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DTSTART;TZID=America/Los_Angeles:20240303T150000
DTEND;TZID=America/Los_Angeles:20240303T170000
DTSTAMP:20260526T020429
CREATED:20240220T005712Z
LAST-MODIFIED:20240818T005415Z
UID:7951-1709478000-1709485200@www.h-r.la
SUMMARY:Words for Falastin: fundraiser for Rafah
DESCRIPTION:With hearts broken and malleable grief we invite you to gather with us as we speak prayers\, songs\, offerings for the liberation of the land of Palestine. As we tend to this fire and keep the underground waterway open and wide. All funds gathered at this event will be sent directly to our friends and kin in Rafah. No one turned away for lack of funds.  \n\n\n\nPurchase tickets here! \n\n\n\nDonations also accepted at the door (paypal or cash) \n\n\n\nDoors open at 2:30pm \n\n\n\nHaneen Sabbah Sara AbusheikhDef SoundIsaac Michael Ybarrameital yaniv \n\n\n\nPhoto by Haneen Sabbah from a recent gathering for Gaza.  \n\n\n\n______ \n\n\n\nHaneen Sabbah Palestinian peace activist from Gaza\, writer\, organiser. \n\n\n\n@haneen.sabbah \n\n\n\n______ \n\n\n\nhi! i’m sara abusheikh\, a palestinian based in los angeles. i built my life around garments: the making and altering of them. that’s how i make myself known to (or hide from) most people. but i have a second passion: i am obsessed by trauma and its consequences — both individual and collective. really\, i always have been. but\, in 2014\, i survived a violent crime and a subsequent years-long journey of bargaining with (and being further traumatized by) america’s legal systems. the experience broke and then formed my world view. it led me to create a short-lived podcast on which i interviewed other survivors of sexual violence\, and is the subject of a book i’m writing called\, you’re supposed to scream fire. the book has been eight years in the making. i only hope it doesn’t take ten. \n\n\n\nmy work can be found at www.sara-abusheikh.com or at my instagram\, @sara.abusheikh \n\n\n\n______ \n\n\n\nDef Sound (pronouns they/them/he/hims) is an Afro-Caribbean transdisciplinary artist born and based in South Central LA. Def is a postbinary Grammy Award-considered contemporary hip-hop artist\, producer\, poet\, and award-winning academic. Def is Grammy nominated for their work as a producer on aja monet’s debut album ‘when the poems do what they do’. \n\n\n\nDef’s work as a poet has been included in Saul Williams’ Anthology CHORUS\, while their music has been featured in LA WEEKLY\, LA Record\, The L.A. Times\, The Frieze Art Fair\, the Emmy Nominated Television series Music Diaries\, and the Emmy winning Artbound on KCET. Def is currently teaching Hip Hop/Black Critical Theory at the California Institute of the Arts (CalArts). \n\n\n\nIG: @def.sound \n\n\n\nWebsite https://defsoundla.com/ \n\n\n\n______ \n\n\n\nIsaac Michael Ybarra\, a visual artist and storyteller\, is Tongva\, Chumash\, and Xicano. Grounded in his ancestral cultivation\, he utilizes film\, photography\, and poetry to amplify decolonization narratives and reclaim Indigenous pedagogies. Through his art\, Isaac seeks to challenge the dominance of the human experience and instead honors the interconnectedness of all beings. He embraces the values of Indigenous Futurism to retell the past and present\, envisioning a future guided by his community’s stories\, visions\, and desires. \n\n\n\n@ooxono_paar \n\n\n\n______ \n\n\n\nmeital yaniv (b. 1984\, Tel-Aviv\, israel) is learning how to be in a human form. they do things with words\, with moving and still images\, with threads\, with bodies in front of bodies\, with the Earth. they are a death laborer tending to a prayer for the liberation of the land of Palestine and the lands of our bodies. they keep Fires and submerge themselves in Ocean and Sea Water often. yaniv is learning to listen to the Waters\, birdsongs\, caretakers\, and ancestors as they walk as a guest on the home and gathering place of the Cahuilla-ʔívil̃uwenetem Meytémak\, Tongva-Kizh Nation\, Luiseño-Payómkawichum\, and Serrano-Yuhaaviatam/Maarenga’yam. \n\n\n\nyaniv is the author of bloodlines. Theymakeofferings through true name collective. \n\n\n\nIG: @bloodlines_book
URL:https://www.h-r.la/event/words-for-falastin-fundraiser-for-rafah/
CATEGORIES:fundraiser,reading
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/02/Image.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240228T193000
DTEND;TZID=America/Los_Angeles:20240228T233000
DTSTAMP:20260526T020429
CREATED:20240214T161240Z
LAST-MODIFIED:20240826T164320Z
UID:7944-1709148600-1709163000@www.h-r.la
SUMMARY:Black Revivalist & HRLA Presents: Chocolate Babies + Days of Pentecost
DESCRIPTION:Original flier for Chocolate Babies\, dir. Stephen Winter.\n\n\n\nStill from Chocolate Babies\, dir. Stephen Winter.\n\n\n\n\nIn commemoration of Black History Month\, Black Revivalist and Human Resources Los Angeles are proud to present a night of ‘90s underground black queer cinema. This double-header features Stephen Winter’s Chocolate Babies (1996) and Lawrence Elbert’s Days of Pentecost (1995). DJ NAYGOD/@naygod\, of Supernatural/@supernaturaldisco\, will be spinning music throughout the evening. \n\n\n\nChocolate Babies follows an anarchist group of HIV-positive trans and queer activists as they pursue a series of surprise attacks on local New York officials in attempts to expose political corruption surrounding the AIDS epidemic. \n\n\n\nDays of Pentecost follows a trio of LA-based drag go-go dancers as they skip town after a hostile incident during one of their performances in West Hollywood. The film is loosely inspired by Russ Meyer’s 1965 film Faster\, Pussycat! Kill! Kill!. \n\n\n\nDoors open at 7:30 p.m.\, screening begins at 8 p.m.\, Chocolate Babies\, 83 mins. Days of Pentecost\, 68 mins. \n\n\n\nFree admission. Drinks will be available for purchase or BYOB. \n\n\n\nThanks to Matthew Wong of Frameline for providing the restoration of Chocolate Babies for this event. Thanks to Lawrence Elbert for giving us permission to screen Days of Pentecost. Program curated by Camm Harrison.
URL:https://www.h-r.la/event/black-revivalist-hrla-presents-chocolate-babies-days-of-pentecost/
CATEGORIES:screening
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2024/02/OLD-CHOCOLATE-BABIES-POSTER.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240227T190000
DTEND;TZID=America/Los_Angeles:20240227T203000
DTSTAMP:20260526T020429
CREATED:20240203T233909Z
LAST-MODIFIED:20240818T005427Z
UID:7914-1709060400-1709065800@www.h-r.la
SUMMARY:BEING WORK Book Launch
DESCRIPTION:Book cover design by Gil Omry-Barel.\n\n\n\nIllustration from Being Work by Eileen Wolf Echikson.\n\n\n\n\nwith Dorothy Dubrule\, Jessica Emmanuel and Mireya Lucio\, moderated by Ajani Brannum \n\n\n\nBeing Work is a collection of essays by dance and theater artists\, edited by Dorothy Dubrule and published by Insert Press\, which offers access to varied experiences of performing in live exhibitions. The authors capture a spectrum of mundane and profound moments that arise within performance gig work in visual arts contexts such as museums\, galleries\, and art fairs\, detailing the day-to-day practice of inhabiting art work as well as reflecting on broader questions of how they got there and the impact it has had on their outside lives. While providing very personal\, human perspectives on what it feels like to perform in visual arts spaces\, Being Work asks its audience how a performer’s labor is perceived and valued in these spaces\, and what new possibilities might unfurl within the\, at times fraught\, coexistence of the two mediums. In celebration of the launch of the book\, Dubrule and fellow contributing authors Jessica Emmanuel and Mireya Lucio will read excerpts from their essays\, and\, in a community conversation moderated by Ajani Brannum\, co-envision an expansive future for performance labor in galleries\, museums\, and art fairs.  \n\n\n\nDorothy Dubrule is a choreographer and performer based in Los Angeles. Her choreography is often made in collaboration with people who do not identify as dancers and has been performed in theaters as well as bars\, clubs\, galleries\, sound stages and sports arenas. The content of her choreography draws inspiration from film and community theater. Prior to moving to LA\, she danced with DIY performance art collective Club Lyfestile and comedic fly girl crew Body Dreamz in Philadelphia. She has worked with visual artists\, musicians\, comedians\, choreographers and directors such as Emily Mast\, Jon Daly\, Kate Watson-Wallace\, Lea Anderson\, Lisel\, Melinda Ring\, Milka Djordjevich\, Narcissister\, Tino Sehgal\, Trulee Hall and Zoe Aja Moore\, among others. \n\n\n\nDorothy was the Executive Director of Pieter Performance Space\, a non-profit platform for movement artists\, healers and activists based in LA from 2017 to 2022. From arts non-profit leadership she transitioned to organizational operations with a focus on the care and resourcing of humans in the workplace.
URL:https://www.h-r.la/event/being-work/
CATEGORIES:reading
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2024/02/Mireya-Lucio.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240226T200000
DTEND;TZID=America/Los_Angeles:20240226T220000
DTSTAMP:20260526T020429
CREATED:20240203T232754Z
LAST-MODIFIED:20240818T005433Z
UID:7911-1708977600-1708984800@www.h-r.la
SUMMARY:First Draft
DESCRIPTION:First Draft is an evening of Experimental Works-in-Process for Los Angeles based dance and performance artists. The evening serves as a creative laboratory for wide-ranging artistic investigations in movement-based mediums for artists at all stages of their creative development. This round’s artists include Emma Alley\, Wesleigh Gates\, Kirsten Michelle Schnittker\, and Kevin Wong + Mariia Bakalo. \n\n\n\nTickets are $5 – $20 (sliding scale). Click here to purchase. \n\n\n\nFirst Draft was instigated and is curated by Emily Barasch. As an interdisciplinary artist and scholar Emily works across mediums of dance\, performance\, film\, and text. Emily believes that the ways our physical bodies move through the world are reflections of our past encounters and rehearsals for our future encounters. When we perform in dance\, theater\, and film our past\, present\, and future selves conjure and converge into one another. Emily believes the heightened frame and ephemeral container of performance allows us to experiment with alternate ways of being in the world\, attempting to access alternate possibilities that are not able to be expressed in dominant notions of time\, space\, and identity. Performance making for her is an attempt to rehearse these future possibilities in real time and space. Emily is honored to continue curating First Draft\, she feels passionately about bringing local Los Angeles experimental performance artists together and creating more spaces for connection\, experimentation\, and exchange!
URL:https://www.h-r.la/event/first-draft-2/
CATEGORIES:performance
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240224T200000
DTEND;TZID=America/Los_Angeles:20240225T020000
DTSTAMP:20260526T020429
CREATED:20240220T151034Z
LAST-MODIFIED:20240826T164340Z
UID:7963-1708804800-1708826400@www.h-r.la
SUMMARY:Seven Channel Aura
DESCRIPTION:Human Resources Los Angeles presents Seven Channel Aura\, a night of music by Beli and Friends.  \n\n\n\nLive sets by Clarion and Angel Meat.  \n\n\n\nDJ sets by Stealth Angel\, Jonny Mystery\, and Allangelsonline (beli)  \n\n\n\nlive is back. Piercing and atmospheric sounds by our gifted friends xx at @humanresourcesla \n\n\n\n8 p.m. until 2 a.m.  \n\n\n\n$10 entry fee  \n\n\n\nNo one will be turned away for lack of funds 
URL:https://www.h-r.la/event/seven-channel-aura/
CATEGORIES:music/sound
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2024/02/7ca-020524-copy-banner.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240223T190000
DTEND;TZID=America/Los_Angeles:20240223T233000
DTSTAMP:20260526T020429
CREATED:20240203T230943Z
LAST-MODIFIED:20240826T164356Z
UID:7908-1708714800-1708731000@www.h-r.la
SUMMARY:para by para
DESCRIPTION:para by para \n\n\n\npara by para is a (hyper)active listening party featuring performances by sound artists Slow Rose and jeremy +/ kennedy\, under her new moniker D.J. Again. para by para tiptoes the edge of the event horizon\, taking an expansive approach to composition\, with instrumentation that encompasses sound\, movement\, immersive/multichannel video\, and you. \n\n\n\nPull up a chair. \n\n\n\nFriday February 23rdHuman Resources \n\n\n\nDoors at 7:30pm8pm Performances \n\n\n\nPerformances  \n\n\n\nSlow RoseFour Fours (Work in Progress)  \n\n\n\nFour Fours is a collaborative composition with four video scores for four performers. Each score consists of imagery that one member of Slow Rose has collected for another member—leading or misleading the other in visual rhythms\, color\, and abstraction while continuing to actively listen and respond to the group in their ongoing improvisational practice. The audience is invited to view\, listen\, and explore space + time along with the performers. \n\n\n\n jeremy +/ kennedy \n\n\n\n2024 Mixes 4 2004 DJs by D.J. Again  \n\n\n\nAfter a 20 year hiatus\, LA-based artist Jeremy Kennedy marks her return to the hazardous electronic playground of outbound\, beat-driven sound under the telling new moniker\, D.J. Again. Though the tag quickly suggests many narratives threatening to create their own feedback loops\, Kennedy embraces them\, allowing the D.J. Again production style to empty out the escapism at the range that you want both in reflection and present tense with a designer lo-fi aesthetic that only the moaning highlights of a half-broken\, semi-affordable PA system could muse upon.  \n\n\n\nFor para by para\, she will be presenting a blend of newly constructed tracks combined with essential sips of unreleased material from the artist’s ghost-of-EDM-past as a disjunctive two-channel composition where sound meets event-specific projection\, in collaboration with John Dawson and Alee Peoples. \n\n\n\nMore than leftfield leftovers\, this curated collection captures the heavily-syncopated post-trap drum lines and computer noise of the existing genre\, with a harder brutalist push toward the future soundsystem. A self-designed remix of identity. \n\n\n\n△  \n\n\n\npara by para is curated by Emji Saint Spero. \n\n\n\n— \n\n\n\nBios \n\n\n\nSlow Rose is Chris Nowak\, James Aranda\, Paul Carter\, and Pauline Lay. They perform on bass\, guitar\, drums\, and violin–varying between structured and unstructured moments\, often durational and exploratory. \n\n\n\nIg @slooowrose @paulinelay @crisp_r @jac.aranda.blue @whereisthey \n\n\n\nJeremy Kennedy (b. 01.01.1980) has been creating and exhibiting art and ideas in community and academic settings since the mid-1990s. Before moving to Los Angeles in 2009\, the largely self-taught artist spent over a decade living and working in Bloomington\, Indiana. Her pieces and projects have been featured in publications and journals internationally\, and in galleries\, streets\, backyards\, and basements across the U.S.  \n\n\n\nHer practice as an active sound-maker (i.e.: composer\, performer\, producer of designed(?) sound)\, both informs and is informed in equal relation to the other aspects of her art. Behind these scenes\, she is the remaining member / now operator of the fairweather micro-label\, The Fuck Me Stupid Mountain Princess Recording Collective (FMSMPRC).  \n\n\n\nAs co-founder\, playwright\, and reluctant performer with P/Sicho Street Theater Company\, she produces collaborative radio/audio theatre productions and site-specific works for stage & salon. She can be found in print as the author of A Gamble in this Dress\, Free Flyer (Volume One)\, NOTE TO SEA\, was a contributing essayist/editor of Cry List\, and is a founding editor of the artbook/poetry imprint Rebel Hands Press. Her new book\, Mandatory Administrative Leave is forthcoming Spring 2024 from Make Now Books.
URL:https://www.h-r.la/event/para-by-para/
CATEGORIES:music/sound
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/02/fake-massage-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240221T203000
DTEND;TZID=America/Los_Angeles:20240221T203000
DTSTAMP:20260526T020429
CREATED:20240208T024749Z
LAST-MODIFIED:20240818T005759Z
UID:7932-1708547400-1708547400@www.h-r.la
SUMMARY:untitled|unknown (featuring mattie barbier\, Ensemble Adapter\, Davíð Brynjar Franzson)
DESCRIPTION:untitled|unknown \n\n\n\nWednesday\, February 21st\, 8:30pm \n\n\n\nFree Admission \n\n\n\nhttps://ensemble-adapter.de/ \n\n\n\nhttps://mattiebarbier.com/ \n\n\n\nhttp://franzson.com/ \n\n\n\n \n\n\n\nSpecifically tailored to the architecture of Human Resources\, untitled|unknown is a collaborative project initiated by L.A.-based Icelandic composer Davíð Brynjar Franzson\, performed by Ensemble Adapter (Iceland/Germany) and mattie barbier (LA). \n\n\n\nAdapted to the resonant frequencies of the room\, untitled|unknown creates a slowly undulating mass of sound forms by utilizing subwoofers\, the natural resonances of the building\, and the feedback produced by modifying the instruments the performers play. The audience can position themselves freely anywhere in the space\, come and go and move around as desired. \n\n\n\n––– \n\n\n\nuntitled|unknown is based on the feedback responses of human resources. \n\n\n\nThe space is a coupled resonant body\, a type of a structure whose resonant features cannot be mathematically described\, only sounded out. \n\n\n\nThis is a presentation of an extremely site-specific work\, a work very much always in progress\, an open rehearsal\, a preview of what might be\, of what might become. \n\n\n\nThree performers are positioned in the middle of the space\, forming a triangle\, facing away from each other. \n\n\n\nBehind them is a set of speakers\, in front of them their instruments. \n\n\n\nAn undulating mass of sound forms\, almost as if an extremely dense and heavy object is sitting at the center of the space.Against this dense sound–entity\, low pulsating bass tones emerge\, split apart and form a scaffolding against which to sense the flow of time.The piece is an active exploration of the sound of a room\, the sounds of the instruments\, and the compositional space that is woven against and between the two. \n\n\n\nThe piece explores the interaction between the standing frequencies of the space and the resonant frequencies of the instruments via an intertwined feedback mechanism. \n\n\n\nThe performers use augmented versions of their instruments to produce and control internal and external feedback via traditional and nontraditional performance methods\, exploring the instruments as physical objects with their own resonant capabilities. \n\n\n\nThe continuous shifting of connections and shaping of possibilities turns the space into a dynamic score that the performers explore. The experience is partially pre-composed\, partially being created in real-time. \n\n\n\nThe sound emerges from the interplay of the instruments and the space\, effectively converting the space into a collaborative instrument.
URL:https://www.h-r.la/event/untitledunknown-featuring-mattie-barbier-ensemble-adapter-david-brynjar-franzson/
CATEGORIES:music/sound
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/02/unnamed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240216T000000
DTEND;TZID=America/Los_Angeles:20240218T235959
DTSTAMP:20260526T020429
CREATED:20240125T173401Z
LAST-MODIFIED:20240818T005456Z
UID:7895-1708041600-1708300799@www.h-r.la
SUMMARY:Meejin Hong: Deluge
DESCRIPTION:Still from Deluge by Meejin Hong\n\n\n\n\na screening and art show with Meejin Hong opening Friday\, February 16th\, 5 – 8pmGallery hours: Saturday\, February 17th and Sunday\, February 18th\, 12 – 6pm \n\n\n\nMeejin Hong is an experimental animator deeply rooted in the fine arts. She thrives off of a stream of conscious brainstorming that propels her into the fantastic\, more primitive side of creation. In her film Deluge (2024)\, she utilizes straight ahead animation to create an ever-evolving landscape where the present inevitably coexists with the past. Memories are formed\, reshaped\, and obliterated\, relentlessly competing for space. Control is surrendered\, and mistakes and second chances are embraced. It is the slow stampede of a vulnerable mind. Hong was born in Spartanburg\, SC and currently resides with a creep of tortoises and other unruly creatures in Winnetka\, CA.  \n\n\n\nDeluge (2024) by Meejin Hong is an animation constructed from ink and 24 frames. 24 drawings\, photographed\, added to\, re-photographed repeat\, repeat\, repeat. This cycle of drawing and photographing is repeated by Hong until she reaches complete darkness. Created out of thin black ink lines sprouting and erupting\, constantly protruding and reproducing themselves. A fun-fair takes form\, a parade of ghosts and whimsy. A stream of ground and bacterial swamp matter choreographed by Hong’s cunning use of movement\, humor and transformation.  \n\n\n\nTricky twirls and balancing acts\, a sinister hand encouraging us to come inside. An interior that grows deeper and further introverted. Micro organisms become increasingly clearer and in focus\, each with their own schema\, until consumed by itself or another matter. With each cycle of 24 frames the tricks and transgressions grow more delusional\, intricately interwoven birthing new specimens and offspring. Constantly re-producing\, overlapping\, and developing until all we are left with is deep darkness\, a very pure black.  \n\n\n\nMeejin Hong’s latest animation leaves us in a void and that seems on the mark. Deluge can be read as a cross section of our own human condition with each layer wrecking havoc\, elegantly causing chaos and catastrophe. From the bodily organisms\, the body politic and the mass that is this earth.  \n\n\n\ntext by Olivia Taussig
URL:https://www.h-r.la/event/meejin-hong-deluge/
CATEGORIES:exhibition,screening
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/01/Deluge_frame7411.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240212T193000
DTEND;TZID=America/Los_Angeles:20240212T210000
DTSTAMP:20260526T020429
CREATED:20240203T214347Z
LAST-MODIFIED:20240818T005527Z
UID:7900-1707766200-1707771600@www.h-r.la
SUMMARY:WHAT ARE WORDS FOR?
DESCRIPTION:Join HRLA for a panel and conversation about statements and solidarity. (RESCHEDULED from 2/6) \n\n\n\n\n\nEndorsements of PACBI\, calls for ceasefire\, individual expressions of solidarity —  what do different kinds of statements do? What does it mean to dismiss a statement as performative? If words count for so little\, why is so much effort spent on controlling who can say what and where?  \n\n\n\nThis panel will feature people who have participated in statement writing and experienced the ripple effects created by expressions of solidarity with the struggle for Palestinian liberation. This is a chance for us to connect and support each other as we take up the Palestinian Campaign for Academic and Cultural Boycott and confront efforts to limit\, contain and dismantle solidarity work.
URL:https://www.h-r.la/event/what-are-words-for/
CATEGORIES:forum
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240210T000000
DTEND;TZID=America/Los_Angeles:20240224T235959
DTSTAMP:20260526T020429
CREATED:20240105T153117Z
LAST-MODIFIED:20240105T153119Z
UID:7866-1707523200-1708819199@www.h-r.la
SUMMARY:Reading The Right to Maim
DESCRIPTION:HRLA is hosting a two-part seminar dedicated to reading Jasbir Puar’s The Right to Maim: Debility\, Capacity\, Disability (2017).  The Right to Maim\, which argues that debilitation is a defining feature of settler colonialism\, culminates in a devastating analysis of the production of Palestine as “available for injury.” This seminar is an artist-centered reading group and\, like other HRLA seminars\, is intended to support collective reading and thinking. (People who are neither artists nor art workers but keen to be in community with us are welcome.) Meetings will be held online on February 10 and February 24 at 11am\, and will be led by Jennifer Doyle. People who register for the seminar will get a reading guide (as we’ll focus on specific parts of the book) and links to background reading and videos. Our sessions will open with an overview and some grounded talking points that lead to conversation within smaller groups. The sessions will end with everyone coming back together for a group discussion. Register for our seminar here.
URL:https://www.h-r.la/event/reading-the-right-to-maim/
CATEGORIES:seminar/workshop
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240209T000000
DTEND;TZID=America/Los_Angeles:20240211T235959
DTSTAMP:20260526T020429
CREATED:20240124T192511Z
LAST-MODIFIED:20240818T005540Z
UID:7890-1707436800-1707695999@www.h-r.la
SUMMARY:Jules Garder and Nat Decker: Posturing Collapse
DESCRIPTION:Friday\, February 9th\, 6pm – 10pmPerformances: 8pm – 10pmFeaturing: Jules Chimes Gårder and Nat Decker\, Star Feliz and Cielo Saucedo\, thai Lu\, Life Em Stebbins and Jazmin Romero \n\n\n\nGallery Hours: Saturday\, February 10th and Sunday\, February 11th\,  12 – 6 pm \n\n\n\nFree admission; donations will be split between Sensi Skins and the Palestine Children’s Relief Fund. \n\n\n\nPLEASE NOTE: Masks are required for the evening of performances to protect our immunocompromised community members. Free masks will be provided. HR is physically accessible with a small ramped entrance and ADA compliant bathroom. The event will be live-streamed. Auto captions will be provided in the space and on the live-stream. A visual description of the installation will be available during open hours. Please reach out to jules.c.garder@gmail.com for additional access requests.   \n\n\n\nPosturing Collapse is a two-person exhibition featuring works by Jules Chimes Gårder and Nat Decker. The duo will present a collaborative performance and installation of sculpture and video which measures the intersections (and differences) of their histories with grief\, disability\, and sexuality. The opening will include performances by Star Feliz and Cielo Saucedo\, thai Lu\, Life Em Stebbins\, and Jazmin Romero. \n\n\n\nJules Chimes Gårder is obsessed with their dead mom. Nat Decker is a fall risk toting the weight of abjection. Together they collapse and defy gravity in moments of recognition. Tendrils reach for stable ground\, exploring the spaciousness of absence. They count distances from shock\, perpetually reconstituting themselves. They crawl on uneven terrain\, defining new functional heights. They rest still\, knowing they are changing. Pressure delivers resistance. \n\n\n\nNat Decker (they/them) is a Chicago born Los Angeles based artist interpreting the intimacies of queer and disabled experience as provocation toward collective care and liberation. Bridging digital and physical mediums\, they leverage technology as a form of access\, seeking the integration of values into tools and processes. With Cielo Saucedo and Olivia Dreisinger\, Nat is building Cripping_CG – a community archive researching and documenting the intersection of disability culture and computer graphics. Nat is also an access worker\, consulting on accessibility for various arts organizations. They were a 2023 Processing Foundation Fellow and are a current member of NEW INC. In June 2022 they graduated from UCLA with a degree in Design/Media Arts and Disability Studies. \n\n\n\nJules Chimes Gårder (b.1987) (they/she) is a Los Angeles based artist indebted to the patterns of demise and reconstruction that are prompted by loss and grief. They primarily create sculptures and videos. Much of their work engages longitudinal experiences of mourning through collaborations with their mother Eva Chimes (posthumously). They will soon hold a BA in Art from UCLA. \n\n\n\nCielo Saucedo is an access worker and artist based in Los Angeles. Their work focuses on the dispersal of ableism through cultural economies. They work to dissolve the curative aspirations of technology. Their work encompasses computer generated imagery\, sculpture and virtual reality. They received their BFA from School of the Art Institute\, Chicago\, and are currently an MFA candidate at UCLA.  \n\n\n\nStar Feliz is a Dominican-American installation artist originally from New York\, NY currently based in Los Angeles\, CA. Building upon their ancestral Afro-Taino lineage of multi-dimensional healing — Feliz employs sound\, sculpture\, film\, earthworks\, and techniques of concealment\, language\, and mapping to transverse the psychic legacy of everyday resistance and world-making. Under the moniker of Priests they create experimental devotional music. They have exhibited\, performed\, and presented commissions nationally and internationally. \n\n\n\nthai Lu is a transdisciplinary artist\, writer\, and community organizer centering their practice on the social\, cultural\, and physical effects of chronic illness. As a chronically ill\, disabled\, neurodivergent\, and gender-divergent first generation American from a family of Vietnamese refugees\, thai works at the intersections of Western bio-politics\, Southeast Asian diaspora\, post-war intergenerational suffering\, relational ecologies of interdependence\, and the concept of metamorphosis. \n\n\n\nLife Em Stebbins is a poet and geologist living in Humboldt County\, California. As a graduate student at Cal Poly Humboldt\, Life studies mud to reconstruct glaciation history and paleoclimate patterns in the Klamath Mountains. Her poems focus on dry earth\, wet dirt\, and the sacrament of mud. Life reads poems across the country and digs holes throughout the Intermountain West.Jazmin Romero is a multidisciplinary artist born and raised in Los Angeles\, CA. Her work explores memory\, family\, migration\, and labor through performance\, sound\, music and visual art. Romero’s work is interested in understanding patterns of dispossession and displacement in her personal and familial history. Through experimental modes of storytelling\, she shares her experiences in performances\, video\, and sculptural installations that center her resilient origins and create space for personal and collective meditation.
URL:https://www.h-r.la/event/posturing-collapse/
CATEGORIES:exhibition,performance
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240119T000000
DTEND;TZID=America/Los_Angeles:20240204T235959
DTSTAMP:20260526T020429
CREATED:20240108T211621Z
LAST-MODIFIED:20240826T164052Z
UID:7876-1705622400-1707091199@www.h-r.la
SUMMARY:Minor Gaps Between
DESCRIPTION:Gallery hours: 12 – 6pmOpening: Saturday\, January 20\, 6 – 9pm \n\n\n\nfeaturing work by:0ll668Derek HolguinJiayun ChenRodolfo Sousa \n\n\n\nMinor Gaps Between is the result of several conversations about the arcane and mystical. The title of the exhibition describes the vacuous space between the beginning and end of the void\, where the inexplicable intrusion of primordial impulses and revelations hide\, and where human logic cannot reach. The artists explored themes central to their practice\, ranging from the relationship between prophecy and coincidence\, the past and the future\, and the nebulous boundary between reality and fiction. In the void\, there are no correct questions or perfect beings; only nothingness exists. \n\n\n\nClick here to read a curatorial text by Nahui Garcia.
URL:https://www.h-r.la/event/minor-gaps-between/
CATEGORIES:exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240112T190000
DTEND;TZID=America/Los_Angeles:20240114T210000
DTSTAMP:20260526T020429
CREATED:20231207T221945Z
LAST-MODIFIED:20240818T005548Z
UID:7815-1705086000-1705266000@www.h-r.la
SUMMARY:Arnold J. Kemp: 3 Plays
DESCRIPTION:All photos from Kemp’s 2017 performance of Aug-Sept 2017 at Biqiini Wax EPS.\n\n\n\nAll photos from Kemp’s 2017 performance of Aug-Sept 2017 at Biqiini Wax EPS.\n\n\n\nAll photos from Kemp’s 2017 performance of Aug-Sept 2017 at Biqiini Wax EPS.\n\n\n\n\nTickets are free of charge. Reserve a spot by clicking on the appropriate link: Friday\, January 12th / Saturday\, January 13th / Sunday\, January 14th \n\n\n\nA three night survey of plays\, written and directed by Arnold J. Kemp. \n\n\n\nFeaturing an all star cast including: Carolyn Castaño\, Laura Heyman\, Chelsea Gaspard\, Paloma Barhaugh-Bordas\, Anna Sew Hoy\, John Birtle\, Anna Betbeze\, Evan Jourden\, Dan Wang\, Amy Chiao\, Julie Tolentino\, Nathaniel Whitfield\, Izzi Rojas\, Nikki Darling\, Wesleigh Gates\, Sophia Cleary\, Munro Galloway\, Wes Larios\, John Tain\, Vardui Sharapkhanyan\, and more. \n\n\n\nArnold J. Kemp is an artist and writer who constructs performative social sculpture that reveals language as a material of who we could be. Kemp’s attention to language — as play\, as performance\, as poetry\, as politics — challenges expectations of theater\, plot narrative\, and social critique. \n\n\n\nIn the tradition of Poets Theater\, a term that applies to plays written by poets and artists and staged informally in the midst of an arts community\, Kemp’s plays have a makeshift\, let’s-do-the-show-right-here aesthetic. There’s a wildness to them that makes one feel like almost anything can happen including rediscovered family members\, insane coincidences\, incest\, abjection\, celebrity\, and wicked glee. \n\n\n\nKemp’s plays unfold in a world of damage that brings people together and mixes the local community with characters across time and space. One of his plays\, February 14\, was written at ACRE Residency where Kemp was a visiting artist. The residents did a staged reading there. Then the play was translated into Spanish and presented as part of a show of Kemp’s work (Aug-Sept 2017) at Biqiini Wax EPS\, a space in Mexico City run by radicals: artists\, philosophers and economists. Kemp met the actors two hours before the performance\, which is par for the course for Poet’s Theater. He borrowed the title of his show\, When the Sick Rule the World\, from Dodie Bellamy’s book of the same name. The bed-sculpture-stage on which the play was performed — a replica of the bed of an artist Kemp used to work for — remained part of the exhibit. \n\n\n\nKemp’s dramatis personae mix real and invented persons\, putting pressure on the permeability of fiction and—what?–reality? Kemp demonstrates that both are true and both are inventions. He further complicates this proposition by having some of the “real” people played by themselves and some not. \n\n\n\nAlong with February 14\, Kemp will present an earlier play IN ARMS\, and will premiere The Otherists\, which takes on the not so delicate negotiation between the rational and the dying. The trio provides a good answer to the question about the consequence of art posed by one of Kemp’s characters\, the fictional art star Lilliana Bautista: “We all talked about distance\, but that distance is what separated being in an illustrated reality from being in a reality that could kill you\, or could hurt you\, or can please you. So how do we make a virtual space that is consequential?” \n\n\n\nArnold J. Kemp has mounted solos show recently at Joan\, Los Angeles; The Neubauer Collegium for Culture and Society at the University of Chicago; M. LeBlanc\, Chicago; and Martos Gallery\, New York. He has also been in recent groups shows at the Drawing Center\, NY\, NY. His writing has appeared in Callaloo\, Three Rivers Poetry Journal\, Agni Review\, MIRAGE #4 Period(ical)\, River Styx\, Nocturnes\, Art Journal\, Tripwire and in From Our Hearts to Yours: New Narrative as Contemporary Practice. Kemp’s critical writing has appeared recently in Texte zur Kunst\, October and Spike Art Magazine. He is the recipient of awards from the John Simon Guggenheim Memorial Foundation\, the Joan Mitchell Foundation\, and the Pollock-Krasner Foundation. In 2020 he received The Andy Warhol Foundation Arts Writers Grant. Kemp lives and works in Chicago\, Illinois.
URL:https://www.h-r.la/event/arnold-j-kemp-3-plays/
CATEGORIES:performance
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231218T193000
DTEND;TZID=America/Los_Angeles:20231218T210000
DTSTAMP:20260526T020429
CREATED:20231212T214136Z
LAST-MODIFIED:20240818T005625Z
UID:7827-1702927800-1702933200@www.h-r.la
SUMMARY:So Much I Want To Say: A Glimpse Into Palestinian Erasure 
DESCRIPTION:Los Angeles Filmforum and Human Resources present So Much I Want To Say: A Glimpse Into Palestinian Erasure  \n\n\n\nWith guests curator Zaina Bseiso (in person) and Bahaleen Collective (via Zoom) \n\n\n\nDue to popular demand\, LA Filmforum and HRLA reprise the screening/lecture focussed on Palestinian films.  \n\n\n\nPlease provide proof of donation to Palestine Children’s Relief Fund or Medical Aid for Palestinians for admission to the show. No additional ticket charge. No additional ticket charge is necessary but reserving tickets is encouraged.  \n\n\n\nMasks are highly recommended at Filmforum shows – N95 or KN95. \n\n\n\nAs we witness firsthand the abundance of power structures attempting to silence Palestinian voices\, erasing and fabricating historical and current events\, this screening and lecture/performance contextualizes the settler-colonial project’s tactics of erasure. Hundreds of 16mm documentaries were made by the Palestine Film Unit and solidarity networks to portray the Palestinian struggle after the 1967 war. A large portion of those films were confiscated during the Israeli invasion of Beirut in 1982\, making it virtually impossible to see and hear these stories. It is only through acts of solidarity and Palestinian resilience\, exemplified by the organization Tokyo Reels\, that we are able to access some of the films featured in this program\, while many others remain locked in Israeli vaults\,  accessible only to vetted Israeli citizens. \n\n\n\nThis space of collective self-reflection will go beyond uplifting Palestinian voices. Borrowing its title from Mona Hatoum’s video art piece So Much I Want To Say\, this program recounts a timeline of refusals by artists and collectives to remain silent\, instead utilizing their tools to contribute to Palestinian narratives.  \n\n\n\nZaina Bseiso is a film director\, producer\, and curator working primarily in documentary and experimental cinema. Her work explores the relationship between the materialities of place and issues of memory\, surveillance\, corporeality\, and nationalism. She received her master’s degree in film and video from the California Institute of the Arts. Bseiso is based in Los Angeles and was raised in Egypt by Palestinian parents. Her practice mainly traverses Egypt\, Palestine\, Cuba\, Mexico\, and the US. She is co-founder of Bahía Colectiva\, a community of filmmakers that collaborate in practice and curation. \n\n\n\nBahaleen Collective: Today\, we are Aya Bseiso\, Khalid Odeh\, and Noura Salem. We are a group of friends\, sometimes colleagues\, and often collaborators who are Palestinian artists\, architects\, surveyors\, calligraphers\, and researchers based in Jordan. Together\, we are Bahaleen\, a research group dedicated to exploring the emancipatory potentials of arts practice through a constellation of acts\, projects\, and productions. We aim to unearth and investigate the socio-political histories and colonized infrastructures of the region through a methodology and practice that offer new ways to experiment and activate research and knowledge production with a larger public. \n\n\n\nFor the past three years\, Bahaleen has been engaged in several multi-year independent research projects that circle around notions of temporality\, crossing borders\, and impermanent-permanent infrastructures. Through a series of roaming artist residencies\, we search for\, name\, and subvert narratives around water bodies\, oil and gas pipelines\, tourist projects\, nature reserves\, privatized property\, and the commons through the practice of creating databases of projects\, laws\, and political agreements that have colonized\, commercialized\, privatized\, and militarized our soil. All the while\, looking at the performance of politics on sites of extractive economies. Our research methodologies are driven by an artistic process that utilizes participatory research frameworks\, fieldwork\, desk research\, and documentation while experimenting with and pushing traditional research practices forward\, with the aim of treating the research process as a generative space of production in and around art and academic institutions. \n\n\n\nOur work as Bahaleen—during war and ethnic cleansing—continues\, and it must. We have come to understand the necessity of our research\, always seeking Palestine. We remain captivated by the viscosity of oil and the flow of water\, their movement and disruption as they permeate and carve through our geography\, transcending their chemical properties. At this moment\, our body of research scrutinizing the settler-colonial infrastructures of oil and water and interpreting their movement to chart their cultural\, geopolitical\, and environmental significance has become a mapping of the infrastructures that feed a genocidal war machine. We find ourselves asking over and over again—what if—as we witness the potential and possibilities of their disruption. \n\n\n\nTo that end\, and to keep this short\, currently\, we are working on mapping these infrastructures\, towards an article that narrates our research and the conversations we have experienced and facilitated. Alongside allies in London\, we are working towards a global campaign calling for the disruption of oil and gas flow to Europe specifically looking at Algeria\, Iraq and Libya. Additionally\, we are indexing dams in our region\, mapping the flow of water around us\, identifying the political agreements that govern them\, their environmental impact\, and specifically tracing the involvement of the occupying state of Israel. \n\n\n\n———————- \n\n\n\nLos Angeles Filmforum is the city’s longest-running organization screening experimental and avant-garde film and video art\, documentaries\, and experimental animation.   \n\n\n\nThis program is supported by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission\, the Department of Cultural Affairs\, City of Los Angeles\, and the Mike Kelley Foundation for the Arts.   \n\n\n\nFor questions contact lafilmforum@gmail.com.
URL:https://www.h-r.la/event/so-much-i-want-to-say-a-glimpse-into-palestinian-erasure-2/
CATEGORIES:screening,seminar/workshop
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/11/unnamed.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231216T190000
DTEND;TZID=America/Los_Angeles:20231217T000000
DTSTAMP:20260526T020429
CREATED:20231130T235602Z
LAST-MODIFIED:20240826T163855Z
UID:7810-1702753200-1702771200@www.h-r.la
SUMMARY:Tati au Miel: Carousel EP Release
DESCRIPTION:Tickets are $10 at the door. \n\n\n\nIn celebration of Tati au Miel’s latest EP release Carousel with Texan label Halcyon Veil. This EP\, birthing from Tati’s lived experiences and personal reflections surrounding the concepts of nomadism\, migration\, nostalgia\, and the Haitian spiralism movement\, manifests itself as a collection of electronic-experimental sound art pieces accompanied with a series of sculptures made by the visual artist Lacra. \n\n\n\nThis program event includes the Carousel collection of textiles\, visuals\, and projections as well as live performances by Tati au Miel\, Colby Hnt (New York)\, Nunguja (Berlin)\, Bapari (Los Angeles)\, Bryce Barnes (New York)\, and Halcyon Veil founder Rabit.   \n\n\n\nCarousel EP is available on December 14th on Bandcamp and all streaming services. \n\n\n\nTania Daniel performs under the artist name of Tati au Miel. They are a producer\, DJ\, costume designer\, curator\, sound and performance artist. Born and raised in Montreal\, Tati au Miel explores freedom\, desire\, and the emancipatory potential of sound and its relation to their own identity as a queer\, gender-fluid Haitian-Canadian. Their artistic practice stretches across various disciplines\, producing evocative experimental sound pieces\, textile experiments and ritualistic performances\, investigating abstraction as a speculative approach to storytelling and its aesthetic history in Black electronic music.
URL:https://www.h-r.la/event/tati-au-miel-carousel-ep-release/
CATEGORIES:music/sound,performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/11/Tati-au-Miel-Artist-Photo.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231215T193000
DTEND;TZID=America/Los_Angeles:20231215T220000
DTSTAMP:20260526T020429
CREATED:20231213T000347Z
LAST-MODIFIED:20231214T214825Z
UID:7837-1702668600-1702677600@www.h-r.la
SUMMARY:Winter Soiree
DESCRIPTION:doors at 7:30pm / music at 8pm \n\n\n\nCorey Fogel hosts another Winter Soiree\, featuring an assortment of creative musicians\, both local and traveling from Portland\, San Francisco\, and New York. Persimmons will inevitably be involved\, too.  \n\n\n\nUnity Garnish is a platform for artworks composed and produced by Derek Blackstone and Sam Klickner. Often referred to in shorthand as UG\, the Portland based duo has established an obtuse identity online and irl\, combining elaborately detailed composition with nearly irresponsible electronic collage\, gratuitous inside-joking and self-reference. The two are also visual art collaborators; Klickner being an established illustrator and designer known for his maximalist digital airbrush style and Blackstone a compulsively organized archivist and photographer— their releases\, live performances and online presence are accompanied by their profuse visual artworks\, costumes and memes. Unity Garnish’s new single “STEAM” is out now on New York record abel A New Age for New Age. \n\n\n\nNick Podgurski is a New York based musician\, composer\, and educator. He is a former full-time member of Extra Life\, GRID (with bassist Tim Dahl and saxophonist Matt Nelson)\, and the band Yukon. He has collaborated with such artists as Lydia Lunch\, Jessica Pavone\, Tristan Kasten-Krause\, Colin Marston\, and others. Solo he is known for long ambient keyboard works. Notable recordings include: Living Mithridate (2015)\, The True Character of Time (2020)\, Felt In a Flashing Light That Illumines The Desert (2020)\, deep drone trilogy First Snow/Fourth Field/Night Prayer (2022)\, and Invisible Gift (2022).  \n\n\n\nSince 2020 he has been composing for/collaborating with small ensembles. MONAD: for ensemble a NYFA commission with violist Jessica Pavone\, bassist Tristan Kasten-Krause\, and vibraphonist Cory Bracken and Secret In The Heart\, a duo with violinist Zach Paul (Touch Music)\, are well documented examples. Podgurski is the sole consistent member of Feast of the Epiphany\, a group who has reinvented itself continually since 2009. Feast of the Epiphany creates uniquely challenging and singular music. Its concerns are derived from and oriented precisely towards the members of each specific iteration of the group.  \n\n\n\nlina tullgren is an artist\, improviser\, performer and poet. their work explores space\, duality\, relationships and the divine. recent works of both song music and improvised violin have been released under Astral Spirits\, Ba Da Bing! and Captured Tracks record labels. they live in Los Angeles. \n\n\n\nCorey Fogel (b 1977) is a percussionist\, composer\, and artist based in Los Angeles. Fogel works across genres and mediums to explore many facets of improvisation. He approaches sound\, textile\, collaborators\, gestures\, and objects as viable materials for spontaneous\, time-based experimental performance\, often fusing sculpture\, video\, musical traditions\, theatricality\, and ritual. He recently earned his Ph.D. in UC Irvine’s Integrated Composition\, Improvisation\, and Technology program\, with research on abstract\, graphic music notation for improvising musicians.  \n\n\n\nFogel performs and composes in many rock\, jazz\, noise\, folk\, and chamber music capacities. Recent collaborations include: Julia Holter\, Tashi Wada\, Patty Waters\, Abigail Levine\, Phil Minton\, Simon Leung\, Simone Forti\, Judith Berkson\, Raven Chacon\, Yoshi Wada\, Michael Winter\, Robert Blatt\, Maya Dunietz\, John Butcher\, John Butle\, John Russell\, Todd Barton\, Misha Marks\, Brian Allen\, Alexander Bruck\, Patrick Shiroishi\, Haley Fohr\, Liz Glynn\, Chris Speed\, Mark Dresser\, Kathleen Kim\, Ezra Buchla\, Tony Malaby\, Dev Hoff\, John Dieterich\, Carlin Wing\, Sam Mickens. \n\n\n\nSyrinx from SF bay area noticed the middle chapter (#7) of Wind In The Willows is called Piper at the Gates of Dawn. \n\n\n\nsome abstract tensions clothed in a drama among animals / A technique for actors\, a tradition of techniques to perform and present again the dramas / and a bit of funding from an embassy to bring not the whole troupe of monkeys but one summarist to try to put it all across : \n\n\n\nWhat it was like. Body bending. (not an embassy really but a zoo Also put to political use like the loan agreements for those pandas. sad horse trailers – combustion byproducts
URL:https://www.h-r.la/event/winter-soiree/
CATEGORIES:performance
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231214T200000
DTEND;TZID=America/Los_Angeles:20231214T230000
DTSTAMP:20260526T020429
CREATED:20231212T133906Z
LAST-MODIFIED:20240818T005932Z
UID:7817-1702584000-1702594800@www.h-r.la
SUMMARY:Kabir Carter
DESCRIPTION:Doors at 8pmPerformance at 9pmFree (pay what you want – proceeds go to Venice Family Clinic) \n\n\n\nKabir Carter will explore the spatial acoustics and resonant behavior of a circuit that flows between a loudspeaker\, an audio mixer\, a microphone\, a folding chair\, and his body. \n\n\n\nKabir Carter is a research-based artist who uses sound\, light\, image\, architecture\, dance\, popular and experimental music\, and histories of infrastructures to make work through writing\, performance\, installations\, and related discursive projects and initiatives. Carter’s work shapes sound’s spatial and acoustic residues in durational performances and temporary installations. He traces the flows of spatial intensities between humans\, nonhumans\, architectonic structures\, and communication architectures. His work has been presented and exhibited at: HKW – Haus der Kulturen der Welt\, Berlin; ISSUE Project Room\, Brooklyn; Museet for Samtidskunst\, Roskilde; the New School\, New York; Pageant\, Brooklyn; and Studio Museum in Harlem\, New York.
URL:https://www.h-r.la/event/kabir-carter/
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/12/carter_issue_march_23_85A0033-scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231209T190000
DTEND;TZID=America/Los_Angeles:20231209T220000
DTSTAMP:20260526T020429
CREATED:20231121T185229Z
LAST-MODIFIED:20240826T163802Z
UID:7783-1702148400-1702159200@www.h-r.la
SUMMARY:Alsea Diana Is Depicting Violence Against Women
DESCRIPTION:ALSEA DIANA INVITES YOU TO AN IMMERSIVE INTERACTIVE INSTALLATION \n\n\n\nFEATURING BRAND NEW EXPERIMENTAL WORK AND A PREVIEW OF HER FEATURE-LENGTH DIRECTORIAL DEBUT PEREGRINE FALCON \n\n\n\nMUSIC – DRINKS – LOTTERY TICKETSGIRLS – GIRLS – GIRLSSPECIAL GUESTSTHIS IS A SOCIAL SPACE COME HANG OUT BRING FRIENDSDON’T OVERTHINK ITYOU’RE PERFECTTAKE A CHANCEGET LUCKYBE SAFE \n\n\n\n△ Curated by Emji Saint Spero△ In Association with WESTERNMOST | FACTORY MADE | SIEGE MODE \n\n\n\nAlsea Diana is a filmmaker and writer based in Los Angeles and originally from deep rural Oregon. Afterspending time in the San Fransisco Bay Area working in the fields of media representation andindependent film distribution\, she relocated to Los Angeles to turn her attention back to creative side ofthe industry\, determined to put some of the theory she had been preaching into practice.She is currently preparing for the release of her feature-length directorial debut\, the erotic thrillerPeregrine Falcon\, starring Tee Park and Autry Haydon-Wilson and featuring an original score by FatimaAl Qadiri. Other recent works include the horror short Intimacy Engine and the experimental short docDOWN OVER UP THE STREET with writer and musician Brontez Purnell.
URL:https://www.h-r.la/event/alsea-diana-is-depicting-violence-against-women/
CATEGORIES:screening
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231204T190000
DTEND;TZID=America/Los_Angeles:20231204T220000
DTSTAMP:20260526T020429
CREATED:20231107T194608Z
LAST-MODIFIED:20240818T005915Z
UID:7744-1701716400-1701727200@www.h-r.la
SUMMARY:Use Me at Your Own Risk: Visions from the Darkest Timeline
DESCRIPTION:A reading of Use Me at Your Own Risk: Visions from the Darkest Timeline by Gem Evans (Monica) and Evan Ibarra (Sam).The reading will be followed by a conversation about the book as it relates to queer literature and history\, between author Anuradha Vikram and artist Badly Licked Bear. Music selected by DJ Izzy\, to conclude the evening. \n\n\n\nUse Me at Your Own Risk: Visions from the Darkest Timeline by Anuradha Vikram takes place in 2046\, a near future where both automation and climate collapse are more advanced. In five provocative sections\, Use Me at Your Own Risk confronts the ethical challenges inherent in our unprecedented shift to automation. Vikram sets the stage for these imagined futures in vivid detail\, describing environments\, complex characters\, and events in disparate locations from New Delhi to Los Angeles. Described by Vikram as an activist art project\, this speculative novel asks us to question our role in the destruction of our environment\, the impact of automation on society\, and heightened inequity across class\, race\, and gender. \n\n\n\nUse Me at Your Own Risk: Visions from the Darkest TimelineAuthor: Anuradha VikramForeword: Alexandra Grant & Addy RabinovitchDesign: Margaret TedescoCover Art: Isip Xin \n\n\n\nPublished in 2023 \n\n\n\n5.5 x 7 inches (14 x 18 cm)\, 158 pages\, paperback \n\n\n\nISBN: 9781737838876 \n\n\n\nUse Me at Your Own Risk is published as part of X Artists’ Books’ X Topics (XT) series\, a collection of single-author books focused on the writing and ideas of marginalized voices. \n\n\n\nAnuradha Vikram is a writer\, curator\, and educator based in Los Angeles\, CA. Vikram’s book Decolonizing Culture (Sming Sming Books\, 2017) contributed to a global movement to decolonize arts institutions and monuments. They have written for art periodicals and publications from Paper Monument\, Heyday Press\, Routledge\, and Oxford University Press. They are an Editorial Board member at X-TRA\, and faculty in the UCLA School of the Arts and Architecture. They hold an MA in Curatorial Practice from California College of the Arts and a BS in Studio Art from NYU. \n\n\n\nArtist\, designer\, and independent curator Margaret Tedesco has collaborated with artists\, writers\, choreographers\, and filmmakers for over three decades. In 2007\, she established 2nd Floor Projects\, an artist-run exhibition and publishing imprint\, and received the Southern Exposure Alternative Exposure Award. 2nd Floor Projects has participated in Printed Matter’s New York & Los Angeles Art Book Fairs\, the San Francisco Art Book Fair\, Berlin Art Book Fair\, KADIST and Southern Exposure’s Book Fairs\, and SFMOMA’s Printed Publics exhibition.
URL:https://www.h-r.la/event/use-me-at-your-own-risk-visions-from-the-darkest-timeline/
CATEGORIES:reading
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/11/use-me-at-your.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231203T193000
DTEND;TZID=America/Los_Angeles:20231203T220000
DTSTAMP:20260526T020429
CREATED:20231127T115932Z
LAST-MODIFIED:20240818T005647Z
UID:7789-1701631800-1701640800@www.h-r.la
SUMMARY:So Much I Want to Say: A Glimpse into Palestinian Erasure
DESCRIPTION:Still from Palestine in the Eye (1971) by Mustafa Abu Ali.\n\n\n\nLos Angeles Filmforum and Human Resources Los Angeles presentSo Much I Want To Say: A Glimpse Into Palestinian ErasureScreening + Lecture PerformanceFor more info: https://www.lafilmforum.org/ \n\n\n\nWith guests curator Zaina Bseiso (in person) and Bahaleen Collective (via Zoom) \n\n\n\nPlease provide proof of donation to Palestine Children’s Relief Fund or Medical Aid for Palestinians for admission to the show. No additional ticket charge. \n\n\n\nMasks are highly recommended at Filmforum shows – N95 or KN95. \n\n\n\nAs we witness firsthand the abundance of power structures silencing Palestinian voices\, erasing and fabricating historical and current events\, this screening and lecture performance contextualizes the settler-colonial project’s current tactics of erasure. Hundreds of 16mm documentaries were made by the Palestine Film Unit and solidarity networks to portray the Palestinian struggle after the 1967 war. A large portion of those films were confiscated during the Israeli invasion of Beirut in 1982\, making it virtually impossible to see and hear these stories. It is only through acts of solidarity and Palestinian resilience\, exemplified by the Tokyo Reels\, that we are able to access some of the films featured in this program\, while many others remain locked in Israeli vaults\,  accessible only to vetted Israeli citizens. \n\n\n\nThis space of collective self-reflection will go beyond uplifting Palestinian voices. Borrowing its title from Mona Hatoum’s video art piece So Much I Want To Say\, this program recounts a timeline of refusals by artists and collectives to remain silent\, instead utilizing their tools to contribute to Palestinian narratives.  \n\n\n\nZaina Bseiso (Curator) is a film director\, producer\, and curator working primarily in documentary and experimental cinema. Her work explores the relationship between the materialities of place and issues of memory\, surveillance\, corporeality\, and nationalism. She received her master’s degree in film and video from the California Institute of the Arts. Bseiso is based in Los Angeles and was raised in Egypt by Palestinian parents. Her practice mainly traverses Egypt\, Palestine\, Cuba\, Mexico\, and the US. She is co-founder of Bahía Colectiva\, a community of filmmakers that collaborate in practice and curation. \n\n\n\nBahaleen Collective: Today\, we are Aya Bseiso\, Khalid Odeh\, and Noura Salem. We are a group of friends\, sometimes colleagues\, and often collaborators who are Palestinian artists\, architects\, surveyors\, calligraphers\, and researchers based in Jordan. Together\, we are Bahaleen\, a research group dedicated to exploring the emancipatory potentials of arts practice through a constellation of acts\, projects\, and productions. We aim to unearth and investigate the socio-political histories and colonized infrastructures of the region through a methodology and practice that offer new ways to experiment and activate research and knowledge production with a larger public. \n\n\n\nFor the past three years\, Bahaleen has been engaged in several multi-year independent research projects that circle around notions of temporality\, crossing borders\, and impermanent-permanent infrastructures. Through a series of roaming artist residencies\, we search for\, name\, and subvert narratives around water bodies\, oil and gas pipelines\, tourist projects\, nature reserves\, privatized property\, and the commons through the practice of creating databases of projects\, laws\, and political agreements that have colonized\, commercialized\, privatized\, and militarized our soil. All the while\, looking at the performance of politics on sites of extractive economies. Our research methodologies are driven by an artistic process that utilizes participatory research frameworks\, fieldwork\, desk research\, and documentation while experimenting with and pushing traditional research practices forward\, with the aim of treating the research process as a generative space of production in and around art and academic institutions. \n\n\n\nWhat we are doing today: Our work as Bahaleen—during war and ethnic cleansing—continues\, and it must. We have come to understand the necessity of our research\, always seeking Palestine. We remain captivated by the viscosity of oil and the flow of water\, their movement and disruption as they permeate and carve through our geography\, transcending their chemical properties. At this moment\, our body of research scrutinizing the settler-colonial infrastructures of oil and water and interpreting their movement to chart their cultural\, geopolitical\, and environmental significance has become a mapping of the infrastructures that feed a genocidal war machine. We find ourselves asking over and over again—what if—as we witness the potential and possibilities of their disruption. \n\n\n\nTo that end\, and to keep this short\, currently\, we are working on mapping these infrastructures\, towards an article that narrates our research and the conversations we have experienced and facilitated. Alongside allies in London\, we are working towards a global campaign calling for the disruption of oil and gas flow to Europe specifically looking at Algeria\, Iraq and Libya. Additionally\, we are indexing dams in our region\, mapping the flow of water around us\, identifying the political agreements that govern them\, their environmental impact\, and specifically tracing the involvement of the occupying state of Israel. \n\n\n\n———————- \n\n\n\nLos Angeles Filmforum is the city’s longest-running organization screening experimental and avant-garde film and video art\, documentaries\, and experimental animation. 2023 is our 48th year. \n\n\n\nMemberships available\, $40 Student $75 Individual\, $125 Dual\, or $225 Silver Nitrate  \n\n\n\nContact us at lafilmforum@gmail.com. \n\n\n\nFind us online at http://www.lafilmforum.org/. \n\n\n\nBecome a fan on Facebook and follow us on Twitter @LosAngFilmforum.
URL:https://www.h-r.la/event/so-much-i-want-to-say-a-glimpse-into-palestinian-erasure/
CATEGORIES:screening,seminar/workshop
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/11/unnamed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231201T190000
DTEND;TZID=America/Los_Angeles:20231201T220000
DTSTAMP:20260526T020429
CREATED:20231121T184723Z
LAST-MODIFIED:20240826T163703Z
UID:7779-1701457200-1701468000@www.h-r.la
SUMMARY:The Alphabet of Andean Futurism
DESCRIPTION:This project emerges as an adaptation of fragments from Gamaliel Churata’s indigenist avant-garde masterpiece\, “The Golden Fish\,” viewed through the lens of Andean Futurism. It combines music\, video\, poetry\, and performance\, focusing on key scenes that depict the origins of a mythological being in the future of the Andes.  \n\n\n\nAdditionally\, the presentation includes Pumita Andino Cazador from the collective Lxs Demonixs del Ande from Huancayo – Peru\, a musical collaboration with local LA producer and DJ Adam O and the VJ mixing work of video artist and filmmaker Danny Perez. \n\n\n\nAlan Poma has adapted the Russian Cubo-Futurist opera Victory over the Sun and published the Andean Futurist Manifesto in 2019. He developed the concept of Andean Futurism\, which offers a non-linear interpretation of Andean culture. He has participated in performances\, exhibitions\, and concerts\, proposing an interpretation that encourages a dialogue between the Western avant-garde tradition and the Andean cultural heritage. Alan is currently visiting faculty at California Institute of the Arts in Los Angeles.
URL:https://www.h-r.la/event/the-alphabet-of-andean-futurism/
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/11/Alphabet-of-the-unknowable-the-resurrection-of-the-dead.-1-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231130T190000
DTEND;TZID=America/Los_Angeles:20231130T220000
DTSTAMP:20260526T020429
CREATED:20231114T180524Z
LAST-MODIFIED:20240818T005843Z
UID:7769-1701370800-1701381600@www.h-r.la
SUMMARY:Kanal Nula / Touriszt / Henrik Soederstroem / Hallasan
DESCRIPTION:A night of extreme music with artists from New York\, Berlin\, Stockholm and Los Angeles.  \n\n\n\nKanal Nula (NY)Touriszt (Berlin)Henrik Soederstroem (Stockholm)Hallasan (LA) \n\n\n\nWith special guest\, DJ Shitfun. \n\n\n\n$10 admission to support touring acts. No one turned away for lack of funds.
URL:https://www.h-r.la/event/kanal-nula-touriszt-henrisk-soederstroem-hallasan/
CATEGORIES:music/sound
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/11/rev-ii.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231119T140000
DTEND;TZID=America/Los_Angeles:20231119T170000
DTSTAMP:20260526T020429
CREATED:20231113T220124Z
LAST-MODIFIED:20250812T103417Z
UID:7759-1700402400-1700413200@www.h-r.la
SUMMARY:Meditation for Peace
DESCRIPTION:Meditation for Peace is an event for individuals to congregate\, and ruminate on a common goal\, peace. This event consists of a 1 hour meditation that includes a 10 minute guided meditation\, 30 minute sound meditation\, and 20 minute silent meditation. If you are unable to attend the event in person\, we encourage you to meditate at the same time of the event.  \n\n\n\nMeditation by: Sarah Gail  \n\n\n\nMusic by: Dovelie Lovelie \n\n\n\nMeditation: 3pm-4pm 
URL:https://www.h-r.la/event/meditation-for-peace/
CATEGORIES:seminar/workshop
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/11/meditationforpeace-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231027T000000
DTEND;TZID=America/Los_Angeles:20231029T235959
DTSTAMP:20260526T020429
CREATED:20231010T155609Z
LAST-MODIFIED:20240818T005859Z
UID:7729-1698364800-1698623999@www.h-r.la
SUMMARY:Zori Swanegan: In suspension\, otherwise
DESCRIPTION:dubious lift-off (2023)\, pastel and graphite on yupo paper\, 5” x 7”.\n\n\n\nOpening reception: Friday\, October 27\, 6 – 9pmOpen hours: Saturday\, October 28th and Sunday\, October 29th 12 – 6pm \n\n\n\nA collection of drawings\, prints\, and one animation serving as windows before intangible subjects abbreviated in space. \n\n\n\nZori Swanegan (b. 1996\, Kansas City\, MO) is a visual artist based in Los Angeles\, CA. She earned her BA from UCLA in 2018. Her practice consists primarily of drawings that explore the association between an established visual plane and objects which aggrandize or invalidate it. Her work has been shown in Los Angeles at PSLA\, Punto Lairs\, and Human Resources.  \n\n\n\n* \n\n\n\nZori Swanegan at Human Resources \n\n\n\nDrawing is a mysterious act in which a two dimensional field meets the artist’s conscious and unconscious self. The plane on which the drawing occurs presents itself as neutral ground\, but it is not. It is charged and prepared for transformation. Zori Swanegan leans into these dormant spaces\, both in digital and physical realms\, to conjure the appearance of forms. \n\n\n\nSimple lines and shapes are summoned to create playful constellations in Swanegan’s drawings. At times these suspended forms are brought down to depict a landscape or settle in a stage-like arrangement. Some forms are gently rendered and pushed to the foreground as protagonists\, while others accompany them or outline the surrounding scape. \n\n\n\nThese drawings are simple and abstract\, they oscillate between complete ambiguity and suggestive interactions of pictoric components. The most descriptive work is perhaps the animated image that anchors the exhibition. Here\, a mountainous form glides in space as two shapes hover above casting shadows. The two floating shapes function like clouds\, but they come to a point on each side and are transparent against a black background. These are not clouds. Like much of Swanegan’s work\, they are indefinable but allude to the world. \n\n\n\nMany of the images in the exhibition were made digitally\, defying materiality in their making while mimicking physical mark making. In some ways digital spaces work the way human minds do\, storing away information\, ready to be pulled into consciousness when drawn out. The source of the drawings comes from within the digital apparatus as from within the artist. \n\n\n\nSwanegan’s digital prints\, handmade drawings\, and animation effortlessly compose forms into scenes. They speak both the language of contemporary illustration and abstract painting\, refusing to surrender fully to either. Forms act as characters and gestures in open\, untouched fields. In this suspended world of soft pinks\, reds\, and yellows – lines\, scratches\, blobs\, and cloud-like figures meet to render a parallel reality. In this alternate domain\, each mark embodies a unique role and follows a logic of its own. – Luz Carabaño
URL:https://www.h-r.la/event/zori-swanegan-in-suspension-otherwise/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/10/zori-swanegan-2.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231019T120000
DTEND;TZID=America/Los_Angeles:20231019T180000
DTSTAMP:20260526T020429
CREATED:20231017T205238Z
LAST-MODIFIED:20231017T205239Z
UID:7739-1697716800-1697738400@www.h-r.la
SUMMARY:JD's Preventing Harassment & Discrimination Training
DESCRIPTION:While gallery sitting for Carlos Agredano’s Smog Check\, Jennifer Doyle will complete her state-mandated sexual harassment prevention training program\, and livestream this exercise (via HRLA’s Instagram account) while offering running commentary about the process. Doyle is the author of Campus Sex/Campus Security\, a book which takes up the braiding of harassment and security dynamics. The possibility of harassment alibis the intensification of the security apparatus—how do we undo that relation? what is a safe space? what makes for a hostile environment? What does it mean to refuse these securitizing structures\, and to reckon with our expectations of institutions and our relationship to them? This training\, normally taken with zero real engagement with these issues\, is supposed to take two hours. Doyle stretches this obligation out: it is unlikely she’ll get all the way through it. Pop by the gallery to check out Agredano’s exhibition and to join her in conversation about social ecology and harassment as a form of toxicity.  This training exercise is meant to be interrupted.
URL:https://www.h-r.la/event/jds-preventing-harassment-discrimination-training/
CATEGORIES:online event,performance,seminar/workshop
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/10/Screenshot-2023-10-17-at-12.50.50-PM.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231007T000000
DTEND;TZID=America/Los_Angeles:20231022T235959
DTSTAMP:20260526T020429
CREATED:20230830T215820Z
LAST-MODIFIED:20240818T005825Z
UID:7660-1696636800-1698019199@www.h-r.la
SUMMARY:Carlos Agredano: Smog Check
DESCRIPTION:Gallery hours: Wednesday through Sunday\, 12 – 6pmOpening: Saturday\, October 7\, 7 – 9pm \n\n\n\nSmog Check is an exhibition of new sculptures and research by Carlos Agredano about the air-quality around Chinatown\, which sits adjacent to the Harbor (I-110) Freeway and is the location of Human Resources Los Angeles.  \n\n\n\nThis exhibition focuses on the legacy of two discriminatory housing practices – racially restrictive covenants and redlining.  These two interlocking private and federal practices aided in the development of Los Angeles’ public freeway system in the 20th century and systematically destroyed and polluted racially diverse communities such as Bunker Hill\, Chavez Ravine\, Boyle Heights\, and Chinatown.  \n\n\n\nAgredano’s sculptures actively document Los Angeles’ air pollution and respond to ongoing environmental racism in the city. For this exhibition\, Agredano placed a canvas on the rooftop of HRLA for exactly one month to collect the ambient air pollution that exists in the neighborhood. He also engaged with the community of Chinatown by trading readymade objects such as window air conditioners and street vendor parasols\, objects which collect polluted air particles on a daily basis. By rolling balls of clay around different streets in Chinatown\, Agredano created single-layered stones coated in debris left behind by vehicles and humans alike. Flanking the entrance of the gallery are two Corsi-Rosenthal Boxes\, DIY air purifiers that aid in cleaning indoor air.  \n\n\n\nOther works reside outside the gallery space. Installed on the facade of HRLA is a nylon flag\, part of the Federal EPA Air Quality Flag Program\, which is designed to inform the public about the air quality in the local area. On the nearby I-110 freeway\, a vinyl banner reads “Keep Los Angeles Beautiful” designed after a Los Angeles initiative to clean and “beautify” littered and polluted neighborhoods. On various telephone poles and freeway exit ramps are blank “music” posters\, coated with an adhesive designed to collect debris and reveal a gradient of Los Angeles’ pollution.   \n\n\n\nThese process-based and ready-made sculptures all function as evidence of the environmental conditions that Chinatown is subject to on a daily basis due to its proximity to the Harbor I-110 Freeway.
URL:https://www.h-r.la/event/smog-check-carlos-agredano/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/08/los-angeles-1954-smog-5.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20230929T180000
DTEND;TZID=America/Los_Angeles:20230929T200000
DTSTAMP:20260526T020429
CREATED:20230908T003259Z
LAST-MODIFIED:20240818T005817Z
UID:7697-1696010400-1696017600@www.h-r.la
SUMMARY:Mirror Area\, a reading
DESCRIPTION:This reading is presented in conjunction with Mirror Area\, an exhibition of drawings by Michael Kennedy Costa (September 22 – 29\, 2023). \n\n\n\nBook launch and reading of Michael Kennedy Costa’s Mirror Area\, published by Holoholo Books.  Michael will be joined by artists Alexandra Noel\, Naoki Sutter-Shudo\, Aimee Goguen\, Dakota Higgins\, Keith J. Varadi\, and Merideth Hillbrand\, each reading a selection of their own work.
URL:https://www.h-r.la/event/mirror-area-a-reading/
CATEGORIES:reading
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/09/3mirror-area-reading-final-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20230927T200000
DTEND;TZID=America/Los_Angeles:20230927T200000
DTSTAMP:20260526T020429
CREATED:20230908T002827Z
LAST-MODIFIED:20240818T010004Z
UID:7696-1695844800-1695844800@www.h-r.la
SUMMARY:Los Angeles Wood Wind Skill Share & Wells Leng
DESCRIPTION:This concert is presented in conjunction with Mirror Area\, an exhibition of drawings by Michael Kennedy Costa (September 22 – 29\, 2023). \n\n\n\nThe Los Angeles Wood Wind Skill Share (LAWWSS) is a horizontally organized learning project that provides space for participants to learn about wind instruments through free improvisation.  \n\n\n\nWells Leng (1994-) is a multi-instrumentalist performer/composer/improviser based in Los Angeles\, graduated from USC with a BM in Composition and a BA in Piano Performance and CalArts with an MFA in the Performer-Composer program. As both a performer and composer\, Wells has collaborated with many other artists all over the world. Wells is part of House on Fire Trio\, stickytack\, and Quartet Friends\, and has performed in such venues as Carnegie Hall\, REDCAT Theater\, Aratani Theatre\, among others. Wells is currently the associate music director and collaborative keyboardist at Neighborhood Unitarian Universalist Church.
URL:https://www.h-r.la/event/los-angeles-wood-wind-skill-share-wells-leng/
CATEGORIES:music/sound,seminar/workshop
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/09/2mirror-area-LAWWSS-final-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20230922T000000
DTEND;TZID=America/Los_Angeles:20230929T235959
DTSTAMP:20260526T020429
CREATED:20230906T195842Z
LAST-MODIFIED:20240826T163115Z
UID:7665-1695340800-1696031999@www.h-r.la
SUMMARY:Michael Kennedy Costa: Mirror Area
DESCRIPTION:Gallery hours: 12 – 6pmOpening: Friday\, September 22\, 6 – 8pm \n\n\n\nA selection from an ongoing series of line drawings. This exhibition includes two events: a concert with Los Angeles Wood Wind Skill Share & Wells Leng on Wednesday\, September 27 at 8pm; and a closing launch/reading for Kennedy Costa’s book Mirror Area (published by Holoholo Books) on Friday\, September 29 from 6 to 8pm. Kennedy Costa will be joined by artists Alexandra Noel\, Naoki Sutter-Shudo\, Aimee Goguen\, Dakota Higgins\, Keith J. Varadi\, and Merideth Hillbrand\, each reading a selection of their own work. \n\n\n\nClick here to read a brief writing on Mirror Area by artist Sydney Acosta. \n\n\n\nMichael Kennedy Costa (b. 1982\, Northampton\, MA) is an artist and poet who lives and works in Los Angeles. His work is primarily rooted in drawing. Kennedy Costa received an MFA from Virginia Commonwealth University in 2011. His work has been exhibited at Hunter Shaw Fine Art\, Los Angeles; Bad Water\, Knoxville; Simian\, Copenhagen; Franz Kaka\, Toronto; u’s\, Calgary; and Sydney\, Sydney. He will be included in a forthcoming group show at CAPC Musée d’art Contemporain de Bordeaux.  His book of poems\, Mirror Area\, will be published by Holoholo Books in September 2023. \n\n\n\nThe Los Angeles Wood Wind Skill Share (LAWWSS) is a horizontally organized learning project that provides space for participants to learn about wind instruments through free improvisation.  \n\n\n\nWells Leng (1994-) is a multi-instrumentalist performer/composer/improviser based in Los Angeles\, graduated from USC with a BM in Composition and a BA in Piano Performance and CalArts with an MFA in the Performer-Composer program. As both a performer and composer\, Wells has collaborated with many other artists all over the world. Wells is part of House on Fire Trio\, stickytack\, and Quartet Friends\, and has performed in such venues as Carnegie Hall\, REDCAT Theater\, Aratani Theatre\, among others. Wells is currently the associate music director and collaborative keyboardist at Neighborhood Unitarian Universalist Church.
URL:https://www.h-r.la/event/michael-kennedy-costa-mirror-area/
CATEGORIES:exhibition,music/sound,reading
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/09/IMG_9404-copy-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20230917T190000
DTEND;TZID=America/Los_Angeles:20230917T210000
DTSTAMP:20260526T020429
CREATED:20230828T192213Z
LAST-MODIFIED:20240818T010016Z
UID:7627-1694977200-1694984400@www.h-r.la
SUMMARY:Dorian Wood: Musa Cerdota + The angel screening
DESCRIPTION:Artist Dorian Wood brings Musa Cerdota to Human Resources for its Los Angeles debut. The multisensory performance incorporates music from Wood’s 2020 album REACTOR. After the project’s 2022 premiere in Barcelona\, music magazine Muzikalia noted: “It was not a concert: this was an exorcism from which I did not want to return.” Preceding the performance is a rare screening of Wood’s 18-minute short film The angel\, which premiered at 2023 Outfest Fusion Film Festival. The angel is an embodiment of queer magic via an interweave of sex-positive rituals\, featuring a soundtrack by Wood and Thor Harris. \n\n\n\nDoors at 7:00 \n\n\n\nThe angel screens at 7:30PM \n\n\n\nMusa Cerdota performance begins at 8:00PM  \n\n\n\nDue to projection-based elements\, attendees are kindly asked to arrive early to avoid interruptions. \n\n\n\nTickets: $15 sliding \n\n\n\n Image credit: Borja Nowak
URL:https://www.h-r.la/event/dorian-wood-musa-cerdota-the-angel-screening/
CATEGORIES:music/sound,screening
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/08/DSC00768.jpg
END:VEVENT
END:VCALENDAR