounds of edits on our institutional statement\, a statement which we ultimately could not agree upon. In the conversations surrounding the event’s aftermath and throughout this process of drafting our initial statement\, conversations between HRLA and the artist and FCCW were marked by a defensiveness that we regret. Certain members of our team spoke over the artist\, and made attempts to compare their own suffering as well as that of HRLA as an institution\, to the harm experienced by the artist and her work. On Sunday\, we proceeded to publish this statement \nwithout many changes that were important to them. Despite these regrettable actions\, the artist and the team at the Feminist Center for Creative Work have taken the brunt of working through the damage\, and have graciously agreed to collaborate with us up through a single edit of the current document. \nWe apologize to the artists and to the exhibition’s organizers for the harm this incident has caused. \nWe apologize to the community of the artist’s supporters\, and the other institutional stakeholders who are unable to view the work in its initially iterated environment and timeline. \nHRLA is committed to the safety of our space\, this exhibition and all the people working in support of it. We are committed to uplifting this artist’s work\, and the trans and queer community at HRLA. To this end\, we are reviewing all aspects of our decision-making around this event. This is a moment for HRLA to recognize and address our own shortcomings in the handling of this crisis and to demonstrate in praxis\, and not just words\, what it means for HRLA to protect the trans community. \nActions we’ve taken to protect community members and to ensure safety going forward: \n\n Two volunteers from HRLA have since met with the man who carried out the attack. He has agreed to stay away from HRLA\, as well as the exhibition’s other two presenting partners\, the Feminist Center for Creative Work and NAVEL.\n We have retained the services of a private investigator\, who is also a member of HRLA’s board\, to assist in assessing the threat posed by this man and his actions\, and take steps to prevent further harm.\n We have reached out to security staff with connections to queer and trans community and specific training in de-escalation practices\, who can be on hand as needed at future events\, and directly assist us in reassessing our own safety protocols.\n HRLA is updating its volunteer orientation process to provide clear instructions for emergency situations. This is a process that had begun previously\, and is recognized as urgently needed.\n HRLA has begun an internal accountability process that holds the organization at large\, and also\, specific members of its team responsible for their individual actions while working on behalf of HRLA in the immediate aftermath of the occurrence\, including their communications with the artist and FCCW staff.\n HRLA will support FCCW and Philth Haus with costs associated with repairing or replacing the damaged artwork\, and share costs on altering plans for the project.\n\nWe are sorry that the mishandling of this incident has altered the pace\, planning\, and celebratory nature of this multi-venue project for the artists and FCCW\, presenting the artist with additional loss\, and increased burden of work. We recognize the need for continued work to repair the damage resulting from the violent and specific destruction of the artist’s work—a literal living organism and an embodiment of trans life. \n—————————————————————————————————– \nFeminist Center for Creative Work presents  \nPHILTH HAUS: LYLEX 1.0 \nA 3-venue exhibition and accompanying program series spanning June 4–August 12\, 2022. \nOn view at HRLA from June 4th-June 19st. Wednesday–Sunday\, Noon to 6pm\, and by appointment. \n  \n  \nLos Angeles\, CA – Feminist Center for Creative Work is pleased to present LYLEX 1.0\,  a new\, three-venue exhibition by PHILTH HAUS\, a collective of 6 member-clients currently represented by ANDRA\, curated by FCCW Programming Director Mandy Harris Williams. LYLEX 1.0 will open at Human Resources in Chinatown on June 4\, 2022 before flushing and rhizomorphing to Feminist Center for Creative Work (Glendale) and Navel (Downtown LA). The installation will be accompanied by programming at each location.  \nIn advance of\, and throughout the exhibition LYLEX will develop oyster mushrooms in sculptural encasements\, fed with the blood of a person undergoing hormonal and dietary modulation therapies. Expounding on themes of exploitative globalization\, wealth inequality\, and new age therapies and their inherent privilege of certain bodily forms and functions over others\, the modified mushrooms will be transformed into pills and powders\, with branded jewelry and apparel available for sale throughout the exhibition and online.  \n  \n“Like the mushroom itself\, the development of this show has been unpredictable\, unwitting\, uncompromising. Bravely adapting throughout an unwieldy period in our history\, throughout unforeseen environments\, organizational changes and timelines\, within new collaborations\, constraints\, opportunities and designs\, Philth Haus has demonstrated a mycelial commitment to growing the ideas and objects and processes of the LYLEX show. It is our honor and a victory\, at that\, to share these fruiting labors with our members\, community\, audience\, and the Los Angeles community at large. ”  \n-Mandy Harris Williams\, FCCW Programming Director and LYLEX 1.0 curator.  \n  \nBy introducing blood into an edible “lifestyle” product\, LYLEX 1.0 hopes to confront how globalization has allowed for the mass-distribution of exploitation at a distance by certain privileged bodies onto economically disenfranchised ones. These seemingly one-way systemic hierarchies of financial and social domination are repurposed by LYLEX. Indeed\, these systems of wealthy lifestyle health-food consumption are made into a means through which the under-privileged can contaminate\, influence\, and modify the socioeconomically enfranchised.  \nLYLEX introduces the blood of an individual undergoing hormonal and dietary modulation therapies via an intermediary bio-indicator species\, the Oyster Mushroom\, which retains much of the blood nutrients and endocrine compounds upon which the funguses are grown. This provides a means through which chemicals originally found in the anonymous body of a transgender person might enter into the bodies of the economically privileged with a penchant for new age therapies which provide enhanced appearance\, psyche\, and longevity.  \nThese modified mushrooms are introduced via mobile\, for use at-home\, production cases\, pills and powders. Jewelry and apparel featuring LYLEX branding\, and a three-channel video advertisement accompany these items. Further glimpses into the mysterious world of LYLEX\, product and/or persona\, lie within an accompanying text published by FCCW\, a haunting (fictional) documentation of the experiences of one such user and her lover/friend as they embark on a relationship with themselves and the unwieldy entity that is LYLEX. \nSpecifically\, “I am an economy. I am a family.”  \n– LYLEX of the PHILTH HAUS collective \n  \nABOUT THE ARTIST  \nPHILTH HAUS is a collective of 6 member-clients currently represented by ANDRA. Each member-entity instructs ANDRA on how to produce art installations\, performance\, and sonics which ephemerally embody one or–less frequently–multiple collective members. This process gives sanctity to post-anthropomorphic materials\, objects\, and systems as capable of holding the intelligences of each entity. The collective’s methodology is a material activation of the immaterial and a process of transubstantiation. Recent materials have included hormonally active waste water\, lithium carbonate\, machine learning\, blood\, and music. Through this collective\, each member hopes to transcend to a realm in which the planet and body are made one via globalized economies\, identity semiotics\, and biological contamination.  \nEach entity focuses on particular phenomenon such as artificial intelligence’s understanding of young girlhood (SYLLA)\, endocrine disruption pollution politics (COLY)\, body material market value and propriety (LYLEX)\, post-lingual ambient music (ROCO)\, maternity with disease (ANDRA)\, and intersectional chemicals used in treatment of psychopathology and in automotive production (PHILIP). \nThe collective has been exhibited in Los Angeles\, New York\, Florence\, and Amsterdam at spaces and programs such as Lo Schermo Dell’arte Film Festival (Florence)\, W139 (Amsterdam)\, Navel (LA)\, Times Square Space (NYC)\, Boston CyberArts Gallery (Boston)\, Harvard Art Museums (Cambridge)\, SpaceUS (Boston)\, UCLA Performing Arts Center (LA)\, De Ateliers (Amsterdam)\, and the Amsterdam Arts Weekend\, etc. Members have featured in publications such as The Boston Art Review\, Badlands Magazine\, Trains Zine\, and Paper Magazine. Newly commissioned glass paintings will exhibit with Proxyco Gallery (NYC) Fall 2022. Finally\, their upcoming album REV will be released with the KW Institute (Berlin) Fall 2022.  \n  \nEXHIBITION DATES  \n  \nHuman Resources \n410 Cottage Home St\, Los Angeles\, CA 90012  \nJune 4th-June 21st  \nWednesday–Sunday\, Noon to 6pm\, and by appointment  \n  \nNavel \n1611 S. Hope St.\, Los Angeles\, CA 90015 \nJune 24th- July 24th \nSaturday–Monday\, Noon to 6pm\, and by appointment  \n  \nFeminist Center for Creative Work  \n1800 S. Brand Blvd. Suite 111\, Glendale\, CA 91204  \nJuly 29–August 12th  \nThursday–Monday\, Noon to 6pm\, and by appointment  \n  \nPROGRAMMING  \n  \nPHASE I: SAMPLE \nExhibition Opening with Performance (I am a family. I am an economy.) \nHuman Resources: 410 Cottage Home St\, Los Angeles\, CA 90012  \nSaturday\, June 4\, 6-9 pm \nOpening event for LYLEX 1.0: skate and music performance with LYLEX biological samples and unreleased tracks from ROCO’s upcoming E.P. REV.  \n  \nPHASE II: DOSE \nNavel: 1611 S. Hope St.\, Los Angeles\, CA 90015 \nFriday\, June 24\, 8 pm – 2 am \nOpening party\, presented in partnership with Navel\, featuring DJ sets by St. Mozelle\, IdealBlackFemale\, with more to come\, and with strip performances by Jolene\, a trans-inclusive dance collective.  \n  \nPHASE III: MONITOR \nExhibition Opening \nFCCW: 1800 S. Brand Blvd. Suite 111\, Glendale\, CA 91204 \nFriday\, July 29\, 6-9 pm \nOpening event for LYLEX 1.0 at F.C.C.W.\, the final site of the LYLEX exhibition series.  \n  \nPHASE IV: REPORT \nReading  \nFCCW: 1800 S. Brand Blvd. Suite 111\, Glendale\, CA 91204 \nFriday\, August 5\, 8 pm \nReading of LOGS by LYLEX via Andra. A session for discussion and questions will follow after the reading.  \n  \nLYLEX 1.0 is supported in part by the Pasadena Arts Alliance among other funders and FCCW members. This project has been made possible with production support from consultant Joseph Stewart\, Amber Ibarreche\, and Tiny Splendor.   \n  \nTop image: Render image of blood withdrawal process for LYLEX product sculpture series. Image courtesy of the artist and Feminist Center for Creative Work \nBottom image: Blood-to-mushroom Infusion Kit prototype of LYEX:isDIY product sculpture. Image courtesy of the artist and Feminist Center for Creative Work \n \n 
URL:https://www.h-r.la/event/philth-haus-lylex-1-0/
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220530T200000
DTEND;TZID=America/Los_Angeles:20220530T230000
DTSTAMP:20260413T024015
CREATED:20220518T214913Z
LAST-MODIFIED:20220526T202918Z
UID:6804-1653940800-1653951600@www.h-r.la
SUMMARY:Dean Spunt & John Wiese:《The Echoing Shell》
DESCRIPTION:On Memorial Day\, UPEND presents veteran L.A. noisemakers Dean Spunt and John Wiese live in concert as they celebrate their new record《The Echoing Shell》released this month on Drag City Records. with a special performance and multi-media event. \n\nThe event will feature a the duo in quadrophonic sound\, a video presentation by Wiese\, PLUS a video presentation from Nicole-Antonia Spagnola (P22\, Purity) and a live performance from Nial Morgan (Free The Land\, Race to the Bottom\, etc.) \n\n《The Echoing Shell》is Spunt and Wiese’s “debut as collaborators by drawing from the rumble and crash of Dean’s drumkit\, finding dimensions of hiss and crunch on beyond his No Age style. A fantastic conception in contemporary musique concrète; alternately ripping and discriminating music\, dry humor\, word shapes\, meaning\, and astonishing depth of field.” \n\nAdvance tickets available via: \nhttps://withfriends.co/event/14392586/General_Admission
URL:https://www.h-r.la/event/dean-spunt-john-wiese-present%e3%80%8athe-echoing-shell%e3%80%8b/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2022/05/spunt-wiese_HR.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220528T200000
DTEND;TZID=America/Los_Angeles:20220528T210000
DTSTAMP:20260413T024015
CREATED:20220508T001751Z
LAST-MODIFIED:20220508T001810Z
UID:6787-1653768000-1653771600@www.h-r.la
SUMMARY:Madison Brookshire - Double or Nothing
DESCRIPTION:Madison Brookshire \nDouble or Nothing (2022) \nA new performance for two 16mm projectors\, harmonium\, sine tone\, and voice \nDoors open at 8p \nMadison Brookshire lives in Los Angeles\, where he makes films\, paintings\, and performances. His work invites viewers to become aware of perceptual processes and the sensuous experience of time. More information: www.madisonbrookshire.com
URL:https://www.h-r.la/event/madison-brookshire-double-or-nothing/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220507T180000
DTEND;TZID=America/Los_Angeles:20220527T210000
DTSTAMP:20260413T024015
CREATED:20220425T202753Z
LAST-MODIFIED:20230221T014417Z
UID:6764-1651946400-1653685200@www.h-r.la
SUMMARY:Jeremy Toussaint-Baptiste: I Would Prefer Not To (Stay Cool)
DESCRIPTION:Gallery Hours: Wed-Sun noon-6PM\nWe highly recommend emailing everythinginaaair@gmail.com to make an appointment to view the exhibition.\nThe installation employs Amacher’s work on “psychoacoustics” alongside “acousmaticism” (psychoacousmaticism) through the lens of Herman Melville’s short story Bartleby\, The Scrivener. Considering Herbert Marcuse’s notion of the “Great Refusal” as an indictment of emergent military-cum-consumer technology being weaponized against citizen-civilian populations\, it provides a quiet blueprint for protecting oneself from such phenomena. I Would Prefer Not To (Stay Cool) makes deliberate misuse of a decommissioned military-issue Long Range Acoustic Device\, or LRAD*\, (specifically\, LRAD 500x)\, its ability to transmit sound\, pre-recorded or live\, is baffled by placing six inverted riot shields\, mounted to oscillating fans in front of it. These inverted shields not only deflect the sound from a potential aggressee\, but their inversion also refracts the sound back to its source with the same intensity. The placement of the shields on indeterminately oscillating fans also physicalizes the sentiment of cool\, steely refusal put forth by Bartleby’s repeated utterance\, “I Would Prefer Not To\,” enacting a chance-operation in which these “refusals” go in and out of phase. The project was funded\, in part\, by a Foundation for Contemporary Arts Emergency Grant.\n*Often referred to as “sound cannons\,” LRAD’s have been deployed by police forces across the United States\, including NYPD\, as a “non-lethal” sonic weapon against civilian populations engaged in peaceful protest as far back as 2004.\nClosing Performance and Conversation\nWednesday\, May 25\, 7PM\n\nPerformance by Jeremy Toussaint-Baptiste\, followed by a conversation between the artist\, Jennifer Doyle and Gelare Khoshgozaran.\n\nJeremy Toussaint-Baptiste\, Get Low (The Fall / The Drop)\, 2021\n\nJeremy Toussaint-Baptiste (b. 1984\, Baton Rouge\, LA) MFA in Performance and Interactive Media Arts from Brooklyn College. He currently lives and works in New York\, NY and Tucson\, AZ.\n\nSelect exhibitions include: “Set It Off\,” ICA @ Virginia Commonwealth University and 1708 Gallery\, Richmond\, VA (2021)\, “Devo (Listenin’ Out The Top Of Ya Head)\,” Berlin Atonal\, Berlin\, DE (2021)\, “Pendulum Music: An Arrangement for Four Performers and Geodisic Dome\,” MoMA PS1\, Queens\, NY (2018); “Club\,” Performance Space New York\, New York\, NY (2018); “Evil Nigger: A Five Part Performance for Julius Eastman\,” The Kitchen\, Brooklyn\, NY (2018); “Study Of ‘Study Of Three Heads’\,” Philadelphia Museum of Art\, Philadelphia\, PA (2018); “Evil Nigger Part IV and Evil Nigger Part V\,” Issue Project Room\, Brooklyn\, NY (2017); “Who Needs To Think When Your Feet Just Go+ Never Not Doing\,” The Studio Museum in Harlem\, New York\, NY (2016).\n\nSelect awards and residencies include: Camargo Foundation Core Program Fellow (2022)\, Bemis Center for Contemporary Arts Sound Artist-In-Residence (2021)\, Bessie Award for Outstanding Music Composition and Sound Design (2018); Issue Project Room Artist-in-Residence (2017); Jerome Foundation Airspace Residency at Abrons Arts Center\, New York (2019); Rauschenberg Residency 381 (2019). He is also a founding member of the performance collective Wildcat!.\nEverything in Air\n\nHuman Resources LA presents Everything in Air\, a series of public programs over the course of a year—new commissions\, exhibitions\, performances\, and forums\, often in hybrid combinations—using key concepts within artist and composer Maryanne Amacher’s work as points of departure. The series was supported by a Mike Kelley Foundation Grant.
URL:https://www.h-r.la/event/jeremy-toussaint-baptiste-i-would-prefer-not-to-stay-cool/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2022/04/EIA_JeremyTB_square_22.5.2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220503
DTEND;VALUE=DATE:20220506
DTSTAMP:20260413T024015
CREATED:20220420T205500Z
LAST-MODIFIED:20221012T144514Z
UID:6758-1651557600-1651730399@www.h-r.la
SUMMARY:Jacqueline Kiyomi Gork & Laetitia Sonami — Fingers Caught in a Field of Moss
DESCRIPTION:Tuesday May 3rd & Wednesday May 4th\, 5:00 – 9:00 PM\n  \nSound artists Jacqueline Kiyomi Gork and Laetitia Sonami set up in residency at Human Resources for their fourth collaboration. For Fingers caught in a field of moss they scale down natural growth events to rhythms of sonic saturation and rarefication. The synthetic textures created in real time by the artists evoke an organic unfolding of layered scales of time. The ten-channel audio installation incorporates loudspeakers\, subwoofers\, directional speakers and anechoic sculptures to manipulate the natural resonance of Human Resources architectural acoustics. Both artists would like to acknowledge the pervading influence of Maryane Amacher’s groundbreaking work in their own unique practice. \n  \nAudience is invited to come in at any point during the durational live performance-installation. Use of phone is prohibited during the performance \n  \nLAETITIA SONAMI\nLaetitia Sonami is a composer\, sound artist\, performer and researcher. Born in France\, Sonami studied electronic music with Eliane Radigue before moving to the United States in 1977 to continue her electronic music practice.Sonami’s sound performances\, live-film collaborations and sound installations focus on issues of presence and participation.  She applies new technologies and appropriated media to achieve an expression of immediacy through sound\, place and objects.A pioneer in wearable technologies\, Sonami has devised new gestural controllers for performance. Best known for her unique instrument\, the elbow-­length lady’s glove\, which is fitted with an array of sensors tracking the slightest motion of her hand and body\, she has performed worldwide and earned substantial international renown. Her latest instrument\, the Spring Spyre\, is based on the application of machine learning (AI) to music performance.Recent projects include a third live film with SUE-C\, a  collaboration with harpist Zeena Parkins\, and an electronic improvisation duo with James Fei.Sonami received the Herb Alpert Awards in the Arts (2000) and the Foundation for Contemporary Performance Awards (2002). Sonami lives in Oakland\, CA and is currently a guest professor at the Center for Contemporary Music\, Mills College.\n \n\n\nJACQUELINE KIYOMI GORK\nJacqueline Kiyomi Gork’s hybrid practice combines work in sound installation\, sculpture\, and performance with the aim of reconfiguring traditional hierarchies between audience\, performer\, and architecture.  Kiyomi Gork studied sound art and new genres at the San Francisco Art Institute and researched the history of communication technologies\, acoustics and computer music at Stanford University. Kiyomi Gork has been the subject of solo exhibitions at Empty Gallery\, Hong Kong; 356 Mission\, Los Angeles; François Ghebaly\, New York; Queens Nails\, The Lab and Yerba Buena Center for the Arts\, San Francisco. Kiyomi Gork has participated in group exhibitions at Hammer Museum\, Los Angeles (Made in LA 2020); SculptureCenter\, New York and the San Francisco Museum of Modern Art. She is a recipient of a 2021 Art + Technology Lab Grant from the Los Angeles County Museum of Art. \n\n\n\n\nEverything in Air\n\nHuman Resources LA presents Everything in Air\, a series of public programs over the course of a year—new commissions\, exhibitions\, performances\, and forums\, often in hybrid combinations—using key concepts within artist and composer Maryanne Amacher’s work as points of departure. A near-mythic figure whose situated methodology and speculative embrace of technology continues to defy formal and disciplinary boundaries\, Amacher generated an artistic and conceptual milieu that encompassed sound and installation art\, networked culture\, and feminist technoscience. Invited artists\, whose own engagements with sound\, structure\, and situation move freely across disciplines\, are encouraged to trace the resonances they find with Amacher’s ideas—from perception and duration\, to embodiment\, place\, and listening—towards new formal and conceptual territories. The international and intergenerational group of artists will take up residence using HRLA’s architectural\, organizational\, and social structures as an instrument\, both physically—using the entire building itself as a tool for making (sound or otherwise)—and figuratively\, “instrumentalizing” HRLA’s structures to resonate\, modulate\, filter and amplify signals\, gestures\, and ideas. Invited participants include Akio Suzuki & Aki Onda\, Jimena Sarno\, Jacqueline Kiyomi Gork and Laetitia Sonami\, Jeremy Toussaint-Baptiste\, Chiara Giovando\, Dead Thoroughbred (keyon gaskin & sidony o’neal)\, Kali Malone\, Geneva Skeen and others to be announced. Black Hole will be a participating partner.
URL:https://www.h-r.la/event/jacqueline-kiyomi-gork-laetitia-sonami-fingers-caught-in-a-field-of-moss/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:Artist in Residence,exhibition,performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2022/04/EIA_GorkSonami_Square.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220501T180000
DTEND;TZID=America/Los_Angeles:20220501T233000
DTSTAMP:20260413T024015
CREATED:20220331T195041Z
LAST-MODIFIED:20220427T210315Z
UID:6715-1651428000-1651447800@www.h-r.la
SUMMARY:May Day
DESCRIPTION: Human Resources’ 12th birthday \nSarah Rara\nCorey Fogel\nGelare Khoshgozaran\nNikki Darling\nRebeca Hernandez & Crystal Sepúlveda\nEloe Omoe\nSuzy Halajian\nAjani Brannum\nMariel Carranza\nOhan Breiding\nJohn Biortle\nJohnnie Jungleguts\nIdealBlackFemale\nAdam O\nLA MOCA Union \nAnd the launch of La Crónica Libre a sporadic newspaper for the greater Los Ángeles\, edited by Wes Larios & Clara Lopez Menendez. \n  \ntickets are available on a sliding scale\, no one turned away for lack of funds
URL:https://www.h-r.la/event/may-day/
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2022/03/hr1b-scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220417T200000
DTEND;TZID=America/Los_Angeles:20220417T220000
DTSTAMP:20260413T024015
CREATED:20220414T191817Z
LAST-MODIFIED:20250329T011914Z
UID:6750-1650225600-1650232800@www.h-r.la
SUMMARY:Maral + Brenna "Ground Groove" / Eva Aguila "Photon Playground"
DESCRIPTION:UPEND presents\n\nLive premiere of “Ground Groove” – an audio video collaboration between L.A. based beat dealer Maral and Portland\, Oregon based video artist Brenna Murphy (of MSHR.) An album featuring this special project will be released by Leaving Records in the Fall of 2022!\n\nPlus the premiere video screening of “Photon Playground” – a new video by Eva Aguila\n\nAdvance\, sliding scale tickets available at:\n\nhttps://withfriends.co/event/14248116/
URL:https://www.h-r.la/event/maral-brenna-ground-groove-eva-aguila-photon-playground/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2022/04/UPENDflyer_Sq_Web.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220409T180000
DTEND;TZID=America/Los_Angeles:20220416T180000
DTSTAMP:20260413T024015
CREATED:20220405T193252Z
LAST-MODIFIED:20221012T144535Z
UID:6727-1649527200-1650132000@www.h-r.la
SUMMARY:Kali Malone - Does Spring Hide Its Joy
DESCRIPTION:Kali Malone – Does Spring Hide Its Joy – Installation\n  \nFeaturing Nika Milano\, Stephen O’Malley & Lucy Railton \nGallery Hours:\nSaturday April 9th 6pm-9pm*\nSunday April 10th Noon-6pm\nWednesday April 13th 3pm-9pm\nThursday April 14th 3pm-9pm\nFriday April 15th 3pm-9pm\nSaturday April 16th Noon-6pm\n\n*opening reception\n\nThe duration of the piece is one hour\, and is presented on continous loop. \nDoes Spring Hide Its Joy is an immersive piece by composer Kali Malone featuring musicians Stephen O’Malley\, Lucy Railton\, and video artist Nika Milano. The music is a study in deep listening and non-linear durational composition with a heightened focus on septimal just intonation and beating interference patterns. Malone’s experience with pipe organ tuning\, harmonic theory\, and long durational composition is a prominent point of departure for Does Spring Hide Its Joy. Her nuanced minimalism unfolds an astonishing depth of focus and opens up contemplative spaces in the listener’s attention. \nIn addition to live concerts performed by Kali Malone\, Lucy Railton\, and Stephen O’Malley\, Does Spring Hide Its Joy has also evolved in parallel as a site-specific sound installation featuring recordings made in the renowned Berlin Funkhaus concert hall. For this special occasion at Human Resources\, Malone invites video artist Nika Milano to exhibit an analog video work that accompanies and interprets the musical score as a fourth member. \n\nPresented as part of Human Resources’ “Everything in Air” programming.\n\nKali Malone (US – Sweden) \nThe compositions of Kali Malone implement specific tuning systems in minimalist structure for pipe organ\, choir\, chamber music ensembles\, and electroacoustic formats. Malone’s music is rich with harmonic texture through synthetic and acoustic instrumentation in repetitive motions and extended durations. Her music emits distinct emotive\, dynamic\, and affective hues which bring forth a stunning depth of focus. Kali Malone has performed extensively in Europe and North America at Musica Festival\, Berlin Atonal\, Moogfest\, Kanal Pompidou\, Elbphilharmonie\, Paris Philharmonie\, and Radio France. Her commission projects and residencies include the Ina GRM\, The Richard Thomas Foundation\, MACBA\, Macadam Ensemble\, Orgelpark\, Elektronmusikstudion and Tempo Reale. She collaborates and performs with various artists\, including Stephen O’Malley\, Lucy Railton\, Frederikke Hoffmeier\, Leila Bordreuil\, Drew McDowall\, Caterina Barbieri\, and Ellen Arkbro. In 2016 she co-founded the record label and concert series XKatedral\, together with Maria W Horn\, in Stockholm. \nNika Milano (Venezuela – Mexico) \nNika Milano is an audiovisual creator who works primarily with electronic media focusing on experimentation with feedback signals to develop environments that slowly spread and evolve. Her video work mixes signals from analog modular synthesizers\, video mixers\, VCRs\, and video feedback created with a hi8 video camera. Although her training originally stems from photography\, her curiosity and research have led her to work with video\, sound\, improvisation\, and analog film restoration. Milano has been a resident at the EMS Elektronmusikstudion studio in Stockholm and has performed at festivals such as Mutek Mx\, Nrmal\, Aural\, Visiones Sonoras\, among others. \nStephen O’Malley (US – France) \nStephen O’Malley is a guitarist\, producer\, composer\, and visual artist who has conceptualized and founded numerous drone and experimental music groups for over two decades – SUNN O)))\, KTL\, and Khanate being among his best-known projects. Wildly prolific\, O’Malley’s oeuvre defines remarkable breadth\, complexity and multidisciplinary interests. It includes collaborations with a wide range of experimental musicians and composers\, including Scott Walker\, choreographer Gisèle Vienne\, the authors Dennis Cooper and Alan Moore\, composers Alvin Lucier and Kali Malone\, artist Fujiko Nakaya\, filmmaker Jim Jarmusch\, experimental music research centres IRCAM\, INA-GRM (Paris)\, EMS (Stockholm) and many others. O’Malley is also a vigorous live performer and has toured around the world since 2003. \nLucy Railton (UK – Germany) \nLucy Railton has been an active performer\, programmer and music maker since 2008\, releasing albums on Modern Love\, Editions Mego – GRM Portraits\, PAN\, ECM\, SN Variations\, Shelter Press and Takuroku.  Having emerged from a long-term engagement with classical and contemporary music\, she now makes her own work alone or in collaboration with artists and musicians from varied disciplines\, including Rebecca Salvadori\, Peter Zinovieff\, Catherine Lamb\, Khyam Allami\, Kit Downes\, Kali Malone and Stephen O’Malley\, and in recent years has worked with Beatrice Dillon\, Philippe Parreno\, Rhodri Davies\, Laura Grace Ford\, Alex Hills\, choreographers Akram Khan and Sasha Milavic Davies\, Yair Elazar Glotman and the film director John Lee. As an organiser she has been involved in presentations of work by Maryanne Amacher and Henning Christiansen amongst many other productions during her time as co-director at London Contemporary Music Festival and Kammer Klang\, and has performed in focus concerts lead by Pauline Oliveros\, Iancu Dumitrescu\, Mary Jane Leach\, Cally Spooner\, Matmos and many more.  Lucy has performed at festivals and venues including Dark Mofo (Tasmania)\, Blank Forms (New York)\, Cafe Oto\, Borealis Festival\, Atonal\, Koln Philharmonie\, Barbican\, Berlin Jazz\, Donaueschingen\, Sydney Opera House\, Rewire\, AKOUSMA (GRM)\, Norbergfestival\, Centro de Creación Contemporánea de Andalucía and CTM. \n\n\nEverything in Air\n\nHuman Resources LA presents Everything in Air\, a series of public programs over the course of a year—new commissions\, exhibitions\, performances\, and forums\, often in hybrid combinations—using key concepts within artist and composer Maryanne Amacher’s work as points of departure. A near-mythic figure whose situated methodology and speculative embrace of technology continues to defy formal and disciplinary boundaries\, Amacher generated an artistic and conceptual milieu that encompassed sound and installation art\, networked culture\, and feminist technoscience. Invited artists\, whose own engagements with sound\, structure\, and situation move freely across disciplines\, are encouraged to trace the resonances they find with Amacher’s ideas—from perception and duration\, to embodiment\, place\, and listening—towards new formal and conceptual territories. The international and intergenerational group of artists will take up residence using HRLA’s architectural\, organizational\, and social structures as an instrument\, both physically—using the entire building itself as a tool for making (sound or otherwise)—and figuratively\, “instrumentalizing” HRLA’s structures to resonate\, modulate\, filter and amplify signals\, gestures\, and ideas. Invited participants include Akio Suzuki & Aki Onda\, Jimena Sarno\, Jacqueline Kiyomi Gork and Laetitia Sonami\, Jeremy Toussaint-Baptiste\, Chiara Giovando\, Dead Thoroughbred (keyon gaskin & sidony o’neal)\, Kali Malone\, Geneva Skeen and others to be announced. Black Hole will be a participating partner.
URL:https://www.h-r.la/event/kali-malone-does-spring-hide-its-joy/
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2022/04/kali_nika.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220402T200000
DTEND;TZID=America/Los_Angeles:20220402T220000
DTSTAMP:20260413T024015
CREATED:20220323T003107Z
LAST-MODIFIED:20220330T195601Z
UID:6701-1648929600-1648936800@www.h-r.la
SUMMARY:Asher Hartman\, Maria Maea\, Emily Mast\, Jasmine Orpilla
DESCRIPTION:Starts promptly at 8pm \n  \nAsher Hartman with Michael Bonnabel and Philip Littell\, \nIt’s Better to Start Out Ugly is day five of a year-long project with performers Michael Bonnabel and Philip Littell\, written and directed by Asher Hartman. Two men\, one room\, shared illness\, shifting bodies\, putrid\, hateful\, delusional\, and bound are John and Alfred\, two futureless cis-gendered white gay men with strange politics and unreasonable desires. This is a scene\, an excursion into ugly acting\, into early writing\, into shaping a play on an actor\, into testing\, falling\, edging homonormativity into blah-scapes of wow. \n  \nMaria Maea \nMaria Maea is a weaver\, a pile of leaves\, a singing palm\, a shadow and a sound. \n  \nEmily Mast with Ryat Yezbick\, Reza Arzanian\, Joe Seely \nIFIF is a secular\, group ritual in the form of a game that employs chance\, dance and trance. It is one of many exercises that was born out of a methodology Emily Mast began developing during the pandemic. Mast and her collaborators employ hypnosis\, tantra\, dom/sub dynamics\, emotional attunement\, physical movement\, free writing\, and theatrical techniques to invent consent and boundary frameworks that engage the subconscious and mine it as a tool for creation and transformation. IFIF is one of many aesthetic frameworks that reveal the messy\, vulnerable side of their process. It is being shared with an audience here for the very first time.   \n  \nJasmine Orpilla \nJasmine Orpilla’s 5-minute BENEVOLENT ASSIMILATION is ripped directly from the American-supremacist gaslighting language of the titular proclamation of 1898\, which prefaced the psychotic “k*ll-and-burn” policies of the Philippine-American colonial war. A near-invisible ‘first cut’ into an operatic body of sound being composed for installation in 2022 by Jasmine Orpilla\, this concentrated drop of BENEVOLENT ASSIMILATION will be sung live for an adult audience contained only within the safe space of the HRLA lobby\, for the duration of 5 minutes and 30 seconds. The main gallery cracks open afterwards to reveal ‘refreshment’ and/or optional banter around the issues of race underlying fantasies of power play throughout history\, or the future of art performance in L.A.\, for example. *Warning of possible loud volumes for the highly sensitive. \n 
URL:https://www.h-r.la/event/6701/
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2022/03/42forweb-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220401T080000
DTEND;TZID=America/Los_Angeles:20220401T170000
DTSTAMP:20260413T024015
CREATED:20220401T205629Z
LAST-MODIFIED:20220401T205629Z
UID:6720-1648800000-1648832400@www.h-r.la
SUMMARY:Wally on Weed\, album release party
DESCRIPTION:HRLA presents “Wally on Weed\,” an album release party! \nFriday\, April 1st at 7pm \nFeaturing a live performance by Wally and guest artist Kasey Trapp. DJ set by Pedro Alejandro Verdin of Pacoima Techno. \nWally is a multimedia performance produced by Fatih Rawson. She currently resides in Cypress Park inheriting the concrete sounds of traffic and shrewd neighbors. You can find her new album at wally4.bandcamp.com. \nKasey Trapp is a singer\, producer\, and visual artist from Santa Rosa\, CA. Her set of intimate pop songs are inspired by friendships\, love\, and healing. You can find her music at kaseytrapp.bandcamp.com/. \nPedro Alejandro Verdin is an artist living in Los Angeles. He has shown and performed in the Bay Area and Los Angeles\, and has written pieces for kubaparis in Berlin. Pedro also curates nonspecific\, an ongoing project that creates collaborations amongst emerging artists. He is a part of the duo Pacoima Techno. \n  \n 
URL:https://www.h-r.la/event/wally-on-weed-album-release-party/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2022/04/faith-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220328T210000
DTEND;TZID=America/Los_Angeles:20220328T230000
DTSTAMP:20260413T024015
CREATED:20220316T041335Z
LAST-MODIFIED:20250316T045411Z
UID:6695-1648501200-1648508400@www.h-r.la
SUMMARY:SCREENING: HOW TO BAKE A CAKE IN THE DIGITAL AGE  
DESCRIPTION:“How to Bake a Cake in the Digital Age” is a half-hour comedy special set in a cooking show that may or may not ever start\, starring Christina Catherine Martinez\, who may or may not be playing a character that may or may not be having a real emotional breakdown. Filmed in November 2020 at Human Resources Gallery in Los Angeles\, Christina performs her jokes for an audience of no one but the small crew who is helping her\, some of whom may or may not be figments of sound design. HTBCDA grinds the lens of Martinez’s live stand up material for the screen\, peering into the constructed nature of the filmed comedy special\, and the constructed nature of the performer herself. \n  \nThis screening is a special premiere of the film at the location where it was shot. There will be a selection of rare and never-before-seen shorts from CCM ahead of the special.  \n  \nFREE
URL:https://www.h-r.la/event/screening-how-to-bake-a-cake-in-the-digital-age/
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2022/03/promo-header.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220326T190000
DTEND;TZID=America/Los_Angeles:20220326T233000
DTSTAMP:20260413T024015
CREATED:20220314T210039Z
LAST-MODIFIED:20220317T224527Z
UID:6676-1648321200-1648337400@www.h-r.la
SUMMARY:Music-In-Person: nuyman\, Holy Pink\, and Special Guests
DESCRIPTION:HRLA presents nuyman\, Holy Pink\, and Special Guests! \nJoin us for a night of music on Saturday\, March 26th. \nnumyn will present a singular version of its nu-modal/ crustpop music. the project\, usually based in nyc\, makes itself out of genre and an insistence toward the rhythms of nondualistic heresy. it’s catchy. \n\nHoly Pink are an electronic duo based out of Los Angeles. They explore the balance between ethereal and kosmiche electronic composition using moogs\, operatic vocals\, vocoders and samples.\n\nDoors Open at 7pm \nSliding Scale Donation: 5-$10
URL:https://www.h-r.la/event/music-in-person-nuyman-holy-pink-and-special-guests/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2022/03/HR-flyer-done.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220323T210000
DTEND;TZID=America/Los_Angeles:20220323T223000
DTSTAMP:20260413T024015
CREATED:20220315T074319Z
LAST-MODIFIED:20220316T053624Z
UID:6682-1648069200-1648074600@www.h-r.la
SUMMARY:Dicky Bahto & Prima Jalichandra-Sakuntabhai
DESCRIPTION:image credit: Prima Jalichandra-Sakuntabha\, 1973 (2019)\nA program of moving images and performance\, by Dicky Bahto & Prima Jalichandra-Sakuntabhai\, the night of March 23rd. \nPresale tickets can be reserved here \nMasks are required to be worn inside\, at this event. \n– \n“I’ll be showing two recent pieces… six pages from a diary\, a Super 8 film that compiles about a year’s worth of material that I edited in 2021\, including a dolma-making lesson on Christmas eve in Paris just before the pandemic\, to things I did every day that helped keep me sane during the rest of the year that followed: dancing with my cat\, afternoon coffee on my balcony\, watching my lover sleep\, and lots of fresh fruit. I’ve taught several classes about diary films\, and have programmed a number of screenings focusing on the form\, but had never made something so directly about my own life until now. I’ll also show Mirror Piece\, a video made in November and December 2021 with Tatiana Luboviski-Acosta\, Taylor Doran\, Yvonne Tam\, and myself performing Mieko Shiomi’s work of the same name\, which was commissioned by The Getty Museum for an afternoon of performances of Fluxus scores drawn from An Anthology of Chance Operations and related works. For the silly reason that these two pieces both involve looking at oneself\, I thought they would be nice to show together. I’ll also have a little thing to celebrate kha b nissan–Assyrian new year–and welcome spring.” \nDicky Bahto was born in 1981. He lives and works in Los Angeles. \nHe has exhibited work utilizing still and motion picture photography\, sound\, and performance at a variety of museums\, galleries\, microcinemas\, film festivals\, conferences\, alternative spaces\, and scenic locations spanning the Northern Hemisphere\, including commissions from Monday Evening Concerts\, The Huntington\, and The Getty. His interest in music has led him to work frequently with musicians\, including Casey Anderson\, Erika Bell\, Ashley Bellouin\, Luciano Chessa\, Sarah Davachi\, Lolita Emmanuel\, Carmina Escobar\, Corey Fogel\, Liz Harris/Grouper\, Morgan Gerstmar\, Ramona Gonzalez/Nite Jewel\, Julia Holter\, Chuck Johnson\, Sepand Shahab\, Stephanie Cheng Smith\, Mark So\, Laura Steenberge\, and Tashi Wada. He received his undergraduate degree from the San Francisco Art Institute in 2004\, and a masters degree from the University of California\, Riverside in 2017. \n– \nHis current projects include a suite of multimedia works for piano and video with Lolita Emmanuel\, a feature-length film to accompany the album Mother by Raum (Liz Harris & Jefre Cantu-Ledesma)\, a 16mm film made in collaboration with Tashi Wada\, and the retirement of his decade-long performance project for 35mm slides\, Accretions\, which is in the process of being turned into a set of prints. \n  \n  \n“1973 (2019) is a performance with three video projectors. It is the first of a series of works on Thai political history and my relationship to it as a remote observer and self-appointed custodian. My shadow intercedes between the two projections\, partly obscuring\, partly revealing. I move a third projector\, which shows subtitles that I sometimes read out loud.  \nHaving moved to Los Angeles one year prior\, I wanted to anchor myself in the city by finding familiar points that connect me to Bangkok\, the city of my birth. The freeway system under which I navigate\, becomes portals for multiple spaces and temporalities to overlap: odd jobs from making English subtitles for a Thai documentary to art handling at a craft museum in Los Angeles led me to reminisce about the Thai student revolt in 1973. The failure to commemorate the successful civilian uprising results in the parliamentary elections of the current Thai military dictator in 2019. The arbitrary spatial connections made by freeways allow me to bring together disparate facts in an alternative reading of history.” \nPrima Jalichandra-Sakuntabhai is a transdisciplinary artist\, working across performance\, video and installation\, based in Los Angeles. Born in Thailand in 1989\, they grew up in Europe before moving to the US in 2011.  \nThey received their Visual Arts Degree from the Ecole des Beaux Arts de Nantes Metropole and a License in Film Studies at the Sorbonne Nouvelle-Paris 3. They hold a BFA at the School of the Arts Institute of Chicago and a MFA at the California College of the Arts\, in San Francisco. They are a recipient of the SOMA Summer Award\, Mexico City in 2016 and the emi kuriyama spirit award in 2020.  \nRecent projects include: Stranger Intimacy\, residency at the ONE Archives and USC Pacific Asia Museum (LA)\, Chloropsis Aurifrons Pridii\, The Fulcrum Press (LA)\, Excerpts of Memories From the Screen\, a Zoom performative lecture for BOOKSHOP LIBRARY\, BANGKOK CITY CITY GALLERY (Bangkok)\, Irrational Exhibits 11: Place-Making and Social Memory\, Track 16 (LA). They curated the MAHA Pavilion for the Bangkok Biennial 2020. \n– \n \nDicky & Katoosh in six pages from a diary
URL:https://www.h-r.la/event/dicky-bahto-prima-jalichandra-sakuntabhai/
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2022/03/Performances-November-10-2019-2-of-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220304
DTEND;VALUE=DATE:20220322
DTSTAMP:20260413T024015
CREATED:20220105T030032Z
LAST-MODIFIED:20220307T173529Z
UID:6474-1646373600-1647842399@www.h-r.la
SUMMARY:Xandra Ibarra\, Nothing lower than I
DESCRIPTION:Image credit: Xandra Ibarra\, Chest Rest\, 2020. \n  \nHuman Resources Los Angeles presents Nothing lower than I\, a solo exhibition by interdisciplinary artist Xandra Ibarra. The exhibition is anchored in an archival exploration and artistic study of Bob Flanagan and Sheree Rose’s canonical performances experimenting with sadism\, masochism\, pleasure\, illness and disability in 1980s and 90s Los Angeles. Playing with sub mythologies and objects\, Ibarra considers the relationship between care and pain\, art and labor\, sculpture and flesh. Her sculptures—steel pasties\, bruised leather hammers\, and wheelchairs—contend with the interplay of consent\, race\, and disability. Engaging historical and ongoing attachments\, she invokes archival ghosts to think through ideas of bottomhood and dehumanization. \nThe exhibition is curated by Jeanne Vaccaro in a collaboration between HRLA and the ONE Archives at the USC Libraries. \nXandra Ibarra\, who sometimes works under the alias of La Chica Boom\, is an Oakland-based performance artist and community organizer from the U.S./Mexico border region of El Paso/Juárez. Ibarra works across performance\, video\, and sculpture to address abjection and joy and the borders between proper and improper racial\, gender\, and queer subjectivities. Her art has been featured at El Museo de Arte Contemporáneo (Bogotá)\, The Broad (Los Angeles)\, ExTeresa Arte Actual (Mexico City)\, the Leslie-Lohman Museum (New York City)\, and the Anderson Collection (Stanford). Ibarra’s work is located within feminist\, immigrant\, anti-rape\, and prison abolitionist movements. \n\nGallery hours \nWed-Sun\, 12-6pm\nfrom March 5-March 20\n  \nExhibition Programs \nExhibition Opening: Friday\, March 4\, 7-9pm \nWalk-through & Conversation: Saturday\, March 5\, 11am (thinking Nothing Lower Than I with José Muñoz’s work) \nWalk-through & Conversation: Wednesday\, March 9\, 12-1pm \nJennifer Doyle\, author of Sex Objects: Art & the Dialectics of Desire and Hold It Against Me invites you to join her in a conversation with Xandra Ibarra’s sex objects & the feelings they generate in & for us. \nArtist talk on zoom: Wednesday\, March 9\, 4pm (click on this link) \nXandra Ibarra in conversation with curator Jeanne Vaccaro; Introduction by Ana Briz. Presented by the USC Center for Latinx Studies\, American and Ethnic Studies\, and Gender and Sexuality Studies \nBottom Poetry presented by Deluge Books: Saturday\, March 12\, 7pm with Brontez Purnell\, Trisha Low\, Aimee Goguen\, K Allado-McDowell\, Yatta Zoker\, Janetta Rich\, and Phoebe Kaufman. \nRon Athey walk through: Sunday\, March 13\, 2pm \nSheree Rose walk through: Sunday\, March 20\, 2pm \n  \nVaccination card is required for entry and attendants are required to wear a mask at all times inside the gallery. \n  \n \nImage credit: Xandra Ibarra\, Free To Those Who Deserve It\, 2020. \n 
URL:https://www.h-r.la/event/xandra-ibarra-nothing-lower-than-i/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2022/01/01_Chest-Rest.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220228T200000
DTEND;TZID=America/Los_Angeles:20220228T220000
DTSTAMP:20260413T024015
CREATED:20220215T225939Z
LAST-MODIFIED:20220227T223719Z
UID:6636-1646078400-1646085600@www.h-r.la
SUMMARY:mark so\,  a future in hand
DESCRIPTION:mark so \n  \na \nfuture \nin \nhand \n  \n  \n– \n  \nspilled \nclose to the earth \nOutside and in\, \nliving sideways\, \nand down \n  \nopposite \nthe center \nand \nat the \nbottom\, \nindeterminate \nsounds. \nthumbed through \nand \nread \nunmistakably nearer–a great roar all \naround \nthat covered every other sound. \nin \nnight \nand \nthe table \noutside the window\, \nsubsiding \nand an early \ndinner to look forward to. Each \npart of the \nroom \non \neither side. \ndisordered \nterrain \nwith its \n  \nstumps\, \nthe \nsliced \nline across \nto \nsomewhere \nbeneath \n  \n– \n  \nAnd \ntime \nno longer \nthere \ninstead here\, \na founda- \ntion. \ntrembling \nin \nthat \nmix \nworn \noff  \nso naturally \nto \ntake on the forms and \nsymbols of \ntalking \nintimate\, \nand \ngradually \nunderstood \n  \n[13 ii 2022/marfa\, 21 ii 22/pasadena] \n  \n  \n 
URL:https://www.h-r.la/event/mark-so-a-future-in-hand/
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2022/02/IMG_20220224_155607-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220226T210000
DTEND;TZID=America/Los_Angeles:20220226T210000
DTSTAMP:20260413T024015
CREATED:20220222T194730Z
LAST-MODIFIED:20220224T040534Z
UID:6651-1645909200-1645909200@www.h-r.la
SUMMARY:Cube - Pure Shit - Prosperity
DESCRIPTION:Cube is the electronic music project of NY-based artist Adam Keith.  Live\, Cube conjures a whirlwind of strobing light and video to hypnotic effect.  Searing textures and violent rhythms give way to moments of hushed\, eerie beauty.  Musically\, the project touches on industrial\, dub\, drum & bass\, noise\, and more\, but does so with a distinctly personal\, infectious touch – the spirit of a songwriter lurks somewhere underneath. \nKeith also publishes the art & culture magazine Baited Area. \n“Keith’s vocals rattle around the majority of the tracks\, grounding them in some kind of snarling NYC 1982 attitude that’s hard to ignore. But the productions themselves dance around genres with complete freedom\, occasionally sounding like Suicide\, occasionally like Foodman\, occasionally like The Prodigy and occasionally like HTRK… This is jagged\, jolting DIY music that succeeds because it takes bold risks.” – Boomkat \nSeismic drum machine parts partition an album that layers industrial-tipped takes on \ndigi-dub with roaming guitar lines\, piano vignettes\, and breakbeat theatrics.” – Alter \n  \nPure Shit is a punk band based in and around Los Angeles\, but biographies are not important. Revelations and regeneration is what Pure Shit is all about. \n  \nProsperity \nWhich word\, would you use\, \nto describe her defiant grin? \nA look that says: \nthat demon\, \nthat man\, \nwill never steal our joy. \nAnd for us.. \na smile back.. \na long ride home.. \neveryone; a different war. \nUntil a star aligns \nacross our line in the sand\, \ndisappearing in the wind; \nto be drawn again and again. \nAn impression\, \nforever forward\, \nholding our same place. \nProsperity is a project by Michael DeMaio beginning July 2020 in Los Angeles\, California. \n 
URL:https://www.h-r.la/event/cube-pure-shit-prosperity/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR,performance
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DTSTART;TZID=America/Los_Angeles:20220224T200000
DTEND;TZID=America/Los_Angeles:20220224T210000
DTSTAMP:20260413T024015
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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DTSTART;TZID=America/Los_Angeles:20220219T190000
DTEND;TZID=America/Los_Angeles:20220219T210000
DTSTAMP:20260413T024015
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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