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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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END:VEVENT
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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END:VEVENT
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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END:VEVENT
BEGIN:VEVENT
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/
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2026/09/nosferatu.jpg
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BEGIN:VEVENT
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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END:VEVENT
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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END:VEVENT
BEGIN:VEVENT
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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END:VEVENT
BEGIN:VEVENT
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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END:VEVENT
BEGIN:VEVENT
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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END:VEVENT
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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END:VEVENT
BEGIN:VEVENT
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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END:VEVENT
BEGIN:VEVENT
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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260913T160000
DTEND;TZID=America/Los_Angeles:20260913T200000
DTSTAMP:20260913T195718Z
CREATED:20260911T204438Z
LAST-MODIFIED:20260913T195718Z
UID:10578-1789315200-1789329600@www.h-r.la
SUMMARY:La Familia P. Luche - season one marathon
DESCRIPTION:Airing on public broadcasting from 2002 to 2012 with only three seasons\, La Familia P. Luche is widely regarded as one of the most deeply rooted series in Mexican TV culture. Created by and starring comedian Eugenio Derbez\, it depicts a chaotic and deeply dysfunctional family led by his character Ludovico P. Luche and his domineering wife\, Federica (Consuelo Duval). Follow them along with their peculiar daughter\, Bibi\, their perfect son\, Ludoviquito\, their adopted adult son\, Junior (who’s actually an undercover cop suffering from amnesia)\, and their indolent Argentine maid\, Exelsa\, navigating Ciudad Peluche (“Plush City”) where accessories\, appliances and even furniture are covered in an array of plushness — much like Human Resources these days. Join us for a day of lazy laughs or just stop by for an episode or two. \n\n\n\nThis is a free event! Donations accepted at the door.
URL:https://www.h-r.la/event/la-familia-p-luche-season-one-marathon/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260912T210000
DTEND;TZID=America/Los_Angeles:20260912T235900
DTSTAMP:20260903T030618Z
CREATED:20260902T195635Z
LAST-MODIFIED:20260903T030618Z
UID:10395-1789246800-1789257540@www.h-r.la
SUMMARY:Yuval Pudik’s The Hom(o)stead Act: Kaiserpanorama
DESCRIPTION:Tickets \n\n\n\nYuval Pudik’s The Hom(o)stead Act: Kaiserpanorama (THA_KP) is a three-hour video collage assembled from more than 18\,000 clips gathered by the artist from contemporary media and the internet. Originally presented within Pudik’s Kaiserpanorama—a sculptural\, multi-viewer theater first exhibited at NOON Projects in Autumn 2025—the film plays as an unrelenting supercut of contemporary culture\, moving freely between high art\, advertising\, politics\, pornography\, celebrity\, social media\, and the strange vernacular of everyday online life. Pudik edits this vast archive through a distinctly queer lens\, drawing out unlikely synchronicities\, accidental camp\, humor\, desire\, and moments of cultural collision. Sourced largely through the artist’s iPhone\, the footage reflects the overwhelming stream of images we encounter through our screens; by removing that material from the solitary space of the phone and projecting it back into a theatrical\, collective setting\, Pudik transforms the endless scroll into something to be watched\, laughed at\, questioned\, and made sense of together. The film is now being screened independently from the Kaiserpanorama\, allowing the moving-image work—and Pudik’s remarkable editorial language—to operate as a work in its own right.
URL:https://www.h-r.la/event/yuval-pudiks-the-homostead-act-kaiserpanorama/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260912T190000
DTEND;TZID=America/Los_Angeles:20260912T210000
DTSTAMP:20260902T230807Z
CREATED:20260819T015412Z
LAST-MODIFIED:20260902T230807Z
UID:10224-1789239600-1789246800@www.h-r.la
SUMMARY:Homotopia & Criminal Queers
DESCRIPTION:Tickets \n\n\n\n20th anniversary screening of Homotopia (2006) with its sequel Criminal Queers (2015) directed by Eric A. Stanley & Chris E. Vargas \n\n\n\nPost-screening discussion with the directors and Silky Shah\, author of Unbuild Walls: Why Immigrant Justice Needs Abolition (2024). \n\n\n\nSet sometime in the future-present Homotopia (2006) chronicles a group of radical queer’s dedicated to exposing the trouble with gay marriage\, dismantling the State\, undoing Empire\, while looking totally fierce. Woven into the story of Yoshi’s adventures in love\, resistance\, and sex\, is a critique of the crushing violence of homonormativity and its deadly perpetuation of US patriotism\, conservative kinship structures and affective accumulation. Homotopia holds cinematic assumptions hostage through its motley assemblage of never-passing crew. Race\, gender\, ability and desire are reworked through an anti-colonial take of queer struggle creating a visual rhythm of melancholic utopianism that knows there may be no future but still hopes today is not their last. Love revolution\, not State delusion\, Homotopia.  \n\n\n\nCriminal Queers (2015) visualizes a radical trans/queer struggle against the prison industrial complex and toward a world without walls. Remembering that prison breaks are both a theoretical and material practice of freedom\, this film imagines what spaces might be opened up if crowbars\, wigs\, and metal files become tools for transformation. The film advances a vision of our collective liberation by abolishing the structures and systems that confine our hearts\, genders\, and desires. Follow Yoshi\, Joy\, Susan\, and Lucy as they fiercely discuss everything from the Human Rights Campaign and hate crimes legislation to the non-profitization of social movements. Criminal Queers grows our collective liberation by working to abolish the multiple ways our hearts\, genders\, and desires are confined.
URL:https://www.h-r.la/event/criminal-queers-2006-homotopia-2015/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260911T210000
DTEND;TZID=America/Los_Angeles:20260911T223000
DTSTAMP:20260908T004023Z
CREATED:20260905T000126Z
LAST-MODIFIED:20260908T004023Z
UID:10443-1789160400-1789165800@www.h-r.la
SUMMARY:GAG! presents VIDEO 4
DESCRIPTION:Tickets \n\n\n\nGAG! is a collective of artists seeking to respond to institutionalized art spaces\, create disruption as a mirror to systems of power\, and encourage active participation. We gather resources\, collaborate\, mobilize\, and find community. A place to self legitimize and self actualize\, GAG! is the response to the longest inside joke. Here\, we stay gagging at the results. \n\n\n\nAbout GAG! presents… VIDEO series: \n\n\n\nGAG! joins HUMAN RESOURCES during their summer screening series for another iteration of VIDEO. \n\n\n\nGAG! Presents… VIDEO4. As a way to highlight video artists and blur the line between video art and cinema\, GAG! brings together a select group of artists and filmmakers to screen pieces that are intended for the exhibition space. Simultaneously\, VIDEO4 reimagines films intended for theaters within the context of video art. This screening allows audiences to approach these practices in a new light. Fine art + film = VIDEO4 ◡̈ \n\n\n\nThemes we’re exploring: \n\n\n\nsurveillance (being viewed\, viewing others) turn of century (changes from moments of impact in the world and our lives)information / media and how it abstracts information (fact\, occurrence) collective memory(phenomenon\, spectacle) \n\n\n\n \n\n\n\nGAG! presents VIDEO4 \n\n\n\nLuis A. ReyesWally WaliszewskiJean HsiCaitlyn Phuthis week on earthKristen HuizarBruno de OliveiraJoceCarlos Didier \n\n\n\nContact GAG!Instagram: @gag.coEmail: gag.co.email@gmail.comWebsite: gagatm.com
URL:https://www.h-r.la/event/gag-presents-video-4/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260908T200000
DTEND;TZID=America/Los_Angeles:20260912T213000
DTSTAMP:20260910T045831Z
CREATED:20260904T024212Z
LAST-MODIFIED:20260910T045831Z
UID:10409-1788897600-1789248600@www.h-r.la
SUMMARY:Mike Kelley\, five-night survey featuring guest speakers
DESCRIPTION:Tickets \n\n\n\nA five-night survey dedicated to the video works of Mike Kelley\, which will feature guest speakers. \n\n\n\n\nNight 1\, Tue\, Sept 8\, 8pm: The Banana Man (1983) + Kappa (1986) + Family Tyranny/Cultural Soup (1987) – Post screening conversation with Chris Vargas and Jen Doyle\n\n\n\nNight 2\, Wed\, Sept 9\, 8pm: Bridge Visitor (Legend-Trip) (2004) + Blind Country (1989) + Extracurricular Activity Projective Reconstruction #1 (Domestic Scene) (2000) — Post screening conversation with Simon Leung and Clara López Ménendez\n\n\n\nNight 3\, Thu\, Sept 10\, 8pm: A Voyage of Growth and Discovery (2010\,  in collaboration with Michael Smith) — Post screening conversation with P. Staff and Danielle Dean\n\n\n\nNight 4\, Fri\, Sept 11\, 7pm: Heidi (1992\,  in collaboration with Paul McCarthy) — Post screening conversation with Christina Katherine Martinez and Ron Athey\n\n\n\nNight 5\, Sat\, Sept 12\, 4pm: Day Is Done (2005) — Post screening conversation with Bruce Yonemoto and Michael Ned Holte\n\n\n\n\nTuesday\, September 8 at 8:00 PM \n\n\n\n\nThe Banana Man (1983)\n\n\n\nKappa (1986\, in collaboration with Bruce and Norman Yonemoto)\n\n\n\nFamily Tyranny/Cultural Soup (1987\, by Paul McCarthy\, with Mike Kelley)\n\n\n\n\n\n\n\n\nThe Banana Man (1983): A solo psychodrama exploring fictional identity and character psychology through a minor children’s television figure. \n\n\n\n\n\n\n\nKappa (1986\, in collaboration with Bruce and Norman Yonemoto): A collaborative psychodrama fusing Freudian symbology and Oedipal myths with popular imagery. \n\n\n\n\n\n\n\nFamily Tyranny/Cultural Soup (1987\, by Paul McCarthy\, with Mike Kelley)): A dark comedy parodying a sitcom set to look at domestic trauma. \n\n\n\n \n\n\n\n \n\n\n\nWednesday\, September 9 at 8:00 PM \n\n\n\n\nBLIND COUNTRY (1989\, in collaboration with Ericka Beckman)\n\n\n\nExtracurricular Activity Projective Reconstruction #1 (Domestic Scene) (2000)\n\n\n\nBridge Visitor (Legend-Trip) (2004)\n\n\n\n\n\n\n\n\nBridge Visitor (Legend-Trip) (2004): A video exploring teenage rituals and adolescent infatuations with spooky spaces and occult actions. \n\n\n\n\n\n\n\nBLIND COUNTRY (1989\,  in collaboration with Ericka Beckman): An H.G. Wells-inspired psychodrama mapping psychological distress. \n\n\n\n\n\n\n\nExtracurricular Activity Projective Reconstruction #1 (Domestic Scene) (2000): A theatrical narrative reimagining high school yearbook trauma inside a domestic kitchen stage. \n\n\n\nThursday\, September 10 at 8:00 PM \n\n\n\nA Voyage of Growth and Discovery (2010\, in collaboration with Michael Smith): \n\n\n\n\n\n\n\nA Voyage of Growth and Discovery (2010): A feature-length collaboration tracking the existential\, avant-garde journey of Michael Smith’s Baby IKKI character. \n\n\n\n \n\n\n\n \n\n\n\nFriday\, September 11 at 7:00 PM \n\n\n\nA Voyage of Growth and Discovery (2010\,  in collaboration with Michael Smith): \n\n\n\n\nHeidi (1992\, in collaboration with Paul McCarthy)\n\n\n\n\n\n\n\n\nHeidi (1992): A collaborative\, disturbing adaptation of the classic children’s story exploring commercialized innocence with Paul McCarthy. \n\n\n\nSaturday\, September 12 at 8:00 PM \n\n\n\n\nDay Is Done (2005)\n\n\n\n\n\n\n\n\nDay Is Done (2005): A 169-minute opus staging carnivalesque music videos and high school rituals based on yearbook snapshots.
URL:https://www.h-r.la/event/mike-kelley-five-night-survey-featuring-guest-speakers/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260907T220000
DTEND;TZID=America/Los_Angeles:20260907T233000
DTSTAMP:20260831T191730Z
CREATED:20260831T191726Z
LAST-MODIFIED:20260831T191730Z
UID:10375-1788818400-1788823800@www.h-r.la
SUMMARY:HAUSU
DESCRIPTION:Tickets \n\n\n\nHow to describe Nobuhiko Obayashi’s indescribable 1977 movie House (Hausu)? As a psychedelic ghost tale? A stream-of-consciousness bedtime story? An episode of Scooby-Doo as directed by Mario Bava? Any of the above will do for this hallucinatory head trip about a schoolgirl who travels with six classmates to her ailing aunt’s creaky country home and comes face-to-face with evil spirits\, a demonic house cat\, a bloodthirsty piano\, and other ghoulish visions\, all realized by Obayashi via mattes\, animation\, and collage effects. Equally absurd and nightmarish\, House might have been beamed to Earth from some other planet. Never before available on home video in the United States\, it’s one of the most exciting cult discoveries in years.
URL:https://www.h-r.la/event/hausu/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260907T200000
DTEND;TZID=America/Los_Angeles:20260907T213000
DTSTAMP:20260907T095542Z
CREATED:20260907T095540Z
LAST-MODIFIED:20260907T095542Z
UID:10450-1788811200-1788816600@www.h-r.la
SUMMARY:Maggie Lee + Judy Fiskin: Mommy paired with I'll Remember Mama
DESCRIPTION:Tickets \n\n\n\nMaggie Lee’s Mommy paired with Judy Fiskin’s I’ll Remember Mama \n\n\n\nMommy\n\n\n\n2015\, 56:22 min\, color\, sound\, HD video\n\n\n\nProduced during Lee’s trip to her childhood home in New Jersey after the unexpected death of her mother\, Mommy weaves the artist’s memories into a kaleidoscopic narrative of devotion\, memory\, intrafamilial desires\, and the evolution of American subcultures on the Internet. Using her mother’s unfinished autobiography as a starting point\, Lee infuses personal and family history\, situating Mommy as a story of her mother’s life as well as her own. \n\n\n\nLee’s inclusion of family artifacts across decades—including home movies\, family pictures\, menus from her parents’ restaurant\, and handwritten notes from her mother—contends with the shifting fidelity of images to the people and memories they imperfectly represent. Collaged photos\, drawings\, video clips\, and text snippets adorn the screen\, visually and symbolically framing Lee’s biographical storytelling through her own diaristic lens and DIY sensibility as an artist and zinemaker. Mommy’s soundtrack features electronic\, punk\, and experimental selections by Lee’s friends—including NYC-based artists Physical Therapy\, James K\, and Gobby—showcasing a unique ecology of creative production while extending the narrative of Lee’s personal development in experimental media communities. \n\n\n\nI’ll Remember Momma\n\n\n\n2014\, Judy FiskinA meditation on the imminent passing of her mother – the objects that she will leave behind and the memories and knowledge that will disappear with her passing.
URL:https://www.h-r.la/event/maggie-lee-judy-fiskin-mommy-paired-with-ill-remember-mama/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260906T190000
DTEND;TZID=America/Los_Angeles:20260906T203000
DTSTAMP:20260904T234947Z
CREATED:20260903T225215Z
LAST-MODIFIED:20260904T234947Z
UID:10398-1788721200-1788726600@www.h-r.la
SUMMARY:Deny\, Defend\, Depose by Stanya Kahn
DESCRIPTION:Tickets \n\n\n\nDeny\, Defend\, Depose \n\n\n\n7 & 8 pm screenings \n\n\n\nStanya Kahn ©2026 \n\n\n\nTRT: 30:58 minutes \n\n\n\nSingle channel color digital video with stereo sound \n\n\n\nMusic by Cameron Outlaw\, Acid Arab\, Baseck\, Caterina Barbieri\,  \n\n\n\nUnknown Origin\, and Stanya Kahn.  \n\n\n\nDeny\, Defend\, Depose is a short film made entirely of tweets collected since the morning of December 04\, 2024\, when a masked person in New York City assassinated United HealthCare CEO Brian Thompson with a veterinary euthanasia pistol and a silencer\, then fled on a Citibike. The shooting was captured on surveillance camera and immediately went viral. Twitter (now “X”) erupted in uncanny unison: the collective response was joy. Celebratory snark and rage-fueled one-liners spat out deadly statistics and stories of failed care in the US healthcare system. The feed was flooded with giddy and outrageous hate-bonding. Intrigued by a spontaneous class war saga and remarkable mass alignments\, Kahn screen-captured tweets as the news broke\, continuing for over a year as facts of the incident unfolded and anecdotes about systemic insurance abuse accumulated. Initially designing the collection to be a book\, Kahn quickly realized the potential reach and apropos infotainment nature of a time-based work. (A book is in the works\, pending funding.) \n\n\n\nSet to an acid/jungle soundtrack—Deny\, Defend\, Depose is at once historical document\, cultural timestamp and an ebullient reflection of an astonishing spike in the zeitgeist. Edited up to the current moment\, the piece was set to release in the lead up to the September 8th  start of the state trial for prime suspect Luigi Mangione in New York. With the August 14th guilty plea (a move by the defense to avoid double jeopardy\,) the state trial is now postponed to December 18th\, 2026. 
URL:https://www.h-r.la/event/deny-defend-depose-by-stanya-kahn/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260906T160000
DTEND;TZID=America/Los_Angeles:20260906T173000
DTSTAMP:20260831T193207Z
CREATED:20260831T193206Z
LAST-MODIFIED:20260831T193207Z
UID:10379-1788710400-1788715800@www.h-r.la
SUMMARY:Neptune Frost(STQM Verse 4)
DESCRIPTION:Tickets \n\n\n\nMulti-hyphenate\, multidisciplinary artist Saul Williams (Slam) brings his unique dynamism to this Afrofuturist vision\, a sci-fi punk musical that’s a visually wondrous amalgamation of themes\, ideas\, and songs that Williams has previously explored in his work. The film takes place in the hilltops of Burundi\, where a group of escaped coltan miners form an anti-colonialist computer hacker collective. From their camp in an otherworldly e-waste dump\, they attempt a takeover of the authoritarian regime exploiting the region’s natural resources and its people. When an intersex runaway and an escaped coltan miner find each other through cosmic forces\, their connection sparks glitches within the greater divine circuitry.
URL:https://www.h-r.la/event/neptune-froststqm-verse-4/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260905T210000
DTEND;TZID=America/Los_Angeles:20260905T223000
DTSTAMP:20260806T051359Z
CREATED:20260805T195058Z
LAST-MODIFIED:20260806T051359Z
UID:9977-1788642000-1788647400@www.h-r.la
SUMMARY:Guadalupe Arellanes’ Dream Series
DESCRIPTION:Tickets \n\n\n\nA selection of works from Guadalupe Arellanes’ dream series\, exploring the subconscious through cinema\, gathering films that translate sleep\, memory\, existential dread\, and altered states into visual poetry\, performance\, and ritual. Featuring Repertoire of Death\, Tides of Time\, I dream of snakes (WIP) and other works by Guadalupe Arellanes. The presentation will culminate with a live filming session where audience members will be invited to participate in a scene towards the completion of I dream of snakes. \n\n\n\nGuadalupe Arellanes is a visual artist\, performer\, filmmaker\, and scholar based in Los Angeles\, California. Her work investigates the poetics of place and the lingering textures of hauntings using surrealist techniques\, nonlinear temporalities\, repetitive motifs\, and dream logic. Her films have been featured in programs by the LEIMAY Foundation\, Boston Cyberarts\, Beyond Baroque\, The Film-Makers’ Cooperative\, the American Cinematheque\, and more. In 2025\, she was a contributing artist and scholar at the Philosophical Research Society.
URL:https://www.h-r.la/event/guadalupe-arellanes-dream-series/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260905T150000
DTEND;TZID=America/Los_Angeles:20260905T170000
DTSTAMP:20260824T173530Z
CREATED:20260821T012213Z
LAST-MODIFIED:20260824T173530Z
UID:10268-1788620400-1788627600@www.h-r.la
SUMMARY:Tim Feeney's Dowsing
DESCRIPTION:tickets \n\n\n\nTen repetitive sonic interventions within the eroded landscapes of the Burren\, County Clare\, Ireland. \n\n\n\nThese occur at sites of local “anti-monuments:” a kilometers-long\, natural limestone pavement high above Galway Bay; stone farm walls and remnants of circular structures on hillsides; cairns near a shoreline; a field of glacial boulders interrupted by a road smashed from the surrounding stone formations\, in forced public work by the starving during the Great Hunger of 1845 to 1852. These structures speak to both the passage of geologic time\, and the care and efforts of human survival beginning in the Neolithic period and tended through the present\, though local history at each site may be lost\, or unrecorded. \n\n\n\nThese are introduced in title cards in English\, italicized as a term in a language foreign to the observer\, and in Irish in plain font\, as in an observer’s native language.  \n\n\n\nFrom one perspective\, a sonic divining or physical research into the properties of land\, space\, light\, and time in these locations; from another\, an attempt as an “Irish-American” to reckon with language\, archaeology\, and history felt as formative but inarticulable without lived context. \n\n\n\nAfter a point\, you can only ask the stone so many questions\, and sometimes you can only hear your own voice in response.  \n\n\n\n\n\n\n\nTim Feeney makes sounds and images in and for forests and waterfronts\, investigating unstable sound and duration. His recent sound and video work has been presented in festivals and residencies at the Contemporary Art Center New Orleans; the Ringling Museum of Art in Sarasota\, Florida; the Burren College of Art\, Newtown Castle\, Ireland; the Denver Underground Film Festival; Festival International Musique Actuelle Victoriaville; Roma Short Film Festival; CICA Museum\, South Korea; Fonderie Darling\, Montreal; Sonorities Festival\, Belfast; Revolutions per Minute\, Boston; Millennium Film Workshop\, new York; and the Los Angeles Center for Digital Art. \n\n\n\nAs a musician\, he appears in bookstores and basements with Sarah Hennies and Greg Stuart as the trio Meridian; in galleries and libraries with Vic Rawlings and Annie Lewandowski; in tunnels and train stops with Cody Putman and Cassia Streb; in colleges and museums with Andrew Raffo Dewar\, Holland Hopson\, and Jane Cassidy; and in occasional festivals and concert halls with Anthony Braxton\, Ingrid Laubrock\, and the Partch Ensemble.  \n\n\n\nHe is a faculty member at the California Institute of the Arts. \n\n\n\nhttps://www.timfeeney.com \n\n\n\nIG @theothertimfeeney
URL:https://www.h-r.la/event/tim-feeneys-dowsing/
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