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DTSTART;TZID=America/Los_Angeles:20250827T000000
DTEND;TZID=America/Los_Angeles:20250828T235959
DTSTAMP:20260608T002941
CREATED:20250723T000411Z
LAST-MODIFIED:20251113T223039Z
UID:8990-1756252800-1756425599@www.h-r.la
SUMMARY:Dorian Wood: La nada que te ama
DESCRIPTION:TICKETS: August 27 & August 28 ($15 suggested\, sliding scale) \n\n\n\nDoors: 7PM \n\n\n\nPerformance: 7:30PM – 8:30PM \n\n\n\nLa nada que te ama (Spanish for “The nothing that loves you”) is a channeling of ancestral/transcestral energy via the artist’s voice and body\, interwoven with sounds and imagery that ponder a broken future of/against our making. This ritual-based performance forges a path between sensuality and grief\, inviting those present to consider a radicalism of the self; a divine embracing of lust and solitude. The project premiered at LA Dance Project in April 2024\, as part of the performance series ABUNDANCE\, presented by Los Angeles Contemporary Exhibitions (LACE). Wood will present an expanded version of La nada que te ama at Human Resources. \n\n\n\nDue to projection-based elements\, attendees are kindly asked to arrive early to avoid interruptions.
URL:https://www.h-r.la/event/dorian-wood-la-nada-que-te-ama/
LOCATION:CA
CATEGORIES:performance
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250809T000000
DTEND;TZID=America/Los_Angeles:20250824T235959
DTSTAMP:20260608T002941
CREATED:20250710T223751Z
LAST-MODIFIED:20250724T180714Z
UID:8967-1754697600-1756079999@www.h-r.la
SUMMARY:Arthur Cooke: Saudade Into Light
DESCRIPTION:Saudade Into Light is an exhibition of Arthur Cooke’s (b.1996-2020) prolific image-making and multidisciplinary photography practice. The presentation of works at Human Resources includes a selection of his artist prints\, self-published books\, video works\, hand sewn clothing and fabric prints. Alongside this impressive archive\, a selection of photographs have been posthumously printed by his family to be shown in the exhibition.  \n\n\n\nBorrowing its name from one of his books on view\, the show’s title Saudade Into Light\, incorporates the Portuguese word “saudade” – a word that is untranslatable in English for its complexity of feeling but references what Cooke writes as “…the love that remains when someone is gone.” In the description of his book with the same name\, which explores family archives\, Cooke continues “…this project consists of images and words based around the realization of ‘a missing\,’ in this case a person\, and the stages of recognizing\, coping and discovering through this sense of a void.” As the family of the artist organizes this exhibition\, the title assumes new meaning – through honoring and curating Cooke’s brilliant body of work\, they are tasked with finding the light within grief. \n\n\n\nAs the title suggests\, Cooke’s practice is steeped in an intuitive poeticism. His photographs read like visual poems\, mixing analogue and digital photography\, then further manipulating the photographs in post-processing\, either through effects or application of text. Through this process of editing and re-editing\, Cooke would confuse the image at every layer\, abstractly interrogating photography as a form. His photographs were often reused in his video and clothing works\, continuously changing the format of the medium he was working in.  \n\n\n\nIn an enduring search for meaning and connection in the digital age\, his work remains steadfast in its intention of capturing and exploring specific feelings through image. This ethereal sensibility characterized his digital practice – applying a combination of layering\, blurring and convoluting qualities to images he had previously taken. Oftentimes\, the original subject is natural\, like a rose\, with the photographic image then transplanted into the digital space\, removed from its logical environment and obscured into a symbol. The work becomes something that transcends its natural place and lives on\, forever changing.  \n\n\n\nBorn in Venice\, California\, Cooke formed his artistic vision at an early age. Cooke began working with images as abstractions at seventeen in class at Venice Arts\, a photography mentorship program for low-income youth. He was then awarded the prestigious National YoungArts Silver Award in photography in 2014. He went on to be accepted to NYU Tisch School of the Arts with the largest scholarship ever given in the Photography & Imaging program. He would graduate from the university in 2018 and moved back to Los Angeles shortly after. At the time of his passing\, he was working on several video and hand sewn clothing works that he was excited to debut once the pandemic ended.  \n\n\n\nHe is remembered by all who have encountered his work for its strikingly singular and evocative vision. Cooke’s images continue to evolve while staying distinctly his; marked by their foregrounding in a deep and complex emotional landscape and his applied alchemical process of transforming feeling into being through imagery.  \n\n\n\nSaudade Into Light is organized by Nicole Cooke\, Elna Cooke and Michael Cooke. \n\n\n\n \n\n\n\nGallery Hours: Thursday to Sunday\, 12 p.m. to 6 p.m. and by appointment \n\n\n\nOpening Reception: Saturday\, August 9th from 6 p.m. to 9 p.m. \n\n\n\nThe Cooke Family would like to thank: Lee Baxter\, Benny & Irina Chan\, Claire Dorfman\, Roni Feinstein\, Kate Kelley\, Rachael Knotz\, Scott Oshima\, Roxanne Reicheg and Issa Sharp. \n\n\n\nAdditionally\, the Cooke Family would like to thank: Arthur’s friends and those close to the family who have supported this exhibition. \n\n\n\nAbout the Cooke’s: \n\n\n\nNicole Cooke is an LA-based artist\, working in performance\, clothing design and soft sculpture. Sewing live with a Singer sewing machine that she’s converted into a musical instrument\, Cooke has previously performed at Murmurs Gallery and Los Angeles Contemporary Archive. She earned her bachelor’s degree in Design | Media Arts at UCLA. \n\n\n\nElna Cooke is an artist\, seamstress and clothing designer from Cleveland\, Ohio. At eighteen she attended the renowned AndersonRanch Arts Center and went on to earn degrees in art studio and fashion design. For almost two decades she taught fashion design at SMC and FIDM and has currently resumed a practice in oil painting. \n\n\n\nMichael Cooke is an accomplished actor\, writer and musician. Born and raised in New York City\, he studied under the greats; jazz piano with the legendary Walter Bishop Jr. and acting with the acclaimed Peggy Feury. Cooke has worked extensively in theater\, television and film – most notably playing Herb in David Lynch’s Mulholland Drive. 
URL:https://www.h-r.la/event/arthur-cooke-saudade-into-light/
LOCATION:CA
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/07/HR-ArthurCooke.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250720T190000
DTEND;TZID=America/Los_Angeles:20250720T210000
DTSTAMP:20260608T002941
CREATED:20250707T185644Z
LAST-MODIFIED:20250710T233710Z
UID:8954-1753038000-1753045200@www.h-r.la
SUMMARY:Guillermo Gómez-Peña - Pocha 35: The Last Migration
DESCRIPTION:Pocha 35: The Last Migration\, 2025\n\n\n\nA New Solo Performance by Guillermo Gómez-Peña\n\n\n\nFeaturing a Cameo by Balitronica and surprise guests. \n\n\n\nTickets  \n\n\n\nGómez-Peña’s latest solo performance (from the series the Self Deportation Project) features texts written over the past five years chronicling a turbulent “post-democratic era\,” from the onset of the pandemic to the present day. Now available for bookings across the U.S. and virtually (for classrooms and conferences)\, this piece is urgent\, poetic\, and unapologetically relevant.  \n\n\n\nArtist Statement  \n\n\n\n“My current performance represents the fruit of my life’s work in all its iterations: live performance\, lecturing\, archiving\, literary work\, mentoring\, community activism\, all coming together to address the dangers of the times we live in with its disregard for human life and insidious undermining of democracy.  \n\n\n\nAt this time in my life I am thinking as much about legacy as I am trying to continually produce socially conscious experimental artwork that is simultaneously plugged into the national debates. I have learned from decades of touring performance material to locations beyond the Border that a call to action – in the form of a work of art – has the power to elicit compassion and inculcate a desire for social justice.  \n\n\n\nFor me performance art is a form of radical democracy and citizenship which depends on the presence of the audience/community to succeed. I view my approach to creating this hybrid piece as “performing the archives” for multiple contexts: The art world\, academia\, community and the media. I am particularly interested in connecting with a new generation of audience members who may not have been exposed to the history of my generation\, performance art and the Chicano movement.” \n\n\n\n \n\n\n\nGuillermo Gómez-Peña is a performance artist\, writer\, activist\, radical pedagogue and artistic director of the performance troupe La Pocha Nostra. Born in Mexico City\, he moved to the US in 1978\, and since 1995\, his three homes have been San Francisco\, Mexico City and the “road”. \n\n\n\nHis performance work and 21 books have contributed to the debates on cultural\, generational\, and gender diversity\, border culture and North-South relations. His artwork has been presented at over one thousand venues across the US\, Canada\, Latin America\, Europe\, Russia\, South Africa and Australia. A MacArthur Fellow\, USA Artists Fellow\, and a Bessie\, Guggenheim\, and American Book Award recipient\, he is a regular contributor to newspapers and magazines in the US\, Mexico\, and Europe and a contributing editor to The Drama Review (NYU-MIT)\, the Venice Performance Art Week Journal\, and emisférica\, the publication of the Hemispheric Institute of Performance and Politics (NYU). Gómez-Peña is currently a Patron for the London-based Live Art Development Agency\, and a Senior Fellow in the Hemispheric Institute of Performance and Politics. \n\n\n\nImage credit: Bird Shaman by Geloy Concepcion\, 2023 at David Ireland’s House\, San Francisco.  \n\n\n\n$14-$20 sliding tickets – notaflof
URL:https://www.h-r.la/event/guillermo-gomez-pena/
LOCATION:CA
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/07/DSF0904-sm-scaled.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250718T000000
DTEND;TZID=America/Los_Angeles:20250803T235959
DTSTAMP:20260608T002941
CREATED:20250613T224821Z
LAST-MODIFIED:20250826T213423Z
UID:8894-1752796800-1754265599@www.h-r.la
SUMMARY:Rachel Zaretsky: The Spirit of American Youth Rising from the Waves (replica of a replica)
DESCRIPTION:Rachel Zaretsky: The Spirit of American Youth Rising from the Waves (replica of a replica) \n\n\n\nExhibition Dates: July 18th to August 3rd\, Friday to Sunday\, 12 p.m. to 6 p.m. and by appointment (Please email: info@humanresourcesla.com) \n\n\n\nOpening Reception: Friday\, July 18\, 2025 from 6 p.m. to 9 p.m.  \n\n\n\nThe Spirit of American Youth Rising from the Waves (replica of a replica) is an exhibition that explores how public memory is shaped through objects\, rituals\, and acts of commemoration. Featuring new sculpture\, video\, and photography by Rachel Zaretsky\, the exhibition considers how gestures of grief shift when filtered through repetition\, spectacle\, and consumer culture. It traces ephemeral expressions such as balloons at vigils\, pennies tossed into fountains\, or offerings left at war memorials as they become standardized within the American commemorative imaginary. Removed from their original contexts\, these objects reappear as secular sacred symbols: proxies for headstones\, plazas\, and places of mourning. \n\n\n\nAt the center of the exhibition is The Spirit of American Youth Rising from the Waves (replica of a replica)\, a dysfunctional mall fountain anchored by a fragmented plastic figure modeled after the gilded statue at the Americana at Brand mall\, which itself replicates the original bronze monument at the American Cemetery in Normandy\, France. Surrounded by oxidized pennies and mirrored coins\, the sculpture compresses the iconography of monumentality and consumer display into a fractured\, ornamental shell—interrogating how public memory becomes stylized\, copied\, and ultimately hollowed out through cycles of replication and visual consumption. Between a Memory and Record\, a video essay\, traces the bureaucratic afterlife of offerings collected at the Vietnam Veterans Memorial Wall. A photographic installation focuses on spontaneous memorials at sites of gun violence\, isolating the recurring image of balloons\, symbols that oscillate between mourning and celebration as circulated through news media. \n\n\n\nThe exhibition investigates how the performativity of mourning\, when mediated through standardized forms and repeated display\, can displace affective experience and transform acts of remembrance into indexable forms of public feeling.  \n\n\n\nExhibition essay by Harris Bauer is available to read here. \n\n\n\nRachel Zaretsky (b. 1993\, Miami) is an artist based in Los Angeles. She received her MFA in Art from the University of Southern California’s Roski School of Art and Design and her BFA in Visual and Critical Studies from the School of Visual Arts in New York.
URL:https://www.h-r.la/event/rachel-zaretsky-kreiner-the-spirit-of-american-youth-rising-from-the-waves-replica-of-a-replica/
LOCATION:CA
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/06/Uvalde-4A-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250712T150000
DTEND;TZID=America/Los_Angeles:20250712T213000
DTSTAMP:20260608T002941
CREATED:20250705T151052Z
LAST-MODIFIED:20250710T224313Z
UID:8943-1752332400-1752355800@www.h-r.la
SUMMARY:Mosquitoes\, Cats and Other Comrades
DESCRIPTION:A two program screening event in collaboration with Travelling Kolkata People’s Film Festival \n\n\n\nTickets: suggested donation – $10-20 (for one or both programs) \n\n\n\nJoin us for a day of films from Myanmar and India centering the people’s resistance\, camaraderie\, love\, and the quiet revolutions that resonate beyond the two nations. \n\n\n\nThis program presents four films grounded in acts of defiance—from Myanmar’s jungles where a couple and their beloved cat Poopy join the resistance\, to streets where the nation’s youth protest and document the state violence with unwavering courage. A filmmaker in India grapples with his identity amid religious discrimination\, while in an imagined kingdom\, mosquitoes become symbols of dissent. \n\n\n\nFollowed by a conversation with Seema Hari\, Nadia Ahmed\, Vishal Jugdeo & Alex Michel. \n\n\n\nProgram 1 (3:00-5:00 PM):  \n\n\n\nJourney of a Bird —Dir. Anonymous\, Myanmar\, 2021Comrade Poopy—Dir. M (Anonymous)\, Myanmar\, 2024Insides and Outsides—Dir. Arbab Ahmad\, India\, 2023 \n\n\n\nProgram 2 (6:30-9:30 PM ): \n\n\n\nHun Hunshi Hunshilal (Love in the Time of Malaria)—Dir. Sanjiv Shah\, India\, 1992 \n\n\n\n5PM onwards we will be joined by vendors:Food by SUYA KINGDrinks by SANZO Artworks by MIRANDA ROSALES (MIR)Handmade Clothing & Ceramics by MALAVIKA RAOHandmade Jewelry for Mutual Aid 
URL:https://www.h-r.la/event/mosquitoes-cats-and-other-comrades/
LOCATION:CA
CATEGORIES:screening
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/07/poster-e1751727957400.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250708T190000
DTEND;TZID=America/Los_Angeles:20250708T203000
DTSTAMP:20260608T002941
CREATED:20250701T174926Z
LAST-MODIFIED:20250703T201734Z
UID:8931-1752001200-1752006600@www.h-r.la
SUMMARY:Kiyo Gutiérrez with Paul Donald: Un muro que parte el cuerpo en dos
DESCRIPTION:Un muro que parte el cuerpo en dos (A wall that breaks the body in two) is a durationalperformance by Kiyo Gutiérrez\, in collaboration with Paul Donald. This work was first presented by Gutiérrez in 2018 in Guadalajara\, México\, as a response to the Mexican xenophobic reactions toward a Central American Migrant Caravan crossing the country. Today\, a new iteration is reactivated in the U.S.\, where harsh migration policies continue to criminalize movement and dehumanize the displaced. \n\n\n\nRSVP \n\n\n\nIn this piece\, the wall is not static\, it moves and breathes with the body\, resisting fixity. It splitsthe performer in two\, exposing the violence that borders enact on flesh\, memory\, and belonging.The wall is not neutral. It is built and upheld by governments\, white supremacy\, and systems ofpower that decide who is allowed to move\, who is stopped\, and who is erased. \n\n\n\nBut over time\, the performance reveals another truth: walls are porous. They crack\, they shift\,they hold holes. They can crumble. \n\n\n\nThis performance invites us to witness not only the pain of division\, but the quiet\, persistentpossibility of undoing it. It is a gesture meant to honor and celebrate the undocumented\, migrant\,immigrant\, refugee\, and exilee communities\, people who move\, who resist\, and who carry entireworlds with them. \n\n\n\nUn muro que parte el cuerpo en dos es una performance duracional que fue presentada porprimera vez en 2018 en Guadalajara\, México\, como respuesta a las reacciones xenófobasmexicanas ante una caravana de migrantes centroamericanos que cruzaba el país. Hoy\, una nuevaversión se reactiva en Estados Unidos\, donde las duras políticas migratorias continúancriminalizando el movimiento y deshumanizando a las personas desplazadas. \n\n\n\nEn esta pieza\, el muro no es estático: se mueve y respira con el cuerpo\, resistiendo la rigidez.Parte en dos al cuerpo de la performer\, exponiendo la violencia que las fronteras ejercen sobre lacarne\, la memoria y el sentido de pertenencia. El muro no es neutral. Es construido y sostenidopor gobiernos\, la supremacía blanca y sistemas de poder que deciden quién puede moverse\,quién es detenido y quién es borrado. \n\n\n\nPero con el tiempo\, la performance revela otra verdad: los muros son porosos. Se agrietan\, sedesplazan\, contienen huecos. Pueden desmoronarse. \n\n\n\nEsta performance nos invita a presenciar no solo el dolor de la división\, sino la posibilidadsilenciosa y persistente de deshacerla. Es un gesto para honrar y celebrar a las comunidadesmigrantes\, indocumentadas\, refugiadas\, exiliadas y desplazadas: personas que se mueven\, queresisten y que cargan mundos enteros consigo. \n\n\n\nImage caption: Un muro que parte el cuerpo en dos\, durational performance presented at Plaza de la República\, Guadalajara\, México. 2018. Photography by Pistor Orendain. \n\n\n\nhttps://kiyogutierrez.com \n\n\n\nhttps://www.paulcdonald.com
URL:https://www.h-r.la/event/un-muro-que-parte-el-cuerpo-en-dos/
LOCATION:CA
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/07/Un-muro-que-parte-el-cuerpo-en-dos--scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250701T170000
DTEND;TZID=America/Los_Angeles:20250701T220000
DTSTAMP:20260608T002941
CREATED:20250626T115047Z
LAST-MODIFIED:20250626T224856Z
UID:8911-1751389200-1751407200@www.h-r.la
SUMMARY:Abolish ICE ✊🏽 Mercado de Arte
DESCRIPTION:The undoc+ (currently or formerly undocumented) community of Los Angeles is being wrongfully targeted by militarized mass deportations. Today\, many fear leaving their homes to go to work or even get groceries. Countless individuals have gone missing\, families are breaking apart\, and our communities are no longer safe from persecution by the administration of this nation. \n\n\n\nAbolish ICE ✊🏽 Mercado (Market) is the result of the arts community standing in action beyond solidarity with undoc+ communities in Los Angeles. This event brings together artists from Southern California and Northern Baja California to raise funds for undoc+ people in LA. \n\n\n\n100% of the funds generated will be divided equally between CHIRLA (Coalition for Humane Immigrant Rights) & Inclusive Action for the City\, to help our community members most in need; from the families of people gone missing\, to the day laborers and street vendors who supply our city with nourishment and joy. \n\n\n\n✊🏽 As long as even one of us is unlawfully targeted\, then nobody is equal under the law. \n\n\n\nHRLA is hosting the first of two events: July 1\, 2025 • 5-10 PM. \n\n\n\nThe second event: August 1\, 2025 at Plaza de la Cultura y Artes (501 N Main St\, Los Angeles\, CA 90012). \n\n\n\nLearn more about ways to get involved at CuratorLove.com/abolish. \n\n\n\nOrganizers • CuratorLove • UNDOC+Collective • Track 16 • LA Tactile Lab
URL:https://www.h-r.la/event/abolish-ice-%e2%9c%8a%f0%9f%8f%bd-mercado-de-arte/
LOCATION:CA
CATEGORIES:fundraiser
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2025/06/Mercado-de-Arte-.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250627T000000
DTEND;TZID=America/Los_Angeles:20250629T235959
DTSTAMP:20260608T002941
CREATED:20250528T162709Z
LAST-MODIFIED:20250826T213442Z
UID:8870-1750982400-1751241599@www.h-r.la
SUMMARY:Safety Blue: An Installation in 5 Acts
DESCRIPTION:Gallery hours: Fri – Sat\, 12 – 5 pm \n\n\n\nPerformances: June 27 & 28: 7 pm; June 29: 2 pm (en Español) \n\n\n\nTickets (free\, donation of $15 recommended):  Friday June 27th at 7pm;  Saturday June 28th at 7pm;  Sunday June 29th en español at 2pm. \n\n\n\nSafety Blue is a performative work by artist Andrea Carrillo and choreographer Melissa Herrada which weaves together histories regarding women\, labor\, and oppression in the US-Mexico border. At the heart of the project is an anthropological research archive from the early 1980’s on the life and working conditions of women workers in maquiladoras\, particularly in Tijuana and Ciudad Juarez. Despite its geographical focus\, this work mirrors how—across the global south—women’s bodies have become political territories in dispute\, crossed by colonization. \n\n\n\nSafety Blue is an amalgamation of women’s voices and histories spanning over 40 years\, urging us to rethink and contest how these bodies continue to be shaped by labor\, productivity\, and capital. Through a transdisciplinary approach combining video\, choreography\, and lecture performance\, this project braids intimate and global narratives and brings the body forward. \n\n\n\nThe narrative is set against the history of modern progress\, viewed through the lens of time and industrial production models\, revealing the slow and often invisible violences these women sustain. Each element of the performance and installation tells a story about the relationship between time and labor and the continuous impact it has on the body.  Despite the harsh conditions\, the project is fueled by the recognition and recuperation of collective forms of resistance\, and by the possibility to reorient history and construct new senses of truth. \n\n\n\nThe project was funded in part by Magnum Foundation\, Patronato de Arte Contemporáneo and Fondo Nacional para la Cultura y las Artes.  \n\n\n\n \n\n\n\nSafety Blue es un proyecto performático de la artista Andrea Carrillo y la coreógrafa Melisa Herrada. Entreteje historias en torno a mujeres\, trabajo y opresión en la frontera entre México y Estados Unidos. El corazón del proyecto es un archivo antropológico creado a principios de 1980 que aborda las condiciones laborales y de vida de mujeres obreras en la maquila\, particularmente en Tijuana y Ciudad Juárez. A pesar de su enfoque geográfico\, este trabajo refleja cómo\, a lo largo del sur global\, los cuerpos de las mujeres se han convertido en territorios políticos en disputa\, atravesados por la colonización. \n\n\n\nSafety Blue es una amalgama de voces e historias de mujeres obreras que abarcan más de 40 años\, invitándonos a repensar y cuestionar cómo el trabajo\, la productividad y el capital moldean sus cuerpos. Mediante un enfoque transdisciplinario que combina video\, coreografía y conferencia performática\, este proyecto entrelaza narrativas íntimas y globales que pone al cuerpo como primer territorio en disputa y como espacio de enunciacióny memoria.  \n\n\n\nLa narrativa se desarrolla alrededor de la historia del progreso moderno\, vista a través del tiempo y modelos productivos\, revelando las violencias lentas e invisibilizadas que sostienen estas mujeres. Cada espacio\, cada objeto y cada cuerpo cuenta una historia sobre la relación entre el tiempo y el trabajo\, así como el impacto continuo sobre el cuerpo. A pesar de las duras condiciones\, el proyecto busca también\, reconocer y recuperarlas acciones colectivas de resistencia que permitan reorientar la historia y generen nuevos imaginarios. \n\n\n\nEl proyecto ha sido apoyado por Magnum Foundation\, Patronato de Arte Contemporáneo y Sistema de Apoyos a la Creación y Proyectos Culturales. 
URL:https://www.h-r.la/event/safety-blue-an-installation-in-5-acts/
LOCATION:CA
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/05/Safety-Blue_HRLA-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250610T000000
DTEND;TZID=America/Los_Angeles:20250621T235959
DTSTAMP:20260608T002941
CREATED:20250525T184926Z
LAST-MODIFIED:20250624T020917Z
UID:8854-1749513600-1750550399@www.h-r.la
SUMMARY:LA TIME | Matt Savitsky exhibition
DESCRIPTION:Reception: Friday\, June 13\, 5-7pm (Note: HRLA is in the curfew zone\, quite close to the perimeter; curfew starts at 8pm.) \n\n\n\nPerformance: Friday\, June 20\, 7-8pm \n\n\n\nGallery Hours: Wed-Sun 12-6pm & by appointment \n\n\n\nLA TIME uses live performance and video to reveal the space between headlines and lived experience.  \n\n\n\nBy using physical copies of the LA Times front pages\, stripped of images and held up to the Los Angeles landscape\, artist Matt Savitsky creates “picture windows” through which performers intervene in familiar public spaces. Here\, the news becomes a frame for queer expression\, with gestures that range from subtle (such as crossing a construction site) to bold (like stretching 200 feet of red fabric along a line of palm trees on a hilltop). \n\n\n\nStarted in 2021\, the project was developed in response to a lack of public space in contemporary life to grieve the atrocities carried out against our communities and locales. This work holds very special significance as it marks a return to public space after the pandemic and charts Savitsky’s reconnection to his community through performance work. This first staging at Human Resources will feature three of the project’s seven video works. \n\n\n\nThis project was funded by the Foundation for Contemporary Arts Grants to Artist Award\, New York\, 2022. FCA Artist Profile
URL:https://www.h-r.la/event/la-time-matt-savitsky-exhibition/
LOCATION:CA
CATEGORIES:exhibition,performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/05/VideoStill_03-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250601T213000
DTEND;TZID=America/Los_Angeles:20250601T213000
DTSTAMP:20260608T002941
CREATED:20250506T215147Z
LAST-MODIFIED:20250526T003004Z
UID:8751-1748813400-1748813400@www.h-r.la
SUMMARY:Aeolian Song - Trevor Treglia / Adie San Diego
DESCRIPTION:Aeolian Song is a piece for synthesizer and reverberant space by Los Angeles-based composer and instrument builder Trevor Treglia. Using phase-locked oscillators tuned in just intonation\, the piece explores slowly evolving harmonic relationships shaped by the interaction of timbre\, pitch\, and space. \n\n\n\nAdie San Diego is a Filipina-American choreographer\, dancer\, and artist based in Los Angeles. She holds a BFA in Modern Dance from Point Park University and an MFA in Choreography from CalArts. For Aeolian Song\, she presents a new movement work developed in response to the piece’s evolving harmonic textures and spatial environment. \n\n\n\nTickets – suggested donation ($10-$20)\, no one turned away for lack of funds.  \n\n\n\nPhoto By Sylvia Celes
URL:https://www.h-r.la/event/aeolian-song-trevor-treglia-adie-san-diego/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:dance/movement,music/sound
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2025/05/tt3.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250530T190000
DTEND;TZID=America/Los_Angeles:20250530T190000
DTSTAMP:20260608T002941
CREATED:20250515T232153Z
LAST-MODIFIED:20250526T002932Z
UID:8823-1748631600-1748631600@www.h-r.la
SUMMARY:Cine Apartamento presents Queer Currents
DESCRIPTION:Cine Apartamento\, a queer cinema collective founded in 2023 by Michael Anthony Hall and Ryan Luis Fuller\, hosts intimate screenings of LGBTQ+ cinema in apartments and spaces across LA\, fostering connection and collaboration through shared storytelling.  \n\n\n\nQueer Currents: A Night of Experimentation is a one-night showcase spotlighting emerging queer filmmakers abdu mongo Ali\, Markele Cullins\, Ryan Luis Fuller\, Rraine Hanson\, Trâm Ahn Nguyên\, and Jade Wong. These experimental short films challenge longstanding structures while exploring themes of identity\, culture\, and existence. With a focus on innovative approaches to narrative and visual storytelling\, this program celebrates fresh perspectives and subverted lenses within queer cinema. Join us for a night of queer film and community. \n\n\n\nTickets by sliding scale donation ($5-$15).
URL:https://www.h-r.la/event/cine-apartamento-presents-queer-currents/
LOCATION:CA
CATEGORIES:screening
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/05/Queer-Currents-image.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250524T190000
DTEND;TZID=America/Los_Angeles:20250524T190000
DTSTAMP:20260608T002941
CREATED:20250514T201226Z
LAST-MODIFIED:20250922T230307Z
UID:8813-1748113200-1748113200@www.h-r.la
SUMMARY:Aggregate: a performance by Linda Franke
DESCRIPTION:Performance by Linda Franke with Laura Stinger and Matthew McGaugheyTickets\, $8 (via WithFriends)A score for anarchistic behavior in public space.Featuring proportions of a soft mobile rock\, a cold sliding fence and spinning a fountain.Voices falling in and out of sync with colors.Moving something from one place to another.Pushing things that can´t be moved.Sliding and rolling the static.You have to be quick to find your new position in the composition.When the music stops you have to find a place to sit.Moving something suggests purpose.This thing is now over here. Where it should be?Being in and out of sync with machines that tell us what to do. Being in sync with people\, objects\, and immaterial things.Movement and voice are usually in sync."In sync" means being in a state where two or more people or things are working together at the same time and speed or are in agreement with each other. It can refer to actions\, ideas\, or even sounds that match well together. In between what is real and what is fake?How do we operate in the realm of half-real?We like that the prop appears real but is not.We want to indulge in imitation.Testing if our imagination is strong enough to overright the facts of reality.I am interested in special effects that reveal their mechanismsand so lose part of their magic but never completely.The expectation of the illusion and the revelation of nothing new. Again.Ideas of the performance as a spectacle where something is going to happen.Is something happening even when we just push something?I something happening when we don´t know what´s happening?Can dimensions function as an emotional map?How do the dimensions of objects in public space influence how I feel in my body and what possibilities I see for myself in this space?Dimensions express rules and establish territories.You look small next to this rock.The traffic light is three times the size of your belly.How do we read what performances the object in front of us suggestand what happens if we do something else?The idea of the fence is to block and protect.Could it be tender and playful instead\, with no job?The idea of a rock is that it's heavy and static\, maybe some of them roll.A human can only go around or over but never push it out of the way.The fountain is a place for rest and leisure\, it has an almost romantic atmosphere we don´t need it but we love it when it's around.Linda Franke was born in Dresden\, East Germany and is based in Los Angeles since 2017. Her work engages with the constants of human life by staging situations in which our daily routines are being transformed into absurd Tableaux Vivants. Found materials\, elaborately produced props\, 3D animations\, text collages and soundtracks\, create a cinematographic set that serves as the environment for her performers and the resulting video. Franke is a Graduate of Universität der Künste Berlin\, DE\, Chelsea School of Art and Design London\, UK and Academy of Media Arts Cologne\, DE. Besides Residencies at Sacatar Brazil\, BR\, CCA Glasgow\, UK or Impact Utrecht\, NL her work has been shown at Georg Kolbe Museum\, Berlin\, DE; Goethe Institut Montreal\, CA; Schaulager Barbara Thumm in Berlin\, DE; W139\, Amsterdam\, NL; Simultanhalle Cologne\, DE; Art Cologne\, DE; Film Festival\, Sao Paulo\, BR; Galapagos Art Space\, New York\, US; Moscow International Film Festival\, RUS; Soma Mexico City & Museo de Arte Contemporaneo de Monterrey\, MEX and Mars Gallery \,PAM\, Navel\, Femmebit Festival\, Neon Museum and the Box Gallery in Los Angeles.
URL:https://www.h-r.la/event/aggregate-a-performance-by-linda-franke/
LOCATION:CA
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/05/all-still.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250510T000000
DTEND;TZID=America/Los_Angeles:20250511T235959
DTSTAMP:20260608T002941
CREATED:20250411T174925Z
LAST-MODIFIED:20250526T002856Z
UID:8730-1746835200-1747007999@www.h-r.la
SUMMARY:Emily Barasch: Intimacy for the Apocalypse
DESCRIPTION:Saturday\, May 10 @ 8pm + Sunday\, May 11 @ 2pmTickets are $20; click here to purchase \n\n\n\nIn Intimacy for the Apocalypse\, an unstable structure made of rope\, slime\, wooden levers\, buckets\, and streamers shifts over time as four dancers and a sound composer develop emergent\, co-constituted logics to find stability and support within their material conditions. As the performers engage in gestural looping\, tuning scores\, and task-based scenarios\, they develop new relational practices for embodied logics of survival. Intimacy for the Apocalypse investigates how bodies and environments can be reoriented out of collapse\, giving way to intra- dependent speculative futures. It stages a world where bodies refuse categorization\, shifting between discipline and defiance\, chaos and clarity\, desire and tension. \n\n\n\nChoreographed by Emily Barasch in collaboration with Julianna Johnston and performersPerformers: Emily Barasch\, Kate Ladenheim\, Arushi Singh\, William Ruíz MoralesSet and Design: Julianna JohnstonLighting Design: Emily WittSound Design and Live Composition: Jesse Perlstein \n\n\n\nThis project was supported\, in part\, by a Foundation for Contemporary Arts Emergency Grant.
URL:https://www.h-r.la/event/emily-barasch-intimacy-for-the-apocalypse/
LOCATION:CA
CATEGORIES:dance/movement
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/04/39e22e9b-ab46-4b2c-a684-79fda6e267d6-Copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250502T000000
DTEND;TZID=America/Los_Angeles:20250505T235959
DTSTAMP:20260608T002941
CREATED:20250419T190413Z
LAST-MODIFIED:20250428T164419Z
UID:8737-1746144000-1746489599@www.h-r.la
SUMMARY:other others // rehearsals in the skin
DESCRIPTION:Touch Praxis presents other others // rehearsals in the skin\, a four-day exhibition and programming series held May 2–5\, 2025 at Human Resources Los Angeles. This programming offers a collision of fleshy proximities\, felt theory (Dian Million\, 2009) and porous encounters. other others // rehearsals in the skin brings together artists\, practitioners\, and facilitators to explore how we relate\, connect\, and feel—together. \n\n\n\nImagining curation as a process of community building\, this layered project threads conversations across bodies\, decades and continents\, bringing into contact over 40 (old and new) collaborators. other others considers anti-colonial forms of touch as a method for collectively dreaming Disability justice\, ecological repair\, Palestinian liberation\, and queer futurity. \n\n\n\nRooted in an intersectional feminist “we” (Sara Ahmed\, 2018)\, other others asks: What does it mean to be in ethical contact with one another? How do we move through physical intimacies while navigating the systemic power structures that shape every encounter? \n\n\n\nThe exhibition features tactile\, sculpture\, audio\, interactive and digital works by Genevieve Belleveau\, Lauren Bon\, Vanessa Hernández Cruz\, Nat Decker\, Anne Juren\, Ericka Lopez\, Siphiwe Mbonambi\, Liz Nurenberg\, Ashton Phillips\, Teddy Pozo\, Jaklin Romine\, Laura Stinger and Touch Praxis. \n\n\n\nTouch-based performances will be held on Sunday\, May 4th from 4–6pm\, followed by an evening reception from 7–9pm. These personalized experiences are administered by a 5-person touch ensemble (Serene Bloin\, Jessica Hemingway\, Rashaida Hill\, Rachel Ho\, Nina Sarnelle\, and Selwa Sweidan). Sessions are limited and participants must sign up for a time slot in advance. Each participant will negotiate their interactions and level of contact with the ensemble; this work exists only in your body. \n\n\n\nScreening programs feature works by Basma Alsharif\, Genevieve Belleveau\, mayfield brooks\, Linda Franke\, Mona Hatoum\, Petra Kuppers\, Ericka Lopez\, Emilija Škarnulytė\, Maryam Tafakory\, Ryat Yezbick\, and Rima Yamazaki. \n\n\n\nA zine created for the exhibition collects haptic works by Rebecca Bruno\, Gabrielle Civil\, Megan May Daalder\, Alix Eynaudi\, Tala Khanmalek\, Petra Kuppers\, Courtney Mackedanz\, Kristin McWharter\, Postal Service for the Dead\, heidi andrea restrepo rhodes\, Hannah Rubin\, Cassie Thornton and Kim Upstill and Hana van der Kolk. \n\n\n\nA Palestine solidarity event featuring meital yaniv\, Basma Alsharif\, Mona Hatoum and For Your Viewing Pleasure raises funds for mutual aid in Gaza. \n\n\n\nTouch Praxis is a collective research project led by Selwa Sweidan and Nina Sarnelle exploring touch as a time-based medium and form of co-creative knowledge. The exhibition also includes videos from their archive of embodied interviews with Zena Bibler\, Vanessa Hernández Cruz\, Maeve Devine\, Jessica Hemingway\, Khalia Frazier\, Odeya Nini\, Tyby Reddy\, Jaklin Romine\, Tyra Wigg\, and Kim Ye. \n\n\n\nThe full program of screenings\, readings\, and performances are listed below. \n\n\n\nSCHEDULE OF EVENTS \n\n\n\nFriday May 2Gallery Open 12:00 – 7:00 pm \n\n\n\nSaturday May 3Gallery Open 12:00 – 6:00pmSkin of the Film (screening program) 6:00 – 8:00 pm [event link] \n\n\n\nSunday May 4Gallery Open 12:00 – 3:00 pmIndividual Touch Performances (rsvp required) 4:00 – 6:00 pm [signup link]Reception 7:00 – 9:00 pm \n\n\n\nMonday May 5Gallery Open 12:00 – 7:00 pmSkin Thickens // Touching a Free Palestine (fundraiser) 7:00 – 9:00 pm [event link] \n\n\n\nTuesday May 6Gallery Open by appointment \n\n\n\nFor more information reach out to touchpraxis [at] gmail.com
URL:https://www.h-r.la/event/other-others-rehearsals-in-the-skin/
LOCATION:CA
CATEGORIES:exhibition,fundraiser,performance,screening
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2025/04/otherothers-v3.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250418T000000
DTEND;TZID=America/Los_Angeles:20250427T235959
DTSTAMP:20260608T002941
CREATED:20250325T183215Z
LAST-MODIFIED:20250408T025931Z
UID:8700-1744934400-1745798399@www.h-r.la
SUMMARY:10 DAY CELEBRATION FOR 10 YEARS OF COAXIAL FUNDRAISER
DESCRIPTION:Opening reception: April 18th\, 6-9pmGallery hours: Thu-Sun\, 12-5pm \n\n\n\nJoin us in celebrating the 10 DAY FOR 10 YEARS OF COAXIAL at HR! This 10-day event will feature a group exhibition of work by Coaxial’s past artists-in-residence and nightly programming curated by their beloved friends and community members.  The opening reception on April 18th\, 6-9pm will include performances curated by Boss Witch Productions\, vegan tamales by Coaxial’s Founders Eva and Brock and sounds by DJ Omo. Sliding scale $25-$100\, with all donations going to Coaxial’s Arts Residency Program! Purchase your tickets here.The exhibition will feature work by:Aaron Douglas Estrada Alex Pelly Amina CruzBriana Gonzales Colin Yeo Dakota Noot Derek Holguin Dulce Soledad Ibarra Dust – Stefan Cvitanic Edgar Fabián Frías Erin Demastes Jon Clark Kamau Amu Patton Maralie Armstrong-Rial Maria Maea Melo d Mica Scallion-Ford Micaela Tobin Miko Revereza Nat Decker Rachel Jones Samantha CCShelly BadalYunuen
URL:https://www.h-r.la/event/10-day-celebration-for-10-years-of-coaxial-fundraiser/
LOCATION:CA
CATEGORIES:exhibition,fundraiser,music/sound
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/03/COAXIAL-10-years.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250329T000000
DTEND;TZID=America/Los_Angeles:20250409T235959
DTSTAMP:20260608T002941
CREATED:20250315T024059Z
LAST-MODIFIED:20250319T051527Z
UID:8674-1743206400-1744243199@www.h-r.la
SUMMARY:BUL
DESCRIPTION:Opening reception and book launch: Saturday\, March 29\, 6 – 9pmClosing performance: Wednesday\, April 9\, 7:30pm  \n\n\n\nBUL is a multi-media installation of Christine Yerie Lee’s experimental rock opera BUL (2023) and its newly completed sequel SWAN SONG (2025). This ongoing project is inspired by both the Korean folktale of the Bulgasari\, an iron-eating monster who liberates the oppressed by devouring the weapons of the corrupt\, and the North Korean film Pulgasari (1985)\, a Godzilla-esque work that was directed by South Korean Shin Sang-Ok while being held captive by North Korean leader Kim Jong Il. BUL reimagines the ancient monster and forms an untimely meditation on ancestry\, kinship\, and what the future owes the past. \n\n\n\nWritten in five acts\, BUL (2023) reimagines the monster as an orphan named BUL who finds herself in the throes of love in the City of Angels. Through pastiches of 20th century cultural forms such as the pop song\, black box theater\, and music videos\, BUL shapeshifts through different dimensions to survive the changing times. The project includes personal memoir\, collaborative scores\, choreography inspired by communist political gestures\, and an original soundtrack. Lyrics were crowdsourced from Lee’s community then stitched into a collective sonic love history by LA-based band muff. \n\n\n\nWhile BUL is built upon the harmonic melodies and lyricism of pop songs\, SWAN SONG gear-shifts into dissonance and glitches as modality. Conceived as an instrumental opera and visualized as a silent film\, SWAN SONG depicts an intergenerational encounter between a now world-weary BUL and her estranged human great-great-great-granddaughter\, CY at the Salton Sea in Imperial County\, California. Their transmission is expressed in a “monster language” composed of ancient and contemporary instrumentation and movement choreography. BUL’s voice is expressed through the saenghwang\, an ancient Korean free reed mouth organ said to echo a phoenix’s cry\, while CY is voiced by the harmonica\, an instrument that descends from the saenghwang. The soundscape merges the Korean folk tradition of pansori (musical storytelling) and the American blues\, and evokes an imaginative ancestral lineage and dialogue between past\, present and future. \n\n\n\nThe final act features five performers enacting shifting poetics of relations by using the languages of synchronized animal movements (starling murmurations\, ant death circles\, locust swarms)\, pop culture (the wave\, line dancing)\, traditional Korean dance\, and also choreography that references and abstracts geopolitical borders between the U.S.\, Russia\, China\, North Korea\, and South Korea. If BUL focuses on the ecstasies and tragedies of the relationship between self and other\, SWAN SONG complicates the desire to belong to something greater than oneself by asking: Where do the self and the collective body begin and end? Who defines a border? How do we become borderless? \n\n\n\nThe opening reception will also host the book launch of BUL (2025) published with FRIEND EDITIONS (New York). The exhibition closes with the open-mic event “Bulgasari LA” with permission from original event founder Lee Han-joo. Bulgasari events began in Seoul in 2003 and are an ongoing showcase of experimental music\, avant-garde art collaborations\, and improvisational performances. \n\n\n\nThe project was funded in part by the College Art Association’s Visual Arts Fellowship\, multiple grants from the California Institute of the Arts\, and the Foundation for Contemporary Arts Emergency Grant. BUL is organized by Ajani Brannum.
URL:https://www.h-r.la/event/bul/
LOCATION:CA
CATEGORIES:exhibition,music/sound,performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/03/bul_flyer-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250312T193000
DTEND;TZID=America/Los_Angeles:20250312T210000
DTSTAMP:20260608T002941
CREATED:20250218T190512Z
LAST-MODIFIED:20250526T003148Z
UID:8651-1741807800-1741813200@www.h-r.la
SUMMARY:Héctor Álvarez: The School of Memory
DESCRIPTION:Free admission ($5-20 suggested donation); click here to RSVP \n\n\n\n\n\n\n\nA participatory performance-lecture by Héctor Alvarez\, with Juniper Jones \n\n\n\nThe School of Memory is now in session. But this is no ordinary classroom. Here\, memory becomes both subject and teacher. Through storytelling and guided reflection\, The School of Memory transforms personal genealogy into a collective exploration of how we carry—and sometimes bury—our inherited histories. \n\n\n\nDrawing from his family’s complex relationship with Spanish Fascism and a propagandistic 1970s Franco-era television show\, Alvarez weaves together intimate narrative and participatory exercises that invite audiences to excavate their own familial and national histories. Together\, we’ll illuminate the shadows where untold stories reside\, examining not just who we remember\, but what we choose to forget—and why. \n\n\n\nHéctor Alvarez is an experimental artist from Spain working in performance\, theater\, film\, and opera. His work has been presented in Madrid\, Chicago\, New York\, Los Angeles\, Hong Kong and Mexico City. He is a Princess Grace Award Winner\, Drama League Directing Fellow\, Watson Fellow\, and was the Theodore U. Horger Artist-in-Residence in the Performing Arts at Lehigh University in 2023-2024. He now lives in Atlanta\, where he is assistant professor of Theater Studies at Emory University. \n\n\n\nThe School of Memory has been awarded the 2024 Humanity in Action Democracy Fellowship. This program brings together remarkable thinkers and doers from across the European Union\, Ukraine\, the United Kingdom\, and the United States. Fellows spend one year developing projects that reimagine democratic spaces while exploring the politics of memory.
URL:https://www.h-r.la/event/hector-alvarez-the-school-of-memory/
LOCATION:CA
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/02/School-of-Memory-Image-.001.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250310T000000
DTEND;TZID=America/Los_Angeles:20250319T235959
DTSTAMP:20260608T002941
CREATED:20250305T193211Z
LAST-MODIFIED:20250526T003029Z
UID:8659-1741564800-1742428799@www.h-r.la
SUMMARY:HRLA Studies: Law and Political Economy Now
DESCRIPTION:HRLA Studies: Spring 2025presents Law and Political Economy NowMonday\, March 10; Monday\, March 17; Wednesday\, March 196 – 9pm \n\n\n\nA conversation with lawyer and professor Kathleen Kim on the state of law\, (un) justice and political economy in the current circumstances. \n\n\n\nParticipants of this study are encouraged to bring their questions regarding the fast and profound changes in government in the past few months\, and their impact in everyday life. \n\n\n\nKathleen Kim is a Professor of Law at LMU Loyola Law School (LLS) where she recently completed her term as the inaugural Associate Dean of Equity & Inclusion. She co-founded LLS’s Anti-Racism Center (LARC)\, the Loyola Immigrant Justice Clinic (LIJC)\, and serves as faculty advisor for LLS’s Law and Political Economy Chapter and Immigration Law Society. An expert on immigrants’ rights and forced labor\, Prof. Kim co-authored the law professor amicus brief in Trump v. California\, to defend California’s sanctuary laws. Her scholarship examines the Thirteenth Amendment and its relationship to immigration\, workplace rights\, and civil rights through the intersectional lens of race\, gender\, and class.  Her most recent publications include Critical Immigration Legal Theory\, Boston University Law Review (2024) and Feminist Judgments: Immigration Law Opinions Rewritten (Cambridge University Press\, 2023). \n\n\n\nVisit this link for more information about Kathleen Kim’s legal practice. \n\n\n\nHRLA Studies –– Free of cost –– No RSVP –– Come share and take some home
URL:https://www.h-r.la/event/hrla-studies-spring-2025/
LOCATION:CA
CATEGORIES:seminar/workshop
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/03/IMG_9849-1-scaled.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250218T180000
DTEND;TZID=America/Los_Angeles:20250309T180000
DTSTAMP:20260608T002941
CREATED:20250127T150151Z
LAST-MODIFIED:20250306T173100Z
UID:8641-1739901600-1741543200@www.h-r.la
SUMMARY:Cristóbal Gracia - Paladio / Palladium
DESCRIPTION:Opening February 18\, 6-8pmGallery hours: Saturday and Sunday\, 12-5pm \n\n\n\n\n\n\n\nIn this video\, Cristóbal Gracia digs into futurist mythologies to offer a critical characterization of the identity drive: a product? an artifice? a ritual of seduction? Perhaps\, simply\, a speculative dance to captivate the gaze of the great Other. \n\n\n\nEn esta pieza de video\, Cristóbal Gracia excava en mitologías futuristas para ofrecer una caracterización crítica de la pulsión identitaria: ¿un producto? ¿un artificio? ¿un ritual de seducción? Quizás\, simplemente\, una danza especulativa para cautivar la mirada del gran Otrx. \n\n\n\n \n\n\n\n \n\n\n\nAt the beginning of this century\, a unique spectacle took place at the Palladium club in the port of Acapulco. A ritual that brought together visitors from the upper middle classes of Mexico as well as spring breakers who\, knowingly or not\, had inherited the exotizing impulse of beatnik poetry. What they witnessed was a kind of postmodern black mass\, where nostalgia for pre-Columbian grandeur and the certainty of a futuristic dystopia were intertwined. At the center of it all\, a prehispanic warrior with silver skin holding a torch in his hand. His mouth repeated a dark litany\, full of references to science fiction films\, video games and comic books. With it he prepared his body for the frenzy that lit up the night with neon lights and strobes\, merging with the decades of splendor of Acapulco\, the tourist destination par excellence of the Mexican republic; a glory that already had its days numbered. \n\n\n\nIn this video installation\, Cristóbal Gracia brings back the mythical show of the Azteca de Plata (Silver Aztec) to offer a critical characterization of the identity drive. First\, by showing the laborious protocols of prior preparation and subsequent cleaning\, it is possible to see the degree of artificiality and effort required to embody a construction of this type. As a result\, what is obtained is an ideal\, both physical and political\, impossible to sustain in a prolonged manner: the existence of this Promethean being is ephemeral by definition. On the other hand\, by recreating this spectacle on at least three levels—on camera\, replicated by one of the multiple imitators of the original show and with the presence of the action figure inspired by it—Gracia points out the impossibility of keeping intact the narratives that seek to define human groups; each iteration generates difference\, nothing remains identical to itself. \n\n\n\nLet’s be clear: this appeal to the founding myths of Mexican identity was detonated to enrich the leisure of external gazes to this tale. And perhaps the greatest confrontation of this installation takes place thanks to the silence and solitude that surround the warriors because\, in their absence\, the gaze of the Other takes on all its weight. What remains\, then\, of this founding narrative when the bodies that wear themselves out to embody it do so for external enjoyment: a product? a caricature? an artifice? a toy? a ritual of seduction? \n\n\n\nFinally\, Gracia also draws our attention to the pictorial and performative gestures involved in the production and deployment of this speculative dance. In doing so\, he reminds us of the role that art history has played in the construction of identity narratives of nation-states in the West. But\, above all\, he accurately points to the prominence that identity affirmation has in current political art. Thus\, Gracia neither condemns nor celebrates. On the contrary\, in the same way as happened during those nights in Acapulco\, he invites us to dance a silent dance with that demon that is all identity. \n\n\n\nGustavo A. Cruz Cerna
URL:https://www.h-r.la/event/cristobal-gracia-paladio-palladium/
LOCATION:CA
CATEGORIES:exhibition,screening
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/01/invite_HR-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250129T190000
DTEND;TZID=America/Los_Angeles:20250129T230000
DTSTAMP:20260608T002941
CREATED:20250123T063201Z
LAST-MODIFIED:20250526T003248Z
UID:8627-1738177200-1738191600@www.h-r.la
SUMMARY:DOCUMENT NO.007 : LUNAR NEW YEAR EDITION
DESCRIPTION:Altima Down presentsDOCUMENT NO.007 : LUNAR NEW YEAR EDITION \n\n\n\nLive  PA:Touriszt (Berlin\, DE)Midnight Climax (Berlin\, DE)SpiderwrapProsperityPatrick Durkin \n\n\n\nVinyl Selections by:DJ Stolen Valor \n\n\n\nVisuals by:Lucid Interval \n\n\n\nProceeds raised will be donated to the SGV Humane Society. \n\n\n\nSliding scale $10 – $20
URL:https://www.h-r.la/event/document-no-007-lunar-new-year-edition/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:music/sound
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/01/documentno007pre1oig-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250128T193000
DTEND;TZID=America/Los_Angeles:20250128T220000
DTSTAMP:20260608T002941
CREATED:20250116T203646Z
LAST-MODIFIED:20250117T232838Z
UID:8619-1738092600-1738101600@www.h-r.la
SUMMARY:PUBLIC SPEAKING WORKSHOP with Page Person
DESCRIPTION:Sign up for the workshop here  \n\n\n\nPurpose: To find comfort in public speaking \n\n\n\nPART ONE – THE 5 POINT PLANThe first half of the event will be a lecture by Page Person on a variety of techniques they havelearned in order to become a confident public speaker. These are arranged in five maincategories:1. Self image: Participants will be encouraged to remember that when they are in a position tospeak publicly\, it is because they are knowledgeable on the topic. We help people by sharingour experience on a topic we are experienced and engaged with. People want to learn from us.People want to see us do well. What affirming language can we use about ourselves toeliminate negative self talk? How can we locate the best version of ourselves when we look inthe mirror? What article of clothing makes us feel powerful? How will we reward ourselvesafterwards?2. Physical techniques: Participants will be guided through somatic techniques includingbreathing exercises and physical grounding to negotiate the physical sensations that arise whenwe are about to do something we are afraid to do. By maintaining a practice of intentionalbreathing in our daily lives we can apply these tools to manage the way we feel when weexperience stress. Adrenaline is your friend and helps with memory – we all experiencesensations before we go before an audience. Naming this sensation “fear” or “stagefright”causes us to spiral into panic. Creating a new paradigm\, with the understanding that this energywe feel will be most useful to us while we are speaking\, can help diminish the fear response.Your body language affects how you are perceived.3. Composition: Writing for the spoken word is fundamentally different than writing for the page.In this section we will discuss creating an outline to work from\, making a diagram of points wewant to make and ensuring that all of our words are supporting these concepts. We will discusscallbacks\, repetition\, and ending on a memorable note.4. Mnemonics: How will you remember what you are going to say? A series of visualizationtechniques (constellations\, memory palace\, physical gestures) combined with rewriting keypoints by hand help us feel confident in delivering our material with minimal dependence onwritten notes. Improving one’s memory skills will increase one’s ability to make eye contact andconnect with audience members. Think of how easy it is to learn the lyrics of a song: the songhas a structure that connects repeated memorable elements. How can we find a similarapproach to public speaking?5. Delivery: Participants will be encouraged to speak in their own plain language. Often we feel apressure to be perceived as funny or smart and reach for language that does not feel natural forus. When our mouth gets ahead of our thoughts we tend to resort to filler words (um\, uh\, so yeah\, like) which has the opposite effect. We tend to speak too quickly to be understood inrooms that have echoes. Intentional pauses give your audience time to absorb a point you havemade. Don’t try to make a joke if you are not funny! If you do make a joke make sure to pausefor laughs. Deliver a complete thought to one person in the audience. Look for who is payingattention to you and reflect that back. If your audience thinks you could check in on them at anytime they are far less likely to fall into distraction. Things will go wrong! It’s ok! Be thankful foryour listeners’ attention. Rehearse\, rehearse\, rehearse: don’t practice until you get it right\, do ituntil you can’t get it wrong. \n\n\n\nPART TWO – INTO ACTIONIn the second half of the event\, participants will put these techniques into action through a seriesof prompted exercises. By having these experiences in a more informal setting\, they will be ableto form memories of public speaking experiences in which they are supported in reachingbeyond their current comfort level.-looking into the mirror and liking oneself-breathing and grounding exercises-owning the stage/physical confidence-creative visualization-introducing oneself-introducing others-speaking extemporaneously (draw a topic out of a hat and speak on it)-speaking from written notes on an area of personal expertise (write a paragraph on somethingyou know about) \n\n\n\nOutcome: Participants will have a set of tools that they can apply to feel confident in publicspeaking. Concepts will be put into action to create an experience set based in positivereinforcement. The workshop is intended to be enjoyable\, with the goal of looking forward tosharing our knowledge and experience with an audience.
URL:https://www.h-r.la/event/public-speaking-workshop-with-page-person/
LOCATION:CA
CATEGORIES:seminar/workshop
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/01/unnamed-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250102T000000
DTEND;TZID=America/Los_Angeles:20250109T235959
DTSTAMP:20260608T002941
CREATED:20241203T205616Z
LAST-MODIFIED:20250526T003102Z
UID:8580-1735776000-1736467199@www.h-r.la
SUMMARY:Underwear Shopping Spree
DESCRIPTION:Community screening: Friday\, January 3\, 7pmClosing reception: Thursday\, January 9\, 7pm \n\n\n\nOpen gallery hours: Thursday\, January 2 – Sunday\, January 5: 1 – 6pmMonday\, January 6: closed Tuesday\, January 7: 3 – 6pm \n\n\n\nSome of your underwear has holes.Protect your bone marrow! Protect your stem cells! Plug the holes!If you’re too slow\, you will become irradiated. If you’re successful\, win a shopping spree and compete for the high score. \n\n\n\nComposed of soft sculpture and interactive projection\, Underwear Shopping Spree is about fabrics that protect the wearer from extreme weather. Begun during the now yearly hottest summer on record\, the work was born from the delirious feeling of being dehydrated\, irradiated\, and overexposed.  \n\n\n\nA community screening will take place on Friday\, January 3 at 7pm. Short films about the weather and the sun from local independent filmmakers will be shown. A closing reception will be held on Friday\, January 9 from 7 to 10pm\, and will include live performance. Full lineup TBA. \n\n\n\nAnnapurna Kumar is a filmmaker based in Ventura County\, California. She is formally trained in animation\, and was taught to machine sew by her mother and grandmother. After spending a year designing digital clothing for a previous short film\, she is now sewing IRL underwear\, soft sculpture\, and quilts.Annapurna is a Visiting Lecturer at UCLA Design Media Arts and a Special Faculty Member in the CalArts Experimental Animation Department. She is an alumni of the Yaddo Residency (2023)\, Wedding Cake House Residency (2024)\, and The Independent Imaging Retreat / Film Farm Residency (2019). Her most recent short film\, Mirror Products Catalog\, premiered at the Walker Art Center. She is currently collaborating on an illustrated memoir for the experimental animator Paul Vester.
URL:https://www.h-r.la/event/underwear-shopping-spree/
LOCATION:CA
CATEGORIES:exhibition,screening
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/12/Underwear-Shopping-Spree-Website-JPG.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20241229T183000
DTEND;TZID=America/Los_Angeles:20241229T210000
DTSTAMP:20260608T002941
CREATED:20241203T204621Z
LAST-MODIFIED:20250128T030521Z
UID:8575-1735497000-1735506000@www.h-r.la
SUMMARY:internal monologues
DESCRIPTION:Free entry; doors at 6:30pm\, screenings at 7pm \n\n\n\ninternal monologues’ is a screening event organized by Hea-Mi Kim that draws themes from Samuel Beckett’s seminal work\, Not I. Beckett uses unconventional storytelling and internal dialogue to tell a story of a woman who has suffered trauma. The older woman discusses four distinguishable violent events from her life after being mute since she was a child. Inspired by Beckett’s fast-paced monologue\, which shifts between discernible and indiscernible language\, this program will include work by Adrian Abela\, Sophia Berman\, Véra (V) Haddad\, Gerald Martindill\, and Sam Richardson. Similar to Beckett\, these artists also use language\, movement\, and closeup shots of the body to tell a story.  \n\n\n\nThe order of the program will be Not I (Samuel Beckett)\, Grapefruit Blvd. (Gerald Martindill)\, -logues (Sophia Berman)\, the feeling when (Véra (V) Haddad)\, 13 Seconds (Sam Richardson)\, and SOFT TONGUE | HARD TEETH (Adrian Abela).
URL:https://www.h-r.la/event/internal-monologues/
LOCATION:CA
CATEGORIES:screening
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2024/12/internal-monologues-2.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20241215T170000
DTEND;TZID=America/Los_Angeles:20241215T183000
DTSTAMP:20260608T002941
CREATED:20241212T223547Z
LAST-MODIFIED:20250128T030405Z
UID:8590-1734282000-1734287400@www.h-r.la
SUMMARY:Rocío Boliver in conversation
DESCRIPTION:This conversation will take place over zoom. Please register this link to join. \n\n\n\nRocío Boliver (La Congelada de Uva) will be joined by John Bartel and Amelia Jones to discuss her performance practice. The conversation will specifically focus on two works performed in Los Angeles\, her 2015 Valentines Day performance at HRLA with Thibault Delferière\, The Sea Anemone and the Hermit Crab; and Where is the Beauty? a performance earlier this year at Catch One\, organized by the Performance Art Museum. \n\n\n\nVideo of entire performance of The Sea Anemone and the Hermit Crab: https://vimeo.com/121222646 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRocio Boliver\, Where is the Beauty\, 2015\, Photographs taken by Christopher Wormald courtesy of the Performance Art Museum \n\n\n\n \n\n\n\n“If for some theorists the Performance is “the most radical of the arts”\, the actions and themes that Rocio Boliver\, La Congelada de Uva (Grape Iced Bar)\, has carried out during more than thirty years\, places her in the most radical wing in the history of the called Art of the Body\, in Mexico. Her body art explains how the Dadaist spirit of the happening and of the boutade\, takes possession of Rocio Boliver’s personality until turning her into her more tenacious and brilliant emissary: La Congelada de Uva. Situationist leader of the Epiphenomenon of sexual character in Mexico\, La Congelada openly exhibits her dangerous vision of the feminism\, and places her exotic genitality in the center of her speech. La Congelada de Uva is a lasting icon of the underground culture in Mexico City. Besides being a fundamental piece for the full comprehension of this MeToo and movement\, it is a fact that\, at least\, we already owe to her the creation of some of the most delirious and provocative images in the field of the Art in Mexico.”  –  Rubén Bonet
URL:https://www.h-r.la/event/rocio-boliver-in-conversation/
LOCATION:CA
CATEGORIES:panel/conversation
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/12/Rocio-Zoom-6.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20241209T000000
DTEND;TZID=America/Los_Angeles:20241216T235959
DTSTAMP:20260608T002941
CREATED:20241204T191213Z
LAST-MODIFIED:20250526T003312Z
UID:8586-1733702400-1734393599@www.h-r.la
SUMMARY:HRLA Studies: Indigenous Sound Matter - Resonating Futures
DESCRIPTION:Free of cost –– No RSVP –– Come share and take some ideas home \n\n\n\nHRLA Studies Fall 2024 – December SessionIndigenous Sound Matter: Resonating Futuresby Alan Poma \n\n\n\nDecember 9\, 11 & 166 – 8:30pm \n\n\n\nThis workshop explores the use of sound as a medium to investigate Indigenous temporalities. Over the course of three sessions\, participants will examine pre-Columbian myths and colonial chronicles where sound interacts with matter and animated space. This exploration will highlight sound’s potential as a tool for social and cultural transformation\, approached from a perspective that engages with matter and time. Through hands-on exercises\, participants will craft narratives that connect ancestral traditions with non-linear temporalities.
URL:https://www.h-r.la/event/hrla-studies-indigenous-sound-matter-resonating-futures/
LOCATION:CA
CATEGORIES:seminar/workshop
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/12/Alan-Flyper_Draft_2_free-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20241206T000000
DTEND;TZID=America/Los_Angeles:20241222T235959
DTSTAMP:20260608T002941
CREATED:20241120T172153Z
LAST-MODIFIED:20250526T003332Z
UID:8554-1733443200-1734911999@www.h-r.la
SUMMARY:Structures of Feeling
DESCRIPTION:Opening: Friday\, December 6\, 6 – 9pmGallery hours: Friday – Sunday\, 12 – 6pm or by appointmentStructures of Feeling is a group exhibition featuring Jamil Baldwin\, Janna Ireland\, Arlene Mejorado\,Luis Motta\, Adee Roberson\, Polo Silk\, Jennifer Teresa Villanueva and Al-Ameen Archives organized byKeko Jackson. It considers works that are made using family photographs as material and the afterlives of these images as they move from in-to-outside the home.Historically\, photographs have played a role in affirming family values. As a tool they have beenimplicated in the standardization of the nuclear model which includes its familial structures\, roles\, valuesand aesthetics. Despite any single definition\, families can sometimes be a sustaining or punishinginstitution\, but they are always constitutive. Inside the home\, the photos may act as highly social devicesactively constructing memories and relationships in order to come to terms with one perspective of living\,eventually growing to become important sources for a material and affective understanding of history.A comprehensive history however is never the aim of the family photograph or album. Individual storiesin and of themselves aren’t right or wrong\, but we run a risk when just considering a single version. Intheir afterlives\, these images together can complement or complicate the past and bring forth insightsfrom the average and ordinary. Disconnected from their original sources they become reinterpreted ascultural texts—cultural not just informed by an economic base\, but collectively produced over time.Raymond Williams shares the phrase “structure of feeling” which helps to describe the impact of theafterlives of family photographs and how feelings are evoked in a belated but emergent stage as bothsocial and material. Feelings that suggest an incoherency that instead must be inferred by reading between the lines.The works in this exhibition challenge us to find other ways to talk about photography and the problem ofinterpretation. Together they acknowledge\, explore and trouble cultural genealogies as well as systems ofvalue\, familial and otherwise\, both locally and globally. What these images guarantee is somethingunpreservable in that they are unable to do what we want. They cannot preserve the things we want themto and at some point\, both the image and the memory will be gone.D says the image of the ocean is lodged in her\, coming from Guayaguayare at the southernmost tip ofTrinidad. Coming from the northwest corner of a four-way intersection in Wayne\, Pennsylvania\, I wonderwhat image is lodged in me. -Christina Sharpe \n\n\n\nThe exhibition will include a screening of short films organized by Andrea C. Nieto and EmiliannaVazquez exploring related topics. The screening will take place Saturday\, December 14 at 6pm\, with theprogram of titles forthcoming. It will be free and open to the public with a suggested donation of $10.
URL:https://www.h-r.la/event/structures-of-feeling/
LOCATION:CA
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/11/Headerimage-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20241201T180000
DTEND;TZID=America/Los_Angeles:20241201T210000
DTSTAMP:20260608T002941
CREATED:20241123T004817Z
LAST-MODIFIED:20250128T030221Z
UID:8568-1733076000-1733086800@www.h-r.la
SUMMARY:BEINGS IN PROGRESS
DESCRIPTION:BEINGS IN PROGRESS  \n\n\n\nThis event is a space to share unfinished works without judgment\, for artists seeking a momentary instance of community among strangers. This gathering is intended especially for those who may feel alienated from institutional forms of art critique\, are needing structure and routine in practice\, and those nurturing projects in a vulnerable stage of needing fresh yet compassionate eyes. \n\n\n\nOrganized by six emerging media artists\, Beings in Progress is an effort to grow our art practices beyond traditional paradigms and institutions that are prone to failure in times of crisis. This event is open to anyone who feels called to participate\, and is interested in a communally-shaped creative process. \n\n\n\nCo-facilitator Sagan Yee\, a games artist and organizer from Canada\, will start us off by giving a brief offering of experimental workshop techniques inspired by speculative fiction writers’ circles. We will de-emphasize non-capitalist language (“I’m not sold”\, “I don’t buy it”\, or “I’m not invested”) and focus on the needs of the artist rather than the demands of the critic\, and share work-in-progress in a grassroots\, informal setting without the hierarchical biases of an art school crit session. \n\n\n\nNext\, participants may sign up karaoke-style to take the floor for 5 to 10 minutes. Connect your laptop\, or send us your slides in advance. Share something you’re working on\, or thinking of working on\, or an idea you’ve abandoned but which may hold the seeds of future projects. Feel free to share a finished piece of art\, or a burning research question\, a call to action\, or something else entirely. You may be empowered to ask the group directly for feedback\, or just bask in the collective glow of appreciation and encouragement. Non-presenting observers are welcome! \n\n\n\nFinally\, the room will open for discussion and informal gathering. Light snacks will be provided. \n\n\n\n👉🏽 SIGN UP IN ADVANCE: https://forms.gle/MgQCrAnsNKjiunhj9 \n\n\n\nFacilitators: Sagan Yee and Stamatis Hamouzas \n\n\n\nOrganizers: Chelly Jin\, Rowena Kou\, Sadia Quddus\, Sagan Yee\, Stamatis Hamouzas\, and Xiner Lan
URL:https://www.h-r.la/event/beings-in-progress/
LOCATION:CA
CATEGORIES:one-time event at HR,seminar/workshop
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/11/HR-WEB_01.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20241130T200000
DTEND;TZID=America/Los_Angeles:20241130T223000
DTSTAMP:20260608T002941
CREATED:20241128T232450Z
LAST-MODIFIED:20250526T003408Z
UID:8571-1732996800-1733005800@www.h-r.la
SUMMARY:First Draft
DESCRIPTION:First Draft is an evening of experimental works in process for Los Angeles based performing artists. This season’s lineup includes Jeremy Guyton\, Katherine Helen Fisher\, Eleanor Erdman (with Laura Bartczak and Kendra Adler)\, and William Ruíz Morales​. Purchase tickets here.
URL:https://www.h-r.la/event/first-draft-4/
LOCATION:CA
CATEGORIES:dance/movement,performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/11/IMG_0305-1.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20241123T190000
DTEND;TZID=America/Los_Angeles:20241123T233000
DTSTAMP:20260608T002941
CREATED:20241119T045929Z
LAST-MODIFIED:20250128T030111Z
UID:8548-1732388400-1732404600@www.h-r.la
SUMMARY:Recipes for the End of Empire
DESCRIPTION:untune’s Fall Residency from throughout November includes creatives exploring issues concerning FOOD-history\, insecurity\, sovereignty\, and our modern food system as a colonial one. The group navigates and learns from land\, food access\, mutual aid practices\, indigenous seeds\, ethnobotany\, waste\, and modes of food as study. We aim to expand the ways we might understand “consumption” outside of direct bodily absorption and implicated with an ethos of sovereignty and as a process of becoming bodies\, together. Threaded by this ethos\, we examine our local resources and alternatives strategies to ways governing bodies handle our food system from city infrastructure to public health\, to access to care.  \n\n\n\nThe residency program takes place at Canvas 5025 on Chumash and Tongva land\, located in the San Rafael hills in North East Los Angeles.  We are dedicated to understanding the land we occupy and learning how to better support Indigenous culture and sociocultural history through our stewardship.  \n\n\n\nThe Fall residency cohort includes Rey Reyes\, Michael Bailey\, Bahía Collective\, Anna Cho-Son\, Maryam Hosseinzadeh and Helga Rabieh Fassonaki  \n\n\n\nOn Saturday November 23rd\, Bahía Collective in collaboration with untune’s residency presents Recipes for the End of Empire\, a screening and dinner centered on exploring ‘recipes’ for surviving the colonial project and for healing the world in the times to come. \n\n\n\nJoin us for an evening of films and food as we reimagine the space of the film screening as a sacred\, solitary experience and create a gathering where people are free to talk to each other\, yell back at the screen\, and ask questions as the film plays. \n\n\n\nThe menu consists of four films from Palestine\, Sudan and Martinique and four surprise food courses. Tickets are $25 and all proceeds will be donated to mutual aid funds in Gaza and Sudan.  \n\n\n\nGet your TICKETS from WithFriends. We hope to see you there!Doors open at 7\, dinner & screening at 7:30pmBahía Collective – Bahía Collective is a group of filmmakers\, artists\, and curators from South Africa\, Palestine\, Cuba\, Mexico\, India\, and Russia\, focused on collaborative practice and community building. Through our curations and events—both virtual and in-person—we create spaces to gather around cinema in relation to current politics\, food\, music\, and literature. The films we produce and direct are formally explorative and delve into themes of borders\, migration\, memory\, oral histories\, mythologies\, ghosts\, landscapes as protagonists\, physical and virtual realities\, the dark web\, land and territory\, exile\, gender\, ancestry\, and waves.
URL:https://www.h-r.la/event/recipes-for-the-end-of-empire/
LOCATION:CA
CATEGORIES:fundraiser,screening
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2024/11/recipes-no-the-no-text.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20241115T180000
DTEND;TZID=America/Los_Angeles:20241115T200000
DTSTAMP:20260608T002941
CREATED:20241105T230012Z
LAST-MODIFIED:20241107T045039Z
UID:8524-1731693600-1731700800@www.h-r.la
SUMMARY:Disconsent: Faith
DESCRIPTION:A participatory performance by Aliza Shvarts  \n\n\n\nHuman Resources Los Angeles presents Disconsent: Faith\, a one-on-one performance by Aliza Shvarts on Thursday\, November 15 from 6-8pm. This performance is presented off-site. \n\n\n\nSit down and you will hear a story about a time when someone consented or dissented in the context of religion or faith. Then tell this story back\, “reversing” the terms of consent or dissent. This reversal can range from simply replacing the terms used in the original narrative (i.e. replacing “yes” with “no”) to inventing new details entirely. After that\, tell a story of your own about a time you consented or dissented in the context of religion or faith. This will be the story told as accurately as possible to the next person. Your voice will be recorded\, but not your image. \n\n\n\nDisconsent: Faith is a live iteration of Shvarts’ broader Disconsent series\, which examine the relationships between consent\, which often takes the form of a speech act\, and its imperfect opposite—dissent—which often exceeds speech to take the form of silence\, protest\, or other forms of bodily action. \n\n\n\nTo respond to the artist’s invitation & request a time\, please fill out this form. Once we have coordinated appointments\, we will send a confirmation email with details.
URL:https://www.h-r.la/event/disconsent-faith/
LOCATION:CA
CATEGORIES:off-site event,performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/11/Disconsent-Faith-1.jpg
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END:VCALENDAR