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DTSTART;TZID=America/Los_Angeles:20261110T200000
DTEND;TZID=America/Los_Angeles:20261110T235500
DTSTAMP:20261103T191350Z
CREATED:20261103T190522Z
LAST-MODIFIED:20261103T191350Z
UID:10800-1794340800-1794354900@www.h-r.la
SUMMARY:Unnatural Beauty (Experimental\, Durational\, Non-Cover Covers)
DESCRIPTION:tickets\, notaflof \n\n\n\nLong form durational explorations of contemporary music  \n\n\n\nNon-cover covers \n\n\n\nMeditations on themes and dynamics in beloved works \n\n\n\nExperiments with our own crafts and modes through the lens of others creations  \n\n\n\nWith: \n\n\n\nJulius Smack \n\n\n\nHowls Road \n\n\n\nSehseiyah \n\n\n\nCaedmon \n\n\n\nIssac Sherman \n\n\n\nPeekaboo \n\n\n\nParticle Girl \n\n\n\nJosephine Sugnavati \n\n\n\nAlex Lichtenauer \n\n\n\nTyler Holmes \n\n\n\nRussia \n\n\n\nDeJoiré \n\n\n\nTravis D \n\n\n\n& more \n\n\n\nExploring works by Kelela\, Alice Coltrane\, and Russia
URL:https://www.h-r.la/event/unnatural-beauty/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20261107T200000
DTEND;TZID=America/Los_Angeles:20261108T180000
DTSTAMP:20261102T212337Z
CREATED:20261021T220921Z
LAST-MODIFIED:20261102T212337Z
UID:10770-1794081600-1794160800@www.h-r.la
SUMMARY:GRAVES\, HOLES\, AND MYTHOGRAPHIES 
DESCRIPTION:Film and performance by Vitreous Chamber \n\n\n\n-Malic Amalya and Nathan Hill- \n\n\n\nTwo nights of film and live sound performance  \n\n\n\nGRAVES & HOLES ◆ SATURDAY\, NOVEMBER 7 — 8PM  \n\n\n\nA night to worship at Vaseline graves\, descend into holes\, and rest toward the death of cinema \n\n\n\nMYTHOGRAPHIES ◆ SUNDAY\, NOVEMBER 8 — 6PM  \n\n\n\nA political and sober excavation of myth\, living lessons and your first breath on Mars \n\n\n\n◆ \n\n\n\nVitreous Chamber is the audio/visual collaboration between Malic Amalya and Nathan Hill.  \n\n\n\nTogether they make experimental films and videos with electronic musical scores. Visceral and cacophonous\, their work traverses gritty landscapes of abandoned buildings\, blast zones\, and back rooms. They burn 16mm film\, smear Vaseline on camera filters\, and circuit bend electronics.  \n\n\n\nThe duo has been collaborating since 2014. They co-direct as well as provide integral visual and technical assistance on individually directed projects. Malic specializes in 16mm filmmaking\, while Nathan’s expertise lies in analogue video and synthesizer music production.  \n\n\n\nMalic and Nathan’s works have screened throughout the US and Europe. Their 16mm film Vaseline is distributed by Collectif Jeune Cinéma in Paris and has screened in Light Field (San Francisco)\, Anthology Film Achieves (NYC)\, Onion City (Chicago)\, the Berlin Porn Film Festival (Germany)\, and Le Cirque Électrique (Paris). They have performed Towards the Death of Cinema in the San Francisco Cinematheque’s Perpetual Motion series\, in the MIX NYC Experimental Queer Film Festival\, at Microlights in Milwaukee\, and at Nightingale Cinema in Chicago.  \n\n\n\nIn 2018\, Malic and Nathan were resident artists at Signal Culture. Their video Magnetic Resonance won an Audience Choice Award at the 2016 San Francisco Cinematheque’s Crossroads Artist-Made Film and Video Festival. 
URL:https://www.h-r.la/event/graves-holes-and-mythographies/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20261106T200000
DTEND;TZID=America/Los_Angeles:20261106T230000
DTSTAMP:20261027T232303Z
CREATED:20261026T071220Z
LAST-MODIFIED:20261027T232303Z
UID:10790-1793995200-1794006000@www.h-r.la
SUMMARY:Leila Bordreuil / Twig Harper / Elif Dinçer
DESCRIPTION:UPEND Presents \n\n\n\nLeila BordreuilTwig HarperElif Dinçer \n\n\n\nLeila Bordreuil – the astounding Brooklyn-based cellist and composer from France – corrals feedback with shredder moves\, stretching it out\, far out. From delicate play on the thresholds between tonality and atonality to aggressive scrape and scrunch\, her solo sets on amplified cello are full frequency affairs. These excursions not only plumb the possibilities of the instrument\, but also the resonances of the architecture in which they are aired. \n\n\n\nAn active force in New York’s most forward improvising and composing scenes\, Bordreuil tours extensively\, and has collaborated with a wide gamut of key players including Kali Malone\, Laurel Halo\, Tamio Shiraishi\, Michael Foster\, Chris Corsano\, Bill Nace\, Luke Stewart\, and Lee Ranaldo. \n\n\n\n“Bordreuil’s music accesses concepts from noise\, free jazz\, contemporary classical and other experimental traditions but adheres to no single genre. Mixing melancholic cello melodies with harsh noise walls\, she creates “steadily scathing music\, favoring long and corrosive atonalities.” (New York Times). Driven by a fierce interest in pure sound and inherent texture\, Leila challenges conventional cello practice through extreme extended techniques and amplification methods\, to the extent she sometimes seems to be playing the P.A rather than her cello.” \n\n\n\nThis dream gig also features solo sets from a couple L.A. heads. System trickster TWIG HARPER brings fresh cybernetic moves into his post-concrète carnival of sound\, and harpist ELIF DINÇER opens the show with her clever (and microtonally-forward) improvisations and inventions. \n\n\n\n[[ Advance tickets available via Pools ]]
URL:https://www.h-r.la/event/leila-bordreuil-twig-harper-elif-dincer/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20261105T203000
DTEND;TZID=America/Los_Angeles:20261105T213000
DTSTAMP:20261024T223857Z
CREATED:20261022T021750Z
LAST-MODIFIED:20261024T223857Z
UID:10784-1793910600-1793914200@www.h-r.la
SUMMARY:SONANCE NO.1
DESCRIPTION:tickets \n\n\n\nSONANCE NO.1 is a 30-minute musical performance featuring a group of collaborating musicians\, composed for an audience of humans and plants. \n\n\n\nCould a musical performance be composed not only to be heard\, but to physically participate in the life of another organism? Shall we play the sound of a caterpillar mucnching ? or a Bee buzzing?   \n\n\n\nSONANCE NO.1  invites plants to occupy seats alongside human audience members. Together\, they will attend a musical performance in which human reception is no longer the sole measure of the experience\, and performers are invited to play for plants whose ways of receiving and responding to sound are uniquely their own. \n\n\n\nSONANCE NO.1  asks us to reflect on who or what we make things for\, and what it means to attend to the living beings with whom we share space. \n\n\n\nGuests are invited to bring a plant\, share the audience with a gathering of living plants\, and to consider what it might mean to listen alongside another species. \n\n\n\n-Jazmin Jazzy Romero
URL:https://www.h-r.la/event/sonance-no-1/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20261104T190000
DTEND;TZID=America/Los_Angeles:20261104T213000
DTSTAMP:20260924T002304Z
CREATED:20260922T200823Z
LAST-MODIFIED:20260924T002304Z
UID:10678-1793818800-1793827800@www.h-r.la
SUMMARY:Normal Dreams - Liana Zhen-Ai + Astrid Sonne
DESCRIPTION:tickets \n\n\n\nPretty but Wicked presents Normal Dreams\, a new performance by dancer Liana Zhen-Ai and musician Astrid Sonne. First presented as a part of the Pairings series at La Mama Experimental Theatre Club in New York\, curated and produced by Cameron Sczempka\, now brought to London via Club Cheek and Qu Junktions. Expect never heard before songs\, movement\, noise\, props and a video call from the big apple. \n\n\n\ndoors at 7 and performance at 8 \n\n\n\nAbout Liana Zhen-Ai  \n\n\n\nLiana Zhen-ai is a Brooklyn/London-based dancer and interdisciplinary artist from Los Angeles. She has performed as a soloist with choreographers Holly Blakey\, Andrea Miller\, and Akira Uchida. Her dancing has been featured in Vogue US\, NOWNESS\, and Face Magazine\, and in venues including MoMA\, Lincoln Center\, Southbank Centre\, and Théâtre Chaillot de Nationale. Liana’s work uses the lenses of new materialism and object-oriented ontology to interrogate shame\, nature\, and narrative. Her choreographic practice sits at the intersection of dance\, dramaturgy\, and scholarship\, and her work has been presented at Prototype Festival\, Amant\, Center for Performance Research\, and Green-Wood Cemetery in collaboration with the New York Philharmonic.  \n\n\n\nAbout Astrid Sonne \n\n\n\nAstrid Sonne is a Danish\, London based composer and viola player. Throughout her acclaimed discography\, Astrid Sonne has been carefully crafting different moods through electronic and acoustic instrumental endeavours. On her most recent album Great Doubt (January 2024) this skill is refined\, now with the distinct addition of the composer’s own vocal in the fore. The tone of each track is unmistakably Sonne’s\, structured around contrasts through an impeccable sense of timing. Lyrics on the album are sparse\, merely highlighting different scenes or emotional states of being\, leaving the music to fill in the blanks. Yet they also form a pattern of ambiguity\, consolidated through the album title\, searching for answers through looking at how and what you are asking\, questions for the world\, questions of love.
URL:https://www.h-r.la/event/normal-dreams/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20261030T200000
DTEND;TZID=America/Los_Angeles:20261031T200000
DTSTAMP:20261020T122036Z
CREATED:20260922T233459Z
LAST-MODIFIED:20261020T122036Z
UID:10632-1793390400-1793476800@www.h-r.la
SUMMARY:On the Floor by Théophylle Dcx & Maria Silk
DESCRIPTION:On the Floor marks the first collaboration between Théophylle Dcx and Maria Silk. In this duet\, these two friends attempt to piece together traces of 70s and 80s queer San Francisco. Specifically\, their project explores the legacies carried by dance music genres of the late 70s and 80s (especially disco and hi-NRG) in relation to the early days of the HIV/AIDS crisis. The piece weaves together the links between nightlife\, the virus\, and queer memory\, drawing on materials gathered throughout Dcx and Silk’s research: interviews with DJs and clubgoers\, Patrick Cowley’s music and personal diaries\, live recordings of Sylvester\, practices like flagging and fan dancing\, and ephemera from clubs like the I-Beam and the Trocadero Transfer. Working in relation to this archive\, Dcx and Silk push themselves into altered states induced by dance\, moving through an inner space of hedonism\, exhaustion\, escape\, and discipline.Warning: This performance contains strobe lighting. \n\n\n\nChoreography and Performance: Théophylle Dcx and Maria SilkMusic: Izaak Schlossman Dramaturgical Assistance: Kim Ip and Marion Parigi Lighting Design: gg torres (San Francisco) and Andrew Odom (LA)Production: DIZZYINGStyling: Alfredo RomeroPhoto Credit: Robbie Sweeny \n\n\n\nWith \n\n\n\nStyles Alexander – October 30CAUDA: For a solitary they-goat in West Hollywood is a solo dance-theatre project by Styles Alexander exploring cultural extinction\, erotic desirability\, and the hauntological persistence of counterculture. Reimagining Nijinsky’s faun as a gay cryptid wandering through West Hollywood\, the work considers the body a site of historical haunting: an accumulation of mythology\, choreography and history of erotic transgression–a subcultural survival. \n\n\n\nPart animal\, part cultural-relic the faun is the outsider asking if an obsolete gesture can still produce a rupture. The faun recalls social worlds that once gave these gestures their disruptive force but have since been consumed by an assimilated aesthetic. Can the original demon-twink imbibe in the same pleasures of a world that has commercialized access? Why is the sex-party $100 to enter? Can an animal survive in a world that demands he become a brand? Can desire truly manifest when everyone knows they’re being watched? \n\n\n\nSevyn 0000 – October 31Ahead of her brief return to Los Angeles\, Sevyn 0000 shares work from an upcoming EP project. The Perverse is a collection of original compositions and sound design by the NYC-based artist and musician created in collaboration with Borna Barzin for his theatrical work of the same name.  \n\n\n\nFor this performance\, Sevyn expands the project beyond its original theatrical context\, bringing together experimental sound and body movement that unfolds as a controlled experiment and quickly destabilizes. Exploring the transsexual body as a site of distortion\, vulnerability\, and reinvention\, the work examines the relationship between sound\, flesh\, identity\, and the shifting boundaries of physical representation. Through repetition\, tension\, and transformation\, the performance considers the body not as a fixed form\, but as something continually constructed\, dismantled\, and reimagined. \n\n\n\nTICKETS \n\n\n\nOn the Floor has been supported by the Berkeley Center for the Science of Psychedelics\, Flourish Trust\, and The Center for Interdisciplinary Critical Inquiry’s Psychedelics in Society and Culture fellowship program; the Kenneth Rainin Foundation’s New and Experimental Works (NEW) program; the Zellerbach Family Foundation’s Community Arts program; CounterPulse’s Edge Residency program; as well as residencies at Actoral and the Ballet National de Marseille. \n\n\n\nThéophylle Dcx lives and works in Marseille. His practice is akin to a personal diary. Biographical\, youthful\, and resolutely memorial\, it hyperbolically shares anger\, fatigue\, anxiety\, joy\, desires\, and hopes in the face of a perpetually collapsing world. Social\, political\, and medical catastrophes punctuate the narrative. His work treats the body as an archive and an embodied political gesture\, on which appear the ebb and flow of history\, the stakes of social struggles and the need for emancipation from contemporary normative regimes. His work has been presented at Palais de Tokyo (Paris)\, Datsuijo (Tokyo)\, CounterPulse (San Francisco)\, Art-O-Rama (Marseille)\, and Théâtre Saint Gervais (Geneva). \n\n\n\nMaria Silk is an artist based in San Francisco. Centered on performance\, her practice examines themes of collectivity and friction within queer and trans life as well as received narratives around queer history and identity. Her work draws on over a decade of activity as a drag queen and DJ in San Francisco’s queer nightlife. Silk’s work has been exhibited and performed at Bay Area venues including the Berkeley Art Museum\, the Cantor Center for the Arts\, CounterPulse\, Slash\, and Southern Exposure\, and internationally at Fierce! Festival (Birmingham\, UK)\, and Improspekcije (Zagreb\, Croatia). \n\n\n\nStyles Alexander is a Los Angeles–based transdisciplinary artist\, choreographer\, playwright\, and performer. Trained at Boston Conservatory\, Alexander spent several years developing experimental performance in the San Francisco Bay Area\, including co-founding RUPTURE\, a Black performance collective. Their practice moves between dance\, theatre\, and performance art\, employing absurdity\, mythology\, and theatrical maximalism to investigate desire\, becoming\, and the contradictions of contemporary life. They are currently building an immersive theatre work called TarNation\, supported by the Rainin Foundation and Zellerbach Family Foundation. \n\n\n\nSevyn 0000 is a New York–based DJ\, producer\, and multidisciplinary artist whose practice explores the intersections of sound\, movement\, and performance. Working across experimental electronic music\, sound design\, and composition\, her work builds immersive sonic worlds that investigate intimacy\, repetition\, tension\, and transformation. Drawing from both club culture and experimental performance\, she approaches sound as a physical and emotional experience. \n\n\n\nPerformance organized by Keko Jackson and produced with the help of clara lópez menéndez
URL:https://www.h-r.la/event/on-the-floor-by-theophylle-dcx-maria-silk/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20261022T120000
DTEND;TZID=America/Los_Angeles:20261026T180000
DTSTAMP:20261006T174727Z
CREATED:20261006T025304Z
LAST-MODIFIED:20261006T174727Z
UID:10734-1792670400-1793037600@www.h-r.la
SUMMARY:malavika rao: are there roots where the ground trembles?
DESCRIPTION:“are there roots where the ground trembles?” is a solo exhibition by malavika rao\, featuring ceramics and patchwork installation that considers how a place becomes liveable when permanence is uncertain. \n\n\n\nThe exhibition features a growing population of strange ceramic creature-dwellings: porous structures with alcoves\, openings\, chambers\, and interiors that draw from dollhouses\, earthen and adobe architecture\, and vernacular building traditions. Though empty\, the structures suggest that something has already lived there\, or might be arriving. Patchwork installation made from inherited materials partially enclose the sculptures\, transforming the gallery into a provisional dwelling\, carrying traces of family\, migration\, and the making and remaking of home. \n\n\n\nThe work imagines dwelling in a world shaped by ecological change\, migration\, and shifting relationships to place – where architecture is not simply something we inhabit\, but something that might itself become a neighbor\, a feeling\, a creature\, or a home in the making. \n\n\n\nExhibition on view—October 22nd to 26th\, 2026 12 – 6 PM \n\n\n\nOpening Reception— Saturday\, October 24\, 20266 – 10 PM \n\n\n\nStrange Soft Sculptures (Workshop led by malavika rao)— TICKETS (Sliding scale: $15 – $40)Friday\, October 23\, 20262 – 6 PMJoin us in transforming fabric scraps\, stuffing\, and thread into strange textile forms of their own imagining – with openings\, cavities\, pockets\, appendages\, and unexpected ways of holding and being held. \n\n\n\nAbout malavika rao: malavika rao is a multidisciplinary artist and educator working primarily in painting\, fiber\, ceramics\, and installation. Their practice considers homemaking as a form of worldmaking\, exploring how people construct home\, belonging\, and relationships to place amid histories of migration\, ecological change\, and inherited structures of care. Working across craft and installation\, malavika creates speculative environments that sit between the familiar and the strange\, asking what it means to inhabit a world that is constantly changing. \n\n\n\nmalavika works as an artist and educator in Los Angeles\, where they are invested in building community-based arts programs and creating spaces for people to come together through artmaking. They have taught at Colorado College\, Otis College of Art and Design\, the Armory Center for the Arts\, and LA Tactile Lab\, and have led workshops at CalArts\, Craft Contemporary\, Nova Community Arts\, and Heavy Manners Library. Their community-based work includes the LA Community Solidarity Quilt\, an ongoing collaborative project that brings together artists and community members through collective textile-making. Their work has been exhibited at Coburn Gallery\,  SOMArts Cultural Center\, Yiwei Gallery\, Valence Projects\, Human Resources\, and Venice Art Walk\, among others.
URL:https://www.h-r.la/event/malavika-rao-are-there-roots-where-the-ground-trembles/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20261017T170000
DTEND;TZID=America/Los_Angeles:20261017T213000
DTSTAMP:20260929T064140Z
CREATED:20260910T195831Z
LAST-MODIFIED:20260929T064140Z
UID:10567-1792256400-1792272600@www.h-r.la
SUMMARY:Young Boy Dancing Group
DESCRIPTION:tickets \n\n\n\nYoung Boy Dancing Group performance \n\n\n\n60-80 minutes \n\n\n\nPerformance cast TBA \n\n\n\nNo flash lights\, photography is allowedmay contain fog and/or loud musicentry and exit at anytime is allowed \n\n\n\nYoung Boy Dancing Group was initiated in 2014 as a mercurial performance group. As Spike Magazine wrote: “Since making their debut as a performance group at Paris’s Club Silencio in 2014\, eccentric tactics earning early viral fame have matured into immersive studies in physical intensity\, sensuality\, and extreme absurdity.”  In other words by Sam Max for Culture Bot: ”In their work\, I experience Young Boy Dancing Group as hovering between life and death. The choreography sustains suspension between a quivering\, levitating ecstasy of the body and spirit\, and the inevitable silence of death. None of it is easy\, but we do it anyway\, and the best we can ask for is a collective ritual\, maybe in the form of a dance\, that makes meaning of it all. In this way Young Boy Dancing Group’s language is just like life. It’s as devastated as it is celebratory. The dance is something to be moved through\, despite the constant threat of collapse.”  \n\n\n\nInitiated in 2014\, Young Boy Dancing Group began as a nameless performance collective\, a versatile host embracing an ever-changing network of dancers. Young Boy Dancing Group has worked in video\, photography\, fashion\, sculpture\, and installation but the group remains best known for rawly intimate performances in which the materiality of bodies encounters the ethereality of light. \n\n\n\nNotable performances include Madonna\, Good for the Soul music video (2026); Ephemera Festival\, Warsaw(2026); Teatro del Canal\, Madrid (2026); Schinkel Pavilion\, Berlin (2025); BUoY\, Tokyo (2025); Acs\, Seoul (2025); Eaton\, Hong Kong (2025); Pioneer Works\, New York City (2024); Art Basel\, Basel (2024); Performance Space New York\, New York City\, NY (2024)\, Kim?\, Riga (2024); Rhizome\, New York City\, NY (2024); Dover Street Market\, Paris (2024); Silencio\, Paris (2024); 2024 at Gessneralle Zurich\,  2023 at Mendes Wood DM\, Sao Paulo\, O’Flaherty’s\, New York City\, 2019 at Disappearing Berlin\, Schinkel Pavillon\, Berlin\, BOFFO\, NYC\,  Music festival Ceremonia\, Mexico\, Baltic Triennial\, Tallinn\, Athens Biennial\, Athens\, Performance\, Music festival\, Creepy Teepee\, Kutna Hora. \n\n\n\nhttps://www.youngboydancinggroup.com
URL:https://www.h-r.la/event/ybdg-performance/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20261016T190000
DTEND;TZID=America/Los_Angeles:20261016T210000
DTSTAMP:20261009T202218Z
CREATED:20261008T183358Z
LAST-MODIFIED:20261009T202218Z
UID:10754-1792177200-1792184400@www.h-r.la
SUMMARY:Propositional Attitudes / Scorebook / Open Score(d)
DESCRIPTION:Fri\, Oct 16 at 7pm \n\n\n\n\n\n\n\n\n\ntickets \n\n\n\nPropositional Attitudes / Scorebook / Open Score(d) \n\n\n\nFriday\, October 16\, 2026\, 7-9pm \n\n\n\nJoin us for an evening of open scores—artist-made instructions\, propositions\, prompts\, and possibilities for making performances together. The event will draw from score collections including the Democracy Sessions festival scorebooks\, produced by Wild Up (2024\, 2026)\, and Propositional Attitudes: What do we do now?\, edited by John Burtle and Elana Mann (Golden Spike Press: 2018). These scores grasp democratic ideals through slipping fingers asking: Who is listening and who has the right to speak? What is (not) being heard? Some of these scores will be performed by Wild Up musicians and local artists. Others are written for audience members; what is traditionally a passive role will become active\, unruly\, feral. The scores performed and presented across the evening assemble something like a collective voice—not consensus\, but radical harmonics\, interpersonal exchange\, and rehearsed tools for social organizing. We should try them. \n\n\n\nOrganized by Wild Up\, Elana Mann\, and John Burtple \n\n\n\nScores by: Chohi Kim\, Will Rawls\, Udita Upadhyaya\, Molly Pease\, Michel Von Loh\, Kensaku Shinohara\, John Burlte\, Adam Overton\, John Burtle and John Barlog\, Elana MannPerformers: Brian Walsh\, Kensaku Shinohara\, Chohi Kim\, Archie Carey\, Mona Tian
URL:https://www.h-r.la/event/propositional-attitudes-scorebook-open-scored-2/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20261015T193000
DTEND;TZID=America/Los_Angeles:20261015T220000
DTSTAMP:20261001T090307Z
CREATED:20261001T085807Z
LAST-MODIFIED:20261001T090307Z
UID:10726-1792092600-1792101600@www.h-r.la
SUMMARY:Kevin Corcoran\, Adam Lion & Wilson Shook; Music Research Strategies; Cherlyn Hsing-Hsin Liu & Michael Pisaro-Liu; A ∩ D
DESCRIPTION:tickets \n\n\n\nDoors: 7:30 pm \n\n\n\nFirst set: 8 pm \n\n\n\nA unprecedented confluence of creative voices from California and beyond\, tonight’s audiovisual offerings substantiate diverse angles of approach to the fundamental questions of how to listen and what to do about it. \n\n\n\n– \n\n\n\nKevin Corcoran\, Adam Lion & Wilson Shook \n\n\n\nImprovising as a trio for the first time\, but with overlapping collaborative histories\, Kevin Corcoran\, Adam Lion\, and Wilson Shook bring a deep appreciation for the irreducible complexity of moment and place\, a fine attunement to its possibilities and constraints\, and an abiding commitment to chucking it all and doing something completely different. \n\n\n\nKevin Corcoran works with sound and listening through percussion and place. \n\n\n\nAs a percussionist he is focused on techniques which emphasize texture\, friction\, sympathetic vibration\, sustained tones and the use of found materials. Whether working with a single drum\, an electro-acoustic approach\, or playing drum kit\, improvisation is crucial to his practice as generative method and non-hierarchical exchange of ideas. \n\n\n\nIn fieldwork projects\, noticing tensions between land use and disuse\, infrastructure and open space\, contamination\, weathering\, and remediation guides his place-based practice of recording and composing with sound\, image\, object\, and text. \n\n\n\nBased in San Francisco\, California\, Kevin collaborates across disciplines with musicians\, dancers\, filmmakers\, writers and visual artists. He has performed in North America\, Europe\, and East Asia\, exhibited audiovisual work in the US and Taiwan\, and published internationally on small labels dedicated to experimental music. \n\n\n\nAdam Lion is a percussionist dedicated to experimental music rooted within the traditions of composition and improvisation. Valuing idiosyncratic techniques\, Lion explores new sonic frameworks involving agency\, perception\, immediacy\, and constraint. Through composition he explores larger philosophical concepts such as the creation of structure through chance\, cohesion through independence\, and the borderlands between the raw materiality of sound and human cognition. At the core of this approach is a full embrace of the objective properties of instruments and sound itself. Of equal importance are the social\, emotional\, and metaphysical relationships that naturally arise during collaboration between performers\, objects\, and spaces. Lion creates systems which navigate these dynamics\, uncovering unique sonic environments grounded within the immediate moment. This dichotomy between material constraint and autonomy reflects a dialectic which continually points to the same question- how can we use music to research these ideas? \n\n\n\nWilson Shook is an improvising saxophonist and manual therapist living in Pasadena\, CA. His approach to music has been shaped by collaborative relationships with Gust Burns\, Paul Hoskin\, Ben Bennett\, Greg Kelley\, Carol Genetti\, Ted Byrnes\, and others\, as well as an ongoing sonic exploration of the resonant void spaces of American hydrologic and automotive infrastructure. \n\n\n\nA self-taught musician\, Wilson approaches improvisation\, study\, collaboration\, and performance as sites of radical experimentation with modes of being\, relating\, and perceiving. Wilson’s practice cultivates an awareness of human vulnerability and technological fallibility; embraces excess\, fragmentation\, and incompleteness; and pursues the chaotic\, queer\, and interdependent imperatives of an aleatory existence amidst a crumbling\, toxic culture. \n\n\n\nAttentiveness\, transformation\, commitment to the materiality of the musical act and its consequences; radical presence as the only avenue of escape. Always mindful of the axiom\, via Éluard—There is another world\, but it is in this one. \n\n\n\nMusic Research Strategies \n\n\n\nMusic Research Strategies performs “Throwin’ Hands” – a solo double bullroarer and traps vector from “Ebonics Native Land Acknowledgement: Floating Signifier.” “Throwin’ Hands” is microtonal\, socio-legal communication praxeology for theorizing critical and ethical social contracts with Indigenous Knowledge Systems (De-Center for UNKNOWING). \n\n\n\nMusic Research Strategies is known for SIGE Records (Seattle) releases such as White People Killed Them\, Black Spirituals (defunct)\, Eleven Postures (solo)\, and more; releases on Weird Cry Records (Ojai); plus\, numerous Creative Improvised Music partnerships with international players; and\, international Insurgent Learning Workshops (ILWs) for reimagining the UGRR quilt block codes for today’s political landscape. Music Research Strategies is grateful for support from COTFG\, Charlotte Street Foundation\, FCA\, Center for Indigenous Studies @ Bard\, Borealis Festival\, Sonic Acts\, PRO ARTS COMMONS\, Intercultural Leadership Institute\, High Desert Soundings\, Yucca Valley Materials Lab\, East Side Arts Alliance\, NAKA Dance Theater\, In Defense of Memory\, Blues Detection Agency\, No Idea and so many more. Thank U! \n\n\n\nMusic Research Strategies will also perform with trumpeter Lemuel Marc for High Desert Soundings. \n\n\n\nCherlyn Hsing-Hsin Liu & Michael Pisaro-Liu \n\n\n\nCherlyn Hsing-Hsin Liu is an artist\, filmmaker\, and writer whose practice draws on experimental literature\, the conceptual avant-garde\, and philosophy. Liu’s work concerns materiality across different contexts and eras\, including its transformation\, symbolism\, decay\, and emotional resonance. For Liu materiality includes both living and inanimate matter. Through film\, poetry\, painting\, sculpture\, and other media\, she reflects the light and darkness of the world she lives in. Her films have been shown at international film festivals and museums\, including the Edinburgh International Film Festival\, Helsinki Festival\, Festival des Cinémas Différents et Expérimentaux de Paris\, Image Forum Festival at the Museum of Kyoto\, CROSSROADS at the San Francisco Museum of Modern Art\, M+ Museum\, the Taipei Fine Arts Museum\, the Belvedere 21\, the Barbican Centre\, among others. \n\n\n\nMichael Pisaro-Liu is a guitarist and composer and a long-time member of the Wandelweiser collective. While\, like other members of Wandelweiser\, Pisaro-Liu is known for pieces of long duration with periods of silence\, in the past fifteen years his work has branched out in many directions\, including work with field recording\, electronics\, improvisation and ensembles of very different kinds of instrumental constitution. Much of his current work takes the form of mixed-media assemblages\, in collaboration with filmmaker/artist/writer Cherlyn Hsing-Hsin Liu. \n\n\n\nPisaro-Liu is the Director of Composition and Experimental Music the California Institute of the Arts. \n\n\n\nA ∩ D \n\n\n\nAngela Frances Wilson (modular synth) and Devin Sarno (bass + electronics) combined to form A ∩ D (or: A Intersects D)\, a mostly-musical project that emphasizes the experience of music – which always goes beyond. Instead of thinking about microphones and amps\, elevate: discover the difference between a hiss of regret and the fuzz of desire. A lot of music (some good) is just sounds. A ∩ D’s music extends the subconscious\, our natural experiential always-mode. Seeming contradictions between booms and delicacy become moot: the ambience is in the music\, creating the music\, and a simple vice versa. A smell is a vista is a ritual is in the air. The light of being-outsideness echoes in the core of their intimate sonic actions. Space and time’s immateriality has never been so palpable. (Andrew Choate)
URL:https://www.h-r.la/event/kevin-corcoran-adam-lion-wilson-shook-music-research-strategies-cherlyn-hsing-hsin-liu-michael-pisaro-liu-a-%e2%88%a9-d/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20261003T180000
DTEND;TZID=America/Los_Angeles:20261011T180000
DTSTAMP:20261001T084426Z
CREATED:20260910T202844Z
LAST-MODIFIED:20261001T084426Z
UID:10575-1791050400-1791741600@www.h-r.la
SUMMARY:CRUISE LA: 10 YEARS DEEP
DESCRIPTION:RSVP \n\n\n\nJoin us for an immersive opening celebration of Cruise LA’s 10th anniversary\, where the exhibition and living culture merge. Through photographs\, ephemera\, and installation\, the exhibit traces how Cruise LA has become a catalyst for reshaping the Los Angeles leather/kink community by creating space for the people who disrupt the leather archetype. Historically unwelcoming to many racialized and gender-expansive people\, the local leather community continues to be transformed by those insisting on new ways of belonging. \n\n\n\nFor one night\, Cruise LA’s monthly party spills into the Human Resources gallery in Chinatown. Revel in the pleasures of queer liberation and embodied connection with our resident DJ\, gogo dancers\, BDSM demonstrations\, and artist activations that blur the line between exhibition and celebration. \n\n\n\nCome dressed up\, dressed down\, or anywhere in between—there is no dress code\, we dare you to be bold. A free clothes check will be available for guests who want to shed some layers once inside. Photography is permitted throughout the event\, but only with the consent of everyone being photographed. \n\n\n\nWander through a decade of Cruise LA’s intimate history\, then get embodied in our recreation of a leather bar darkroom\, where you’re invited to explore your own desires with friends—or some beloved strangers. \n\n\n\nLeave with a deeper sense of the radical possibilities of pleasure\, embodiment\, and chosen community. By journeying through the exhibit and into the party\, guests are invited to imagine what becomes possible when we trust our bodies\, make space for one another’s desires\, and practice joy together\, even amid uncertainty. \n\n\n\nExhibition on view Thursdays-Sundays\, 12-6 pm.\n\n\n\nOpening reception on Saturday\, October 3 from 6-10 pm with performances at 7 pm sharp: featuring (in order of performance) Strange Kindness\, Page Person\, Mary Typhus\, Anansi\, & Mowgli Wilde \n\n\n\nClosing event on Sunday\, October 11 from 2:00–6:00 pm featuring flash tattoo by Comonground Studio artists Charlie Boy and Roz\, bootblacking by Cruise LA community bootblacks\, and exhibit walkthroughs with Cruise LA founders Ponylee & Vanessa Craig\, and queer nightlife photographer Amina Cruz. \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\nAbout Cruise LA \n\n\n\nCruise LA marks 10 years of facilitating connection through community leather and kink events\, centering historically disenfranchised communities through arts-based programming\, cultural events\, and joyful gathering. \n\n\n\nFounded in 2016 by Pony Lee and Vanessa Craig\, the heart of Cruise LA has evolved with the people who showed up—on the floor\, behind the bar\, in the booth\, on the team\, and in the crowd. Since its founding\, Cruise LA has produced the only monthly party at Eagle LA exclusively centering women and TGI people. In 2019\, Cruise premiered the first Mx. leather title in Los Angeles\, continuing its work of carving out space for communities historically marginalized within Leather. \n\n\n\nJoy and pleasure have always been central to that work. Alongside parties and cultural programming\, Cruise LA has cultivated resources for harm reduction\, safer play\, education\, mutual aid\, and collective care—grounded in radical self-acceptance and interdependence. \n\n\n\nAs Cruise LA celebrates a decade\, we honor those who came before us and fought to create the foundations of our community\, as well as everyone who has shaped Cruise along the way. Their legacy lives on in the art\, events\, relationships\, and spaces we continue to create together—spaces that celebrate systemically excluded bodies and expand what belonging in Leather can look like.
URL:https://www.h-r.la/event/cruise-la-10-years-deep/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260926T190000
DTEND;TZID=America/Los_Angeles:20260926T203000
DTSTAMP:20260917T192358Z
CREATED:20260917T184846Z
LAST-MODIFIED:20260917T192358Z
UID:10643-1790449200-1790454600@www.h-r.la
SUMMARY:LAPD presents: RE-ENACTING THE LIE
DESCRIPTION:Tickets \n\n\n\nCome to Human Resources and join Los Angeles Poverty Department in “Re-Enacting the Lie”   \n\n\n\nThe impetus for LAPD’s new performance began with the demise of Skid Row Housing Trust and the crumbling – literally and figuratively of the non-profit model for decent supportive housing.  \n\n\n\nAs we witness compassionate structures crumbling all around us\, “Re-enacting the Lie” answers the question\, ‘how is self-deception possible?’  — on an individual and societal level. \n\n\n\nDevised and performed by LAPD’s in the know Skid Row resident performers.
URL:https://www.h-r.la/event/lapd-presents-re-enacting-the-lie/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260925T233000
DTEND;TZID=America/Los_Angeles:20260926T020000
DTSTAMP:20260922T162930Z
CREATED:20260913T015530Z
LAST-MODIFIED:20260922T162930Z
UID:10586-1790379000-1790388000@www.h-r.la
SUMMARY:ROUGH CUT
DESCRIPTION:A one-night-only queer adult cinema and cruising experience \n\n\n\n$15 Tickets \n\n\n\nRough Cut is a late-night queer adult cinema where cruising is encouraged.  \n\n\n\nWe’re taking over the theater at Human Resources for a night of vintage gay porn and erotic art film\, with plenty of space to watch\, hang out\, and cruise. A darkroom will be open throughout the night. Think old-school Hollywood XXX theater\, but playing what you actually want to see. \n\n\n\nStop by to blow off some steam before your Friday night plans\, or make Rough Cut your destination for the night. \n\n\n\nRough Cut is about creating more space for IRL cruising culture in Los Angeles and bringing queers together somewhere outside the apps. Come to watch the films\, cruise\, or both. \n\n\n\nWear gear or come as you are. \n\n\n\nNo photos or videos allowed\, and no Meta Glasses permitted inside. Stickers will be placed on all phone cameras upon entry to protect the privacy of cruisers. \n\n\n\nOrganized by @p1ncus \n\n\n\nImage by Andrew Roberts
URL:https://www.h-r.la/event/rough-cut/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260925T210000
DTEND;TZID=America/Los_Angeles:20260925T223000
DTSTAMP:20260919T003929Z
CREATED:20260730T223721Z
LAST-MODIFIED:20260919T003929Z
UID:9916-1790370000-1790375400@www.h-r.la
SUMMARY:BY HOOK OR BY CROOK
DESCRIPTION:Tickets \n\n\n\nGroundbreaking when it was released in 2001 and still fiercely innovative today\, BY HOOK OR BY CROOK is a trans and butch buddy film that chronicles three weeks in the life of Shy\, a handsome\, gender-bending\, small town dreamer with a nagging messiah complex\, and Valentine\, a deliriously expressive\, wise-acre adoptee on a misguided search for her birth mother. The two freaky grifters join forces and learn the true meaning of “poise under pressure” in this visually stunning and wonderfully acted\, anti-authoritarian tale of friendship\, trust and redemption. \n\n\n\n \n\n\n\nDirected and written by acclaimed artist Harry Dodge and filmmaker Silas Howard\, with dialogue for Billie written by Stanya Kahn. The film is produced by Steak House\, Howard\, and Dodge. It features cinematography by Ann T. Rossetti (Go Fish)\, editing by Dodge\, and an ensemble cast including Howard\, Dodge\, Stanya Kahn\, Carina Gia\, and Joan Jett.
URL:https://www.h-r.la/event/by-hook-or-by-crook/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260925T190000
DTEND;TZID=America/Los_Angeles:20260925T203000
DTSTAMP:20260923T223633Z
CREATED:20260923T184904Z
LAST-MODIFIED:20260923T223633Z
UID:10686-1790362800-1790368200@www.h-r.la
SUMMARY:VIDEOS ABOUT TELEVISION (2004 - 2012)
DESCRIPTION:Tickets \n\n\n\nVideos made by Vishal Jugdeo between 2004 and 2012 followed by a Q&A with Casey Jane Ellison \n\n\n\nA program of short videos made by Vishal Jugdeo between 2004 and 2012 showcases his method of collaborating with performers to co-create experimental narratives\, drawing on televisual tropes like sitcoms and talk shows. This collection highlights the videos’ fragmentary compositional structure\, where performers improvise scripted (and stilted) language to generate both absurdity and cogency. Rotating casts of friends and lovers (including Jugdeo’s long-term partner Billy Wright)\, play off one another to explore subtle transmissions of power\, intimacy and alienation. Throughout\, language flops and misfires\, highlighting its inadequacy to communicate hidden dynamics in relationships. \n\n\n\nViolent Broadcast\, 2010\, 8 minutes \n\n\n\nSquare Configuration (Decorum) Study\, 2009\, 8 minutes \n\n\n\nThree Approximations of the Space Between Two\, 2005\, 4 minutes \n\n\n\nThought Composition with Model of the World\, 2010\, 9 minutes \n\n\n\nStage Design for Disassociation\, 2011\, 11 minutes \n\n\n\nGoods Carrier\, 2012 – 18 minutes
URL:https://www.h-r.la/event/videos-about-television-2004-2012/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260924T200000
DTEND;TZID=America/Los_Angeles:20260924T213000
DTSTAMP:20260923T204432Z
CREATED:20260914T042116Z
LAST-MODIFIED:20260923T204432Z
UID:10594-1790280000-1790285400@www.h-r.la
SUMMARY:Toni-Marie Gallardo + Queer Film Club presents Shlock Wave 
DESCRIPTION:tickets \n\n\n\nIt’s as if you are waking up after falling sleeping with the T.V on during the turn of the century \n\n\n\nIt’s SCHLOCK WAVE. \n\n\n\nA night of experimental media experimental shorts and archival media that channel the aesthetics of public access / shopping network / reality television\, either in parody\, in prank\, or other deconstructions.  \n\n\n\nIn each piece\, the subjects are coping – with media and the ideological state apparatus – through humor and camp. What the silly mainstream might consider trashy or SCHLOCK is the (erotic) power of making our own image. These emit a “frequency of queerness.” \n\n\n\nAntes de la Televisión – Ximena Cuevas – 1983 – 2:16  \n\n\n\nRosa Does Joan – Nao Bustamante – 1992-  7:00  \n\n\n\nTombolá – Ximena Cuevas – 2001- 7:53 \n\n\n\nExtraordinary Pregnancies – Chris Vargas – 2010 – 9:51   \n\n\n\nLip Gloss Alurt – Lex Brown – 2017 – 5:21 \n\n\n\nBeauty Standards – Toni-Marie Gallardo ft. Rosalee Bernabe\, Seo Yun Son\, Joi Purvy – 2019 –  7:00 \n\n\n\nMary Friday – Sandy Loaf – 5:49  \n\n\n\nQ.F.C Frequency Video Podcast Preview – Toni Marie Gallardo – 2026 – 5:00
URL:https://www.h-r.la/event/toni-marie-gallardo-queer-film-club-present-frequency-shlock-wave/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260924T180000
DTEND;TZID=America/Los_Angeles:20260924T193000
DTSTAMP:20260923T190123Z
CREATED:20260923T190121Z
LAST-MODIFIED:20260923T190123Z
UID:10691-1790272800-1790278200@www.h-r.la
SUMMARY:The Complete and Absolute Video Works of Corey Fogel | 2005-2026
DESCRIPTION:Tickets \n\n\n\nCorey Fogel’s video work documents performances and serendipitous phenomena with percussion\, found objects\, sculpture\, improvisational performance and unorthodox editing processes\, from sublime to absurd.
URL:https://www.h-r.la/event/the-complete-and-absolute-video-works-of-corey-fogel-2005-2026/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260923T200000
DTEND;TZID=America/Los_Angeles:20260923T213000
DTSTAMP:20260922T231835Z
CREATED:20260910T014426Z
LAST-MODIFIED:20260922T231835Z
UID:10552-1790193600-1790199000@www.h-r.la
SUMMARY:LOCKDOWN CINEMA - video works from 2020
DESCRIPTION:Tickets \n\n\n\nPage Person \n\n\n\nDagger Wound \n\n\n\nPat Posey \n\n\n\nPelon Suelto \n\n\n\nWesleigh Gates \n\n\n\nDusk \n\n\n\nCrystal Sasaki \n\n\n\nDamian Dragon \n\n\n\nMatt Savitsky \n\n\n\nWrong Note Rusty \n\n\n\nEarth to Jordi
URL:https://www.h-r.la/event/lockdown-cinema-video-works-from-2020/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260922T200000
DTEND;TZID=America/Los_Angeles:20260922T213000
DTSTAMP:20260828T235048Z
CREATED:20260828T202327Z
LAST-MODIFIED:20260828T235048Z
UID:10328-1790107200-1790112600@www.h-r.la
SUMMARY:Anti-Fascist Porn
DESCRIPTION:Tickets \n\n\n\nAnti-Fascist Porn from The Athens Porn Film Festival Curated by Menelas and organized for Human Resources by Margie Schnibbe \n\n\n\nANTI-GONE/ANTI-FASCIST/ANTI-COLONIAL/ANTI-GENOCIDEThese international short videos first screened together in the Antigone program atSatyrs and Maenads: The Athens Porn Film Festival. Preceding the Antigone programwill be the feminist video TARANTA TARANTA\, which screened in the Athens PFFpolitical program. \n\n\n\n“Antigone is an ancient tragedy heroine who decides to go against the orders of heruncle the king and give her brother’s body burial rites. Antigone is an eternal symbol forholding to your personal values against state law even at pain of death. In these chaotictimes when our governments punish us for speaking against genocide and inhalation ofcultures Antigone lights the way.” Athens PFF  \n\n\n\n\nTARANTA TARANTA (2025) Dir. Kiki Kazimi + Lola Pistola ITALY 15:22 (English\, nosubtitles) Starring: Lola Pistola\, Kiki Kazimi\, Nova Lov\, Camilla Parker Holes\, JorgeTheObscene\, Malga Kubiak A spider bite. A body spirals into hysteria. Only dance can cure it. Bodies troubled by blood\, birth\, control\, and madness. Avoid death or inhabit it.\n\n\nRaspberry Reich GR (2015) Dir. Menelas GRE 09:00 (Greek with English subtitles)Starring: Nico Deen \, Giannis Maskidis and others It is the year 2014 Greece is underthe shadow of Prime Minister Antonis Samaras. Things are looking grim for gay rights until a small group of gay men decides to take matters into their own hands.\n\n\n\nFuck the Fascism (2016) Dir. Maria Basura ESP 08:29 (Spanish with Englishsubtitles) Starring: Maria Basura Fuck the Fascism intends to expose the true storybehind monuments which glorify genocides\, tyranny and slavery; to raise publicawareness about the national heroes who we praise\, those men who our streets arenamed after\, and bequeathed great wealth forged with robbery\, abuse and blood.\n\n\n\nHow to Eat a Whole Watermelon and Get Away With it (2024) Dir. Iris Glitzer GER06:20 (English with English subtitles) Starring: Iris Glitzer\, Officer Flower Being apolitician is a tough job. A U.S. and an E.U. politician fuck as passionately as they carefor human rights\, eating a watermelon and reading the newspaper.\n\n\n\nMythical Creatures (2022) Dir. Liad Hussein Kantorowicz GER 17:34 (English withEnglish subtitles) Starring: Liad Hussein Kantorowicz Mythical Creatures is a short documentary focuses on the story of the first sex-worker-led direct action in Palestine-Israel\, conducted by members of Argaman Alliance in 2019\, following the passing of the law to criminalize the purchase of sexual services.\n\n\n\n\nFuck the fascism: El cruce de dos mundos (2020) Dir. Maria Basura CHILE/ESP09:31 (Spanish with English subtitles) In the past\, it was the mutilation of Selk’nam earsby colonial forces; now\, in the midst of the Chilean social rebellion\, it is the eyes of themestizos that are being shot by the police and the State violence.\n\n\n\nYou’re not a Regular: A Porn made for Almans (2025) Dir. Silicone Pussy GER25:32 (English\, German\, Farsi with English subtitles) Starring: Silicone Pussy andfriends A migrant transmasc sex worker tries to seduce you into becoming his client.Would you? Follow him through the dark streets of a hostile\, nightmarish Berlin\, wherereflections and recollections blur the lines between personal and collective memory.
URL:https://www.h-r.la/event/anti-fascist-porn-curated-by-menelas-and-organized-for-human-resources-by-margie-schnibbe/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260921T193000
DTEND;TZID=America/Los_Angeles:20260921T210000
DTSTAMP:20260826T171907Z
CREATED:20260825T230031Z
LAST-MODIFIED:20260826T171907Z
UID:10301-1790019000-1790024400@www.h-r.la
SUMMARY:Kouté Vwa
DESCRIPTION:Tickets \n\n\n\nKouté vwa (Listen to the Voices) \n\n\n\nDirected by Maxime Jean-Baptiste \n\n\n\n2024\, HD\, color\, sound\, 76 minutes \n\n\n\nLos Angeles Premiere\, Co-presented by Los Angeles Filmforum \n\n\n\nAn elegy\, but also a celebration\, Kouté vwa (Listen to the Voices) portrays a family and a community as they experience grief\, joy\, and reconciliation in the wake of tragedy. \n\n\n\nMelrick\, a 13-year-old boy\, spends his summer vacation with his grandmother Nicole in Cayenne\, French Guiana. His presence and his desire to learn how to play the drums brings back the memory of Nicole’s son and Melrick’s uncle\, Lucas. Also a musician\, Lucas died in tragic circumstances 11 years earlier. Faced with the grief that haunts his family and Lucas’s best friend’s desire for revenge\, Melrick seeks his own path to forgiveness. \n\n\n\n“With a subtle blending of documentary and fiction\, this beautiful and delicate film also reflects on inherited violence and grief\, not just on the familial level but on a historical and colonial one.” –Wexner Center for the Arts \n\n\n\n“Kouté vwa is a celebration of holding onto what is\, while mourning what has been lost. Through this intergenerational relationship stories of community\, unbridled youth\, friendship and reconstruction come to life. Within the mundane of the day-to-day lives joy and a fierce hope.” – Lesedi Oluko Moche \n\n\n\n“[The film’s title] succinctly sums up its poetic program: a polyphony of entangled testimony. Drawing on the deeply personal source of the story\, the film summons these various voices and opens up a resonance chamber between them. “ –Pierre Jendrysiak and Leonard Krähmer\, Variety
URL:https://www.h-r.la/event/koute-vwa/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260920T140000
DTEND;TZID=America/Los_Angeles:20260920T160000
DTSTAMP:20260917T162001Z
CREATED:20260916T174017Z
LAST-MODIFIED:20260917T162001Z
UID:10624-1789912800-1789920000@www.h-r.la
SUMMARY:Vital Signals: Early Japanese Video Art and discussion with Glenn Phillips
DESCRIPTION:CTG\, Kohei Ando\, Takahiko Iimura\, Keigo Yamamoto\, Toshio Matsumoto\, Video Earth Tokyo\, Mako Idemitsu\, Nobuhiro Kawanaka\, Katsuhiro Yamaguchi\, Norio Imai\, Hakudo Kobayashi\, Tatsuo Kawaguchi\, Saburo Muraoka\, Keiji Uematsu\, Morihiro Wada\n\n\n\ntickets \n\n\n\nVital Signals: Early Japanese Video Art\, accompanied by a discussion with Glenn Phillips. \n\n\n\nVital Signals is a survey of the vibrant\, interdisciplinary video art scene in Japan in the 1960s and ’70s and features sixteen works by fifteen Japanese artists\, among them key figures such as Takahiko Iimura\, Mako Idemitsu and Toshio Matsumoto. The anthology was produced by Electronic Arts Intermix as a DVD accompanied by a 100-page\, bilingual (English and Japanese) catalogue with essays by Barbara London\, Glenn Phillips\, and Hirofumi Sakamoto.  . The Vital Signals is organized in three parts: The Language of Technology\, Open Television\, and Body Acts. In technical experiments\, activist statements\, and conceptual performances\, Japanese artists of the 1960s and ’70s transformed the intangible—time\, gesture\, the electronic signal—into rich art-making material. The Vital Signals anthology illuminate this fertile period of creative engagement in Japan. \n\n\n\nWhile early video art from the U.S. and Europe is internationally recognized\, the parallel activities of artists working in Japan—the birthplace of the Portapak\, the camcorder\, and other innovations—are not widely known. The Vital Signals anthology and catalogue emerge from EAI’s touring video exhibition of the same name. Organized by EAI in collaboration with the Yokohama Museum of Art and a team of Japanese curators and scholars\, the three-part exhibition program brings together rarely screened early Japanese video alongside seminal American works from the EAI collection. For more information on the Vital Signals touring exhibition\, please click here. \n\n\n\nVital Signals was organized and produced by Ann Adachi of EAI. The video programs were curated by Ann Adachi and Yukie Kamiya\, Chief Curator\, Hiroshima City Museum of Contemporary Art\, Hiroshima\, Japan\, and Hirofumi Sakamoto\, Professor\, Wakkanai Hokusei Gakuen University\, Hokkaido\, Japan. Funding for the DVD anthology and catalogue publication was provided by the Japan-US Friendship Commission. \n\n\n\n \n\n\n\nProgram of works \n\n\n\n\n\n\n\nCTG (Computer Technique Group)\, Computer Movie No. 2\, 1969\, 8 min\, b&w\, sound\n\n\n\nComputer Movie No. 2 is a CGI animation created in advance of video-editing software. CTG programmed graphics on an IBM computer\, filmed the screen with a 16mm camera\, and assembled the frames as an animated film.  \n\n\n\n\n\n\n\nKatsuhiro Yamaguchi\, Image Modulator\, 1969\, 45 sec\, color\, sound\n\n\n\nYamaguchi writes\, “In April 1969\, Image Modulator was shown at the Sony Building exhibition Electromagica ’69\, using three Trinitron color TV monitors behind a glass that created an optical effect. The glass acted as a literal filter\, adding a mosaic effect to the video images.”  \n\n\n\n\n\n\n\nKatsuhiro Yamaguchi\, Ooi and Environs\, 1977\, 1:30 min\, color\, sound\n\n\n\nA video installation using three monitors and mirrors\, Ooi and Environs depicts the Tokyo cityscape with electronically modified footage of the city. Aiming to create an interactive environment\, images reflected on the mirror shift as audience members move.  \n\n\n\n\n\n\n\nToshio Matsumoto\, Metastasis\, 1971\, 8 min\, color\, sound\n\n\n\nWrites Matsumoto\, “I used the Erekutoro Karapurosesu (Electro Color Processor)\, which is mainly used in the field of medicine and engineering\, to create moving image textures Metastasis\, I was interested in layering images of a simple object and its electronically processed abstraction. The electronic abstract image is manipulated in a certain rhythm\, depicting an organic process.”  \n\n\n\n\n\n\n\nKohei Ando\, Oh! My Mother\, 1969\, 14 min\, color\, sound\n\n\n\nWrites Ando\, “Oh! My Mother was the first work I made using a newly bought 16mm camera I had purchased with the writer Shuji Terayama in Paris. This piece was selected for the Oberhausen International Film Festival. In 1969\, there were\, of course\, no video cameras like ones we see now\, and color TVs were only found at broadcast television studios. I had just been employed at the TBS (Tokyo Broadcasting System)\, and I often snuck into the studios after hours to experiment with the equipment. Oh! My Mother was made using the feedback effect\, which is produced by infinitely expanding the image by looping the video.”  \n\n\n\n\n\n\n\nTakahiko Iimura\, Camera\, Monitor\, Frame\, 1976\, 17:15 min\, b&w\, sound\n\n\n\nCamera\, Monitor\, Frame is the first installment of Takahiko Iimura’s “Video Semiotics Triptych” (the other two works are Observer/Observed\, made in 1975\, and Observer/Observed/Observer\, made in 1976). The work analyzes the fundamental components of video: the camera\, the monitor\, and the frame\, focusing on the role of each within a system of video as analogous to the functions of vision and speech.  \n\n\n\n\n\n\n\nKeigo Yamamoto\, Hand No. 2\, 1976\, 7:50 min\, b&w\, silent\n\n\n\nUsing video technology as an extension of his body\, Yamamoto interacts with a pre-recorded image of his hand displayed on a monitor.  \n\n\n\n\n\n\n\nToshio Matsumoto\, Magnetic Scramble\, 1968\, 30 sec\, b&w\, silent\n\n\n\nMagnetic Scramble is the first video work by Toshio Matsumoto. Here\, the artist manipulates television images (of student demonstrations against the U.S.-Japan Security Pact) by holding a magnetic coil next to the monitor. Matsumoto later incorporated this piece into a scene of his film Funeral Parade of Roses (1969).  \n\n\n\n\n\n\n\nVideo Earth Tokyo\, Under A Bridge\, 1974\, 13 min\, b&w\, sound\n\n\n\nIn this tape\, Ko Nakajima and Video Earth Tokyo interview a homeless man. The subject is initially angry and frustrated\, but gradually opens up and shares stories about his life. Under A Bridge was later broadcast on cable television.  \n\n\n\n\n\n\n\nMako Idemitsu\, What a Woman Made\, 1973\, 10:50 min\, b&w\, sound\n\n\n\nIn Idemitsu’s seminal feminist video\, the image of a tampon swirling in a toilet bowl slowly appears\, as the artist speaks about the troubling roles\, responsibilities and expectations of women in a clinical tone. Minimal in composition\, this is a candid critique of the treatment of women in Japanese society.  \n\n\n\n\n\n\n\nNobuhiro Kawanaka\, Kick The World\, 1974\, 15 min\, b&w\, sound\n\n\n\nWrites Kawanaka\, “Video is a medium of image as well as sound. Walking on a gravel road with a camera\, the crunch sound is captured in real time. Such [an] observation seems obvious\, but as a filmmaker\, the ability to record sound in real time was very new to me. Referencing a can-kicking game I played as a child\, I followed the rolling can and recorded the resonant sounds of the can hitting the ground.”  \n\n\n\n\n\n\n\nKatsuhiro Yamaguchi\, Eat\, 1972\, 1:30 min\, b&w\, sound\n\n\n\nKatsuhiro Yamaguchi and Hakudo Kobayashi presented the video performance Eat at Video Hiroba’s first exhibition\, Video Communication DO IT YOURSELF KIT. Two performers sit at a table. One records the other eating; then they switch roles. The live video feed of the performance was displayed on a monitor in the exhibition space.  \n\n\n\n\n\n\n\nNorio Imai\, Digest of Video Performance\, 1978-1983\, 1978-1983\, 15:35 min\, color\, sound\n\n\n\nWrites Imai\, “As a photographer during the 1970s\, my interest in capturing time led me to explore the video medium. After utilizing video in two or three works\, I saw a similarity between videotape and an ancient scroll\, in that they both capture a story of our time. I started using physical videotape as a metaphorical representation of time\, rolling out the magnetic tape from right to left\, representing a narrative from beginning to end.”  \n\n\n\n\n\n\n\nHakudo Kobayashi\, Lapse Communication\, 1972-1980\, 16 min\, color\, sound\n\n\n\nWrites Kobayashi\, “In 1972 I started a series of participatory performances where the first person performs an ambiguous action in front of a recording camera; the next person watches the recorded footage and imitates the action in front of a recording camera; the third person repeats the same procedure using the second person’s video recording\, and so on. Within the repetition of recording and action\, the original gesture is transformed by the participants’ misunderstanding\, interpretation\, and memory.”  \n\n\n\n\n\n\n\nTatsuo Kawaguchi\, Saburo Muraoka\, Keiji Uematsu\, Image of Image-Seeing\, 1973\, 11:20 min\, b&w\, sound\n\n\n\nA collaborative performance\, Image of Seeing–Seeinginvestigates the meaning of television watching. This work was created for television broadcast on the Nippon Broadcasting Corporation’s program “Hyōgo no jikan” (Hyōgo Time).  \n\n\n\n\n\n\n\nMorihiro Wada\, The Recognition Construction: Hyojyutsu (Against Application or Mimesis) 1975\, 20 min\, color\, sound\n\n\n\nA member of the collective Video Hiroba\, Morihiro Wada also used video in his solo projects. In The Recognition Construction\, each subject entering the frame is identified by a narrator\, while the video camera slowly rotates. As the rotation speeds up the identification becomes more difficult\, and the objects ultimately become “indecipherable.” 
URL:https://www.h-r.la/event/vital-signals-early-japanese-video-art/
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DTSTART;TZID=America/Los_Angeles:20260919T230000
DTEND;TZID=America/Los_Angeles:20260919T235900
DTSTAMP:20260909T020511Z
CREATED:20260909T020504Z
LAST-MODIFIED:20260909T020511Z
UID:10527-1789858800-1789862340@www.h-r.la
SUMMARY:Nosferatu
DESCRIPTION:Tickets \n\n\n\nNosferatu \n\n\n\n1979 \n\n\n\nWerner Herzog \n\n\n\nWerner Herzog’s interpretation of F. W. Murnau’s 1922 silent classic stars Klaus Kinski and features a haunting score by Popol Vuh.
URL:https://www.h-r.la/event/nosferatu/
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DTSTART;TZID=America/Los_Angeles:20260919T180000
DTEND;TZID=America/Los_Angeles:20260919T210000
DTSTAMP:20260909T202145Z
CREATED:20260902T001230Z
LAST-MODIFIED:20260909T202145Z
UID:10392-1789840800-1789851600@www.h-r.la
SUMMARY:Los Angeles Plays Itself presented by East Of Borneo
DESCRIPTION:Tickets \n\n\n\nDoors @ 5:30pm \n\n\n\nScreening @ 6pm \n\n\n\nWith an introduction by East of Borneo’s Editor-in-Chief Thomas Lawson \n\n\n\nEast of Borneo is pleased to present a screening of Thom Andersen’s landmark essay film\, Los Angeles Plays Itself (2003). East of Borneo’s Editor-in-Chief Thomas Lawson will present a short introduction to the film. Watch the trailer here.  \n\n\n\nABOUT THE FILM:  \n\n\n\n“Andersen maps the city through spliced clips of movies that cast Los Angeles as a different city\, turning a critical eye toward the assertion that Los Angeles\, with hardly any history\, is nothing more than a Hollywood set … The cliché goes that the culture of Los Angeles is its culturelessness\, in contrast to New York\, with its dignified sophistication.” —Gracie Hadland\, East of Borneo \n\n\n\n“Thom Andersen argues in his documentary Los Angeles Plays Itself (2003) that Hollywood is the pervasive source of mistruths about Los Angeles. Hollywood habitually maligns its home\, making of Los Angeles a city that is salacious\, trivial\, corrupt\, and disposable.” —Sasha Archibald\, East of Borneo \n\n\n\n \n\n\n\nABOUT EAST OF BORNEO: \n\n\n\nEast of Borneo is a collaborative reexamination of West Coast art and its history. We publish new essays and interviews alongside a multimedia archive of images\, videos\, texts\, and sounds added by our community. East of Borneo Books sees the extension of our mission into print\, calling attention to the best writing on the visual culture of Los Angeles. We also present exhibitions\, talks\, screenings\, and workshops\, and we republish material that is out of print or hard to find through our Second Life series: www.eastofborneo.org
URL:https://www.h-r.la/event/los-angeles-plays-itself-presented-by-east-of-borneo/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260919T150000
DTEND;TZID=America/Los_Angeles:20260919T163000
DTSTAMP:20260917T191405Z
CREATED:20260917T172048Z
LAST-MODIFIED:20260917T191405Z
UID:10645-1789830000-1789835400@www.h-r.la
SUMMARY:Killer Of Sheep
DESCRIPTION:Tickets \n\n\n\nDirected by Charles Burnett • 1977 • United StatesStarring Henry Gayle Sanders\, Kaycee Moore\, Charles Bracy \n\n\n\nA quiet revelation of American independent filmmaking\, Charles Burnett’s lyrical debut feature unfolds as a mosaic of Black life in the Watts neighborhood of Los Angeles\, where Stan (Henry Gayle Sanders)\, a father worn down by his job in a slaughterhouse\, and his wife (Kaycee Moore) seek moments of tenderness in the face of myriad disappointments. Equally attuned to the world of children and that of adults\, Burnett—acting as director\, writer\, producer\, cinematographer\, and editor—finds poetry amid everyday struggles in indelible images that glow with compassionate beauty. Largely unseen for decades following its completion in 1977\, KILLER OF SHEEP is now recognized as a touchstone of the groundbreaking LA Rebellion movement\, and a masterpiece that brought Black American lives to the screen with an aching intimacy like no film before. \n\n\n\nKILLER OF SHEEP was restored and remastered by UCLA Film & Television Archive\, Milestone Films\, and the Criterion Collection.
URL:https://www.h-r.la/event/killer-of-sheep/
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DTSTART;TZID=America/Los_Angeles:20260918T210000
DTEND;TZID=America/Los_Angeles:20260918T223000
DTSTAMP:20260909T015751Z
CREATED:20260909T015749Z
LAST-MODIFIED:20260909T015751Z
UID:10524-1789765200-1789770600@www.h-r.la
SUMMARY:Pink Narcissus Orchestra
DESCRIPTION:Tickets \n\n\n\nEva Myra May\, Pat Posey and Page Person perform live music to accompany a screening of the queer classic Pink Narcissus (1971\, James Bidgood). Filmed over 8 years in sets built in the director’s apartment\, a cast of hustlers drift through a phantasmagoria of erotic imagination in richly saturated hues of fuchsia and gold.
URL:https://www.h-r.la/event/pink-narcissus-orchestra/
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DTSTART;TZID=America/Los_Angeles:20260918T190000
DTEND;TZID=America/Los_Angeles:20260918T203000
DTSTAMP:20260908T173801Z
CREATED:20260907T233015Z
LAST-MODIFIED:20260908T173801Z
UID:10472-1789758000-1789763400@www.h-r.la
SUMMARY:I’ve Got Something To Show You 
DESCRIPTION:(Experimental and animated shorts from the festival world) \n\n\n\n\n\n\n\n\n\nTickets \n\n\n\nI’ve Got Something To Show You  \n\n\n\n(Experimental and animated shorts from the festival world) \n\n\n\nI’ve been touring film festivals with my short\, Busy Bodies\, for the past year. In celebration of releasing Busy Bodies\, I’ve put together a screening of some absolutely fantastic shorts I’ve gotten to see while touring. Along with some wonderful shorts that were originally programmed by LA Loft\, a screening group I co-run with Eileen McNulty and Clara Ribot. -Kate Renshaw-Lewis \n\n\n\nFilms Included: \n\n\n\n\nBall Face by Laurence Thérien \n\n\n\nBusy Bodies by Kate Renshaw-Lewis \n\n\n\nConsumed/Lighter by Caitlyn Phu\n\n\n\nEvacuations by Lilli Carré \n\n\n\nDog Pool by Jenny Nirgends \n\n\n\nIvar by Markus Tangre \n\n\n\nLil Gibbos by Arius Ziaee\n\n\n\nOnce in a Body by María Cristina Pérez\n\n\n\nSidewalk Rock by Alyce Yang\n\n\n\nTransitional Object by Shayna Strype \n\n\n\nThe Debutante by Elizabeth Hobbs \n\n\n\nThe Sword of Carranza: Hocico en la Oscuridad by Luis Reyes\n\n\n\nWan Wan by Mayuko Kobayashi
URL:https://www.h-r.la/event/ive-got-something-to-show-you/
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DTSTART;TZID=America/Los_Angeles:20260917T200000
DTEND;TZID=America/Los_Angeles:20260917T220000
DTSTAMP:20260909T170513Z
CREATED:20260908T060339Z
LAST-MODIFIED:20260909T170513Z
UID:10479-1789675200-1789682400@www.h-r.la
SUMMARY:David Wojnarowicz: Where Evil Dwells + A Fire in My Belly +  ITSOFOMO
DESCRIPTION:Tickets \n\n\n\nDavid Wojnarowicz: Where Evil Dwells + A Fire in My Belly +  ITSOFOMO (In the Shadow of Forward Motion) \n\n\n\nDavid Wojnarowicz channeled a vast accumulation of raw images\, sounds\, memories\, and lived experiences into a powerful voice that was an indelible presence in the New York City downtown art scene of the 1970s and ’80s. Through writing\, film\, painting\, drawing\, photography\, mixed-media installations\, and performance\, Wojnarowicz affirmed art’s vivifying power in a society he viewed as alienating and corrosive\, especially for those who were not part of the “pre-invented existence” of the mainstream. Using blunt symbology and graphic illustrations\, he exposed what he felt this mainstream repressed: poverty\, abuses of power\, blind nationalism\, greed\, gay sex\, and the devastation of the AIDS epidemic. His nihilism\, however\, was also infused with his celebration and empathetic documentation of the alternative histories that he witnessed and lived. \n\n\n\n\n\n\n\nWhere Evil Dwells – By Tommy Turner and  David Wojnarowicz \n\n\n\n1985\, 31:16 min\, b&w\, sound\, Super 8mm film on HD video \n\n\n\nWhere Evil Dwells originated as a scripted project based on the sensational story of teen killer Ricky Kasso\, self-described “Acid King” of Northport\, Long Island\, who sparked a panic over heavy metal\, drugs\, and Satanism after the pseudo-ritualistic murder of a fellow teen in the woods. The widespread media attention generated by the case struck a chord with Tommy Turner and David Wojnarowicz\, who interviewed several of Kasso’s friends as material for an intended Super 8 feature film. After a fire destroyed much of what they shot\, Turner and Wojnarowicz ultimately edited their footage into a 30-minute “trailer” that represents an anarchic\, assaultive\, and wildly expressionistic take on what Wojnarowicz described as “the imposed Hell of the suburbs.” The result — something of a cross between Flaming Creatures\, a proto-Jackass stunt performance piece\, and a no-budget horror film — is recognized as one of the key films of the “Cinema of Transgression.” Where Evil Dwells also includes a title track by J.G. Thirlwell (Foetus) and Roli Mosimann (Swans) and appearances by Rockets Redglare as Jesus and Joe Coleman as Satan. \n\n\n\nWith: Joe Coleman\, Nancy Coleman\, Baby Gregor\, Lung Leg\, Natz\, Rockets Redglare\, Tommy Turner\, Scott Werner\, David Wojnarowicz. \n\n\n\n\n\n\n\nA Fire in My Belly (A work in progress) – David Wojnarowicz1986-1987\, 21 min\, color and b&w\, silent\, Super 8mm film on videoEchoing themes explored throughout David Wojnarowicz’s art and writing\, A Fire in My Belly is a visceral meditation on cultural and individual identity\, spirituality\, and belief systems. On a trip to Mexico City with Tommy Turner to scout Day of the Dead imagery\, Wojnarowicz shot 25 rolls of super-8 film\, documenting scenes that embodied the violence of city life. A central image is that of a child exploited as a fire-breathing street performer\, which resonates in the title of the film and Wojnarowicz’s own experience hustling on the streets at a young age. He later staged scenes in his New York City apartment to combine with this footage\, collecting dreamlike images to illustrate thematic sections he planned for the film’s structure\, outlined in a cutting script. Among these images is a dancing\, gun-wielding marionette\, coins dropping into a plate of blood\, vibrantly colored loteria cards\, and the now iconic self-portrait of the artist with his lips sewn shut.A Fire in My Belly was never completed. What currently circulates and is preserved in the Fales Library Collection of NYU\, which holds the David Wojnarowicz Papers archive\, is a 13-minute version entitled A Fire in my Belly\, A Work in Progress\, and a 7-minute excerpt that possibly represents a chapter planned for the finished version. Wojnarowicz’s cutting script shows that he thought of organizing it into discrete sections (numbered 1-8\, with notes to combine sections). Each section includes notes on general themes\, such as “aggression” or “hunger\,” accompanied by specific symbols — religious icons\, the four elements\, or colors. The physical film reveals Wojnarowicz’s unfinished ordering of the sections; masking tape splices holding together the deconstructed film have since been removed for preservation\, and are now indicated by black leader.The cutting script makes clear the intended kinetic fury of the film\, propelled by quick shots and stark transitions\, an approach similar to the frenzied conclusion of his collaborative film with Tommy Turner\, Where Evil Dwells (1985). Vibrant color and graphic images play a formal and conceptual role comparable to his paintings of the time. The iconography of the film resonates with such works as Crash: The Birth of Language/The Invention of Lies (1986)\, which shows a fearsome\, sooty locomotive plunging through the ruins of civilization\, a correlation of industry and speed with humankind’s separation from nature and ultimate destruction that is a prominent theme of A Fire in My Belly\, as is the violence with which visual and spoken language can obscure as much as reveal the truth.The movement of the film itself — never resting too long on an image\, scenes of Mexico City shot from a passing car — becomes an expression of the speed and aggression of modern living. As Wojnarowicz describes in his essay In the Shadow of the American Dream: Soon All This Will Be Picturesque Ruins\, especially in the sprawling west of America\, vehicles are not just a convenience\, but an agent of class stratification and indifference: “Owning a vehicle\, you could drive by and with the pressure of your foot on the accelerator and with your eyes on the road you could pass it quickly — maybe not fast enough to overlook it completely\, but fast enough so that the speed of the auto and the fear centers of the brain created a fractured marriage of light and sound. The images of poverty would lift and float and recede quickly like the gray shades of memory so that these images were in the past before you came upon them. It was the physical equivalent of the evening news.”Wojnarowicz was compelled to document and represent the lives of those he felt society sought to repress with the ruthlessness of the locomotive in his Crash painting. Mexico especially made a deep impression on him. Visiting shortly after the devastation of the 1985 Mexico City earthquake\, he was struck by the extreme poverty he witnessed\, which he described in an interview in 1991 with Jeri Cain Rossi: “I look at the poverty in New York which has gotten really more and more extreme over the last eight years. And people I know just say they can’t believe it’s getting to this stage. I just laugh and say\, ‘Go to Mexico City and you’ll see the future of us.’ You see just how far people get pushed … When you actually see like what they’re making per day and how impossible that would be to survive on\, I’m just amazed that people can get pushed to such an extreme.”In admonishing against the destructive forces of industrialized society\, A Fire in My Belly also celebrates the colorful pageantry and social and religious rituals of poor and working-class Mexican cultures\, which in their vibrancy speak to the endurance of the human spirit even in terrible circumstances. Wojnarowicz appreciated these sparks of life\, perhaps burning all the brighter for the pressures being exerted. Writing later in a catalog accompanying a solo show at his gallery\, P.P.O.W.\, in 1989\, he observed: “Going south of the border I found myth to still be very much alive and with it the sense of connection to the ground people walked on.” \n\n\n\n\n\n\n\nITSOFOMO (in the shadow of forward motion) – By David Wojnarowicz and Ben Neill  \n\n\n\n1989\, 22 min\, color\, sound \n\n\n\nITSOFOMO (in the shadow of forward motion) combines film clips seen throughout Wojnarowicz’s filmography\, including footage of Beluga whales and other animals at the Coney Island Aquarium; Day of the Dead celebrations in Mexico City; ants crawling on a crucifix; and Wojnarowicz sewing his mouth closed in protest of public silence around AIDS in the United States.  \n\n\n\nThe visceral\, flickering imagery is accompanied by a sparse\, yet swelling soundtrack by Ben Neill and voiceover of Wojnarowicz reading excerpts of his texts including “Living Close to the Knives” and “When I Put My Hands on Your Body.” Wojnarowicz’s enraged and increasingly hoarse voice details his deeply personal and political experiences with AIDS and the government’s complicity in tens of thousands of deaths. \n\n\n\nAs a multimedia performance piece\, ITSOFOMO premiered at The Kitchen on December 7\, 1989. The immersive performance featured Neill’s live soundtrack\, readings\, video\, slide projection\, papier-maché sculptures\, and dance\, presented at an accelerating pace that sensorially emulated the increasing emergency of the AIDS epidemic. In Wojnarowicz’s words: “Consider that you’re in a car speeding along on an expressway. Everything that you see out of the corner of your eye which doesn’t register [while you’re] in the pursuit of speed…It’s all the things quietly occurring\, within absence of sight.”
URL:https://www.h-r.la/event/david-wojnarowicz-a-fire-in-my-belly-where-evil-dwells/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260916T190000
DTEND;TZID=America/Los_Angeles:20260916T203000
DTSTAMP:20260908T182644Z
CREATED:20260908T182413Z
LAST-MODIFIED:20260908T182644Z
UID:10511-1789585200-1789590600@www.h-r.la
SUMMARY:Empty Metal
DESCRIPTION:Tickets \n\n\n\nEmpty Metal presented by Clara López Menéndez \n\n\n\nLength: 83 minutes \n\n\n\nSet in the abusive police state of the contemporary United States\, EMPTY METAL follows five groups of characters\, each emblematic of a different extreme political ideology\, as they attempt insurrection against the status quo: a queer noise band is coerced into a dangerous assassination plot by a family of militant Native Americans who are aided by a Rastafarian computer hacker who is old friends with a Buddhist hermit whose son is a local militia leader. This tangled web of marginalized voices is as diverse and contradictory as the nation that spun it\, but there is a common thread: all the characters teeter on the dull knife blade that is contemporary American politics\, but they refuse to fall right or left. Instead\, they lash out from the soul\, and under the radar\, in an attempt to achieve what their mainstream predecessors have yet to accomplish. \n\n\n\nAnd all the while\, the drones are watching… \n\n\n\nDirected by Adam Khalil and Bayley SweitzerWritten by Adam Khalil and Bayley SweitzerProduced by Steve Holmgren\, Tiffany Sia\, Andrew Fierberg\, Héctor Velarde\, Alex Lazarowich   Edited by Adam Khalil and Bayley SweitzerMusic by Leila Bordreuil\, Doug Hock\, Eliane Radigue\, Bill Nace\, Dreamcrusher\, Christopher LatinaCast: PVSSYHEAVEN\, Sam Richardson\, Austin Sley Julian\, Alex Esco\, Wendel “Oba” Scott\, Mazikeen LaGuerre\, Irma LaGuerre\, Jon Nandor\, Paweł Wojtasik
URL:https://www.h-r.la/event/empty-metal/
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DTSTART;TZID=America/Los_Angeles:20260915T200000
DTEND;TZID=America/Los_Angeles:20260915T220000
DTSTAMP:20260915T154055Z
CREATED:20260909T173415Z
LAST-MODIFIED:20260915T154055Z
UID:10531-1789502400-1789509600@www.h-r.la
SUMMARY:Martha Colburn\, stop-motion animated films
DESCRIPTION:Tickets \n\n\n\nColburn presents a screening of her films from 1993-2023 as a broad and wild ride through stop motion development and collaged deconstructions and painterly hallucinations. She is a self taught filmmaker – starting with video\, then Super8mm\,16mm and finally 35mm and digital filmmaking. Using paint on glass\, frame by frame puppetry\, collaged flat puppets\, and inventions of color and style\, Colburn takes on themes of societal strife\, drug addiction\, the roots of war\, and the impending doom of consumer society. \n\n\n\nScreening her films Myth Labs\, Triumph of the Wild\, Don’t Kill the Weather MAN!\, Dolls vs Dictators\, and many more – Colburn explores the darker side of societal blight\, climate catastrophe\, war\, drugs\, and history through collage animations. Her early works started with making Super8mm films to the likes of Jad Fair\, 99 Hooker\, Jac Berrocal\, and many more – crafting collages and cutting frames to a frantic pace on subjects from vampires to television. Her ongoing collaboration with modern composers\, musicians\, poets and artists have blended genres from noise\, drone\, modern classical and rock. Most recently\, she made a music video for Susan Vega – starring exclusively rats.! \n\n\n\nMartha Colburn presents a screening of her films and videos.  \n\n\n\nThis screening includes a reel of 16mm film compilation of her short collage animation from the 1990s (shot originally on Super 8mm)\, a mini-expanded cinema performance with sound artist Elaine Carey’s live accompaniment\, making-of videos\, and the films Myth Labs\, Western Wild\, Cosmetic Emergency\, Triumph of the Wild\, Day of the Dutch\, and many more. On view will also be a presentation of the flat puppets and other elements from the films. \n\n\n\n Her early films were making found footage and Super 8mm films to the music and poetry of Jad Fair\, 99 Hooker\, Jac Berrocal and many more\, crafting collages and cutting frames to a frantic pace on subjects from vampires to television. Her ongoing collaboration with modern composers\, musicians\, poets and artists have blended genres from noise\, drone\, modern classical and rock.  \n\n\n\nBorn in rural Pennsylvania\, Martha Colburn is an artist and filmmaker based in Pasadena\, CA.  \n\n\n\nElaine Carey (Haswell)\, a Los Angeles-based\, DIY-informed production designer and experimental musician \n\n\n\n \n\n\n\nVIDEO \n\n\n\nPart 1: “Making Of” Video \n\n\n\n16mm Reel of Early films  \n\n\n\nSkelehellavision: expanded cinema performance \n\n\n\nWith live sound by Elaine Carey \n\n\n\nBus Driver (1997) \n\n\n\nSuper 8mm film transferred to Video \n\n\n\nZig Zag (1995) \n\n\n\n16mm film transferred to Video \n\n\n\nPart 2: “Making Of” (How to build a vertical multi-plane glass animation stand) \n\n\n\nMyth Labs (2008) \n\n\n\n16mm transferred to Video \n\n\n\nCosmetic Emergency (2005) \n\n\n\n35mm film transferred to Video \n\n\n\nElectric Literature (2002) \n\n\n\n16mm transferred to Video \n\n\n\nTriumph of the Wild (2009) \n\n\n\n16mm transferred to Video \n\n\n\nDay of the Dutch (2014) \n\n\n\nVideo \n\n\n\nWestern Wild (2017) \n\n\n\nVideo \n\n\n\nMetamorfoza (2013) \n\n\n\nVideo
URL:https://www.h-r.la/event/martha-colburn-stop-motion-animated-films/
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DTSTART;TZID=America/Los_Angeles:20260914T200000
DTEND;TZID=America/Los_Angeles:20260914T213000
DTSTAMP:20260904T204419Z
CREATED:20260904T204417Z
LAST-MODIFIED:20260904T204419Z
UID:10434-1789416000-1789421400@www.h-r.la
SUMMARY:Fistful Of Love by Reynaldo Rivera
DESCRIPTION:Tickets \n\n\n\nShot largely over the 90s\, Fistful of Love is the debut feature of the Mexico-born\, Los Angeles-based photographer Reynaldo Rivera\, and makes extensive use of his immense personal archive of Hi8 tapes. Vignettes from Rivera’s life in both Mexico and California—including raucous parties\, punk clubs\, drag performances\, political protests\, intimate moments with artist friends\, family\, and more—are elegantly edited together in a nonlinear fashion by filmmaker Pablo Bujosa Rodríguez\, to present a nostalgia-free look back at el fin de siglo (end of the century)\, and the characters\, music\, and cities that make up a life.
URL:https://www.h-r.la/event/fistful-of-love-by-reynaldo-rivera/
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