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DTSTART;TZID=America/Los_Angeles:20260804T200000
DTEND;TZID=America/Los_Angeles:20260804T223000
DTSTAMP:20260805T094415
CREATED:20260729T001055Z
LAST-MODIFIED:20260729T001127Z
UID:9859-1785873600-1785882600@www.h-r.la
SUMMARY:Fresh Kill
DESCRIPTION:Tickets \n\n\n\nFresh Kill is a 1994 experimental film directed by Shu Lea Cheang and written by Jessica Hagedorn. \n\n\n\nA disturbingly prescient ecofeminist parable and a brain-wave-scrambling cyberpunk fantasia\, the debut feature from new-media pioneer Shu Lea Cheang merges a bold vision of resistance with an exuberant early-internet aesthetic. In a dystopian-chic New York where sushi joints and toxic-waste sites exist side by side\, a lesbian couple (Sarita Choudhury and Erin McMurtry) turn to the hacker underground to solve their daughter’s disappearance\, in the process exposing a conspiracy involving corporate greenwashing and tainted fish. Swinging between outré satire and agitprop\, Fresh Kill sounds the alarm about a capitalist system that pollutes everything from our waterways to our bodies to our minds.
URL:https://www.h-r.la/event/fresh-kill/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260802T160000
DTEND;TZID=America/Los_Angeles:20260802T180000
DTSTAMP:20260805T094415
CREATED:20260724T222435Z
LAST-MODIFIED:20260727T162836Z
UID:9841-1785686400-1785693600@www.h-r.la
SUMMARY:Heart Aches from Loving You: Two films by Tuni Chatterji
DESCRIPTION:Tickets \n\n\n\n\n\n\n\nTwitterpated – 2002- TRT 25 min \n\n\n\nTwitterpated is an investigation of image\, sound and the sensations of unrequited love through the form of a musical. It is a series of events articulated by thirteen nonprofessional performances\, twelve American pop songs and eleven locations in and around Los Angeles. Each scene is built only on the essential elements of a musical: a person in a place singing a song. However\, the simplicity of the structure often lends itself to peculiar and touching performances. \n\n\n\n\n\n\n\nOkul Nodi- 2014- TRT 52 min \n\n\n\nOkul Nodi is a contemplative documentary film about Bhatiyali\, the river music of Bangladesh. Bhatiyali is the soulful music sung\, as tradition has it\, by the boatmen of Bangladesh. The poignancy of the lyrics often rests on dual meanings wherein boats become bodies\, lovers are also lost gods\, and river banks stand for cycles of life and death. All the while\, the melody\, with its tonal variations\, carries the listener into the natural world by creating the sensation of drifting along the water. \n\n\n\nWe spent months traversing the Brahmaputra-Ganges delta by boats\, buses and rickshaws in search of boatmen\, hoping to trace a history of this musical form and its relationship to the landscape. What we found instead was a passionate group of experts\, the effects of modernization on folk traditions\, and an open dialogue about what it means to be Bengali. Mirroring the complicated yet fleeting relationship between the songs and the landscape and by calling attention to the intrinsic qualities of the cinematic form itself\, Okul Nodi explores a disjunction between expectation and experience. \n\n\n\nTuni Chatterji is an artist\, filmmaker and educator working primarily in archives and museums. Her films engage with phenomenons of the natural world through cinematic process and language. After receiving the Fulbright scholarship to Bangladesh\, Tuni made her first feature length experimental documentary\, Okul Nodi\, exploring Bhatiyali\, the boat songs of Bengal. Her films and installations have shown at film festivals\, universities\, museums\, and art spaces internationally. \n\n\n\nTuni received her BFA in Painting from the University of Tennessee\, Knoxville and her MFA in Filmmaking from CalArts.
URL:https://www.h-r.la/event/heart-aches-from-loving-you-two-films-by-tuni-chatterji/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260801T210000
DTEND;TZID=America/Los_Angeles:20260801T233000
DTSTAMP:20260805T094415
CREATED:20260717T194714Z
LAST-MODIFIED:20260720T221802Z
UID:9778-1785618000-1785627000@www.h-r.la
SUMMARY:Cruising (At The Movies)
DESCRIPTION:Have you ever wanted to find yourself in a 1970s\, Porno Chic adult theater with a hottie who’s as dirty and desperate as you? \n\n\n\nGet yourself and all your FILTHY FRIENDS to the FAST PUSSYCAT THEATRE at Human Resources Los Angeles to watch our continuous picture show\, programmed by FEMME PERVERTS for people of ALL PERSUASIONS…and maybe make a friend (or more…) in the DARKROOM. \n\n\n\nCONTINUOUS SHOWS OF XXX RATED ADULT CINEMA ON THE BIG SCREEN ALL NITE LONG! \n\n\n\nONE NIGHT ONLY!CRUISING! \n\n\n\nDARKROOM! \n\n\n\n$10 AT THE DOOR \n\n\n\nCruising (At The Movies) is brought to you by the ladies at Fast Cat Productions\, as part of Los Angeles’ first Leather Queer Weekend. All proceeds from this event go to support Leather Queer Weekend and dyke-of-center events in the City of Angels. \n\n\n\nFor more information about Leather Queer Weekend\, check out @leatherqueersla on Instagram. \n\n\n\nSEE YOU IN THE DARK! 💋💋💋
URL:https://www.h-r.la/event/cruising-at-the-movies/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260731T000000
DTEND;TZID=America/Los_Angeles:20260801T235959
DTSTAMP:20260805T094415
CREATED:20260711T005945Z
LAST-MODIFIED:20260720T223102Z
UID:9709-1785456000-1785628799@www.h-r.la
SUMMARY:THE GAYSIAN ARCHIVE: NGUYEN TAN HOANG’S EXPERIMENTAL VIDEOS (1995-2026)
DESCRIPTION:7:00 pm – 8:30 pm \n\n\n\n\n\n\n\nTickets \n\n\n\nJuly 31st at 7pmProgram 1: RISKY BUSINESS \n\n\n\nPost-Screening Discussion with Nguyen Tan Hoang & Eve Oishi \n\n\n\nThe program centers on the intersection of queer Asian identity\, sexual desire\, and the HIV/AIDS crisis. 7 Steps to Sticky Heaven (1995) presents candid interviews with young gay Asian men in San Francisco about the “politics of starch.” Queer & questioning twenty-somethings in Irvine\, California\, confess their lasting longings and missed connections in Maybe Never (but I’m counting the days) (1996). Forever Bottom! (1999) critiques and embraces the ubiquitous figure of the Asian bottom. K.I.P. (2001) remixes 1980s VHS porn decay to highlight a spectral gay male sex community persevering across time. Sad Porn Circa 1994 (2026) links gay pornography with liberation politics and the curtailment of sexual possibility. A Horse\,  A Filipino… (2005) juxtaposes Hollywood’s Filipino sissy houseboy with bare back porn\, highlighting persistent “uninhibited” racial-sexual stereotypes. I Remember Dancing (2019) expands the archive to intergenerational trans and queer “gaysians\,” reflecting on AIDS\, activism\, and collective memory. Together\, these pieces map a three-decade spanning\, self reflexive portrait of the risks\, pleasures\, and cultural negotiations shaping queer Asian American experience.   \n\n\n\n– –  \n\n\n\nAugust 1st at 7pmProgram 2: PIRATED FANTASIES \n\n\n\nPost-Screening Discussion with Nguyen Tan Hoang & Chris E. Vargas \n\n\n\nAcross the nine works in the Pirated Fantasies program\, Nguyen Tan Hoang foregrounds the negotiation of queer Asian identity through experimental collage and archival appropriation. Each piece taps a different facet of that negotiation—whether it’s reclaiming absent “sticky‑homoerotic” images of Hong Kong pop idols in Forever Jimmy! (1995)\, chronicling personal longing and loss in Love Letters 1 & 2 (1996)\, or excavating refugee trauma and its sexual reverberations in PIRATED! (2000). The videos also interrogate media representation: they remix pornographic tropes\, historic film clips\, and found photographs to reveal how race\, gender\, and desire are simultaneously fetishized\, erased\, or embraced (e.g.\, the “no Asians” ban explored in look_im_azn [2011]\, the Oriental Hardon’s [2026] gaysian nude archives\, and the early‑70s gay porn examined in Eavesdropping on Jason Sato’s Brothers [2025]). A third through‑line is the fluidity of gender and desire\, illustrated by the gender‑transition narrative of Crimson (2000)\, the priesthood metaphor in The Calling (2000)\, and the hand‑focused objectification of The Lesbian Hand (2026). The program binds past and present through memory\, longing\, and the act of re‑imagining—the act of looping\, looping\, and looping again to compress history\, trauma\, and pleasure into short\, hyper‑edited kinetic essays that map a continuous\, evolving queer Asian diaspora. \n\n\n\n– – \n\n\n\nNguyen Tan Hoang (b. 1971\, Saigon\, Vietnam) is interested in Asian American visual culture\, Southeast Asian cinema\, race and pornography\, and homo-sex archives. They earned a PhD in Rhetoric from the University of California\, Berkeley\, and an MFA in Studio Art from the University of California\, Irvine. Their publications include the monograph A View from the Bottom: Asian American Masculinity and Sexual Representation (Duke University Press\, 2014) and essays in Camera Obscura\, Visual Anthropology\, Porn Archives\, and The Intellect Handbook of Adult Film and Media. Their short experimental videos have been screened at the Museum of Modern Art (NY)\, The Getty Center (LA)\, the Centre Pompidou (Paris)\, Asian Art Museum (SF)\, and Haus der Kulturen der Welt (Berlin). They live and work between San Jose\, California\, and Ho Chi Minh City\, Vietnam. \n\n\n\nCo-Sponsored by Bad Asians & Center for Race & Gender at UC Berkeley \n\n\n\n \n\n\n\nBecome a member of HR-LA for $13 a month for tickets to all screenings
URL:https://www.h-r.la/event/the-gaysian-archive-nguyen-tan-hoangs-experimental-videos-1995-2026/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260729T200000
DTEND;TZID=America/Los_Angeles:20260729T220000
DTSTAMP:20260805T094415
CREATED:20260714T203956Z
LAST-MODIFIED:20260720T222859Z
UID:9733-1785355200-1785362400@www.h-r.la
SUMMARY:Un-Silent Films
DESCRIPTION:Tickets \n\n\n\nUn-Silent Films is a screening of sound films presented by Middle Ear Project from their Music for Your Inbox archive. In these films\, sound doesn’t just support the visuals — it’s an initiating force\, primary lens\, or conceptual center. Each film is paired with a visual art postcard to take home after the screening.  \n\n\n\nMiddle Ear Project is an artist-run presenter who commissions and supports artists working in hard-to-define\, experimental genres. We present multidisciplinary work in sound\, film\, and visual art that allow audiences to move through their feelings and give them the tools to confront a complicated and rapidly changing world. \n\n\n\nAlias 3 by Eric Lennartson \n\n\n\nUnstuckness Practice by Sharon Chohi Kim \n\n\n\nFilter by Mattie Barbier\, Lewis Keller & Daria Kaufman \n\n\n\nSYN/ACK by Phillip David Stearns \n\n\n\nSound House by Janie Geiser\, John Eagle\, Cassia Streb & Hsuan-Kuang Heish \n\n\n\n#28 by Nailah Hunter & Hsuan-Kuang Heish \n\n\n\nVisual Art by: Emily Zeller\, Hellen Jo\, Amabelle Aguiluz\, Craftwork Collective\, Miguel Ayala\, and Adrian Tenney \n\n\n\nAll screenings have modest sliding scale tickets. Become a member for $13/month to access all HR events including this summer’s Cinema Land screenings!
URL:https://www.h-r.la/event/un-silent-films/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260728T200000
DTEND;TZID=America/Los_Angeles:20260728T213000
DTSTAMP:20260805T094415
CREATED:20260717T202251Z
LAST-MODIFIED:20260721T203827Z
UID:9784-1785268800-1785274200@www.h-r.la
SUMMARY:The Beaches of Agnès
DESCRIPTION:Tickets \n\n\n\nThe Beaches of Agnès is a 2008 French documentary film directed by Agnès Varda. \n\n\n\nMade as its auteur approached her 80th birthday\, Agnès Varda’s The Beaches of Agnès is a playful\, elegiac autobiography in cinema by the “grandmother” of the French New Wave. Varda has created a living\, moving collage in which clips from her earlier films are juxtaposed with images from her travels\, projects\, and relationships\, and documentary realism gives way to dreamy montages and surrealist set pieces. Supporting players include Harrison Ford and fellow filmmaker Chris Marker\, appearing in the guise of an orange cartoon cat. The result is a luminous meditation on Varda’s life in film and on the art of film itself.
URL:https://www.h-r.la/event/the-beaches-of-agnes/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260725T210000
DTEND;TZID=America/Los_Angeles:20260725T233000
DTSTAMP:20260805T094415
CREATED:20260717T192707Z
LAST-MODIFIED:20260720T214846Z
UID:9774-1785013200-1785022200@www.h-r.la
SUMMARY:Tampopo
DESCRIPTION:Tickets \n\n\n\nTampopo (タンポポ\, Tanpopo; literally “dandelion”) is a 1985 Japanese film written and directed by Juzo Itami\, and starring Tsutomu Yamazaki\, Nobuko Miyamoto\, Kōji Yakusho\, and Ken Watanabe.  \n\n\n\nThe tale of an eccentric band of culinary ronin who guide the widow of a noodle-shop owner on her quest for the perfect recipe\, this rapturous “ramen western” by Juzo Itami is an entertaining\, genre-bending adventure underpinned by a deft satire of the way social conventions distort the most natural of human urges—our appetites. Interspersing the efforts of Tampopo (Nobuko Miyamoto) and friends to make her café a success with the erotic exploits of a gastronome gangster and glimpses of food culture both high and low\, the sweet\, sexy\, and surreal Tampopo is a lavishly inclusive paean to the sensual joys of nourishment\, and one of the most mouthwatering examples of food on film ever made.
URL:https://www.h-r.la/event/tampopo/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260721T200000
DTEND;TZID=America/Los_Angeles:20260721T213000
DTSTAMP:20260805T094415
CREATED:20260710T212143Z
LAST-MODIFIED:20260714T224659Z
UID:9695-1784664000-1784669400@www.h-r.la
SUMMARY:Nonalignment
DESCRIPTION:Madison Brookshire and mark so \n\n\n\n\n\n\n\n\n\ncontinue to \n\n\n\nspin \n\n\n\nor speak \n\n\n\ncopying the \n\n\n\ncode on sheets \n\n\n\nNow and again \n\n\n\nchance falling \n\n\n\nwhere they \n\n\n\nmove \n\n\n\nmark that spread \n\n\n\nbeyond \n\n\n\nspeaking. \n\n\n\n“no \n\n\n\nline\,” \n\n\n\nalmost \n\n\n\n“Nothing\,” \n\n\n\nthat arises \n\n\n\nfrom \n\n\n\nthis time \n\n\n\nunfolding\, of which each aspect is unique \n\n\n\nand unrepeatable\, \n\n\n\n \n\n\n\n \n\n\n\n16mm film\, notebooks\, and tapes \n\n\n\n \n\n\n\n \n\n\n\nTickets  \n\n\n\nAll screenings have modest sliding scale tickets. Become a member for $13/month to access all HR events including this summer’s Cinema Land screenings!
URL:https://www.h-r.la/event/nonalignment/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260716T190000
DTEND;TZID=America/Los_Angeles:20260716T213000
DTSTAMP:20260805T094415
CREATED:20260710T215338Z
LAST-MODIFIED:20260717T222257Z
UID:9703-1784228400-1784237400@www.h-r.la
SUMMARY:Sex Test + Erika/A Der Mann [screening postponed]
DESCRIPTION:Tickets \n\n\n\nReading at 7:00pm \n\n\n\nScreening at 8:00pm \n\n\n\nJennifer Doyle reads from her forthcoming book Sex Test. SexTest makes a counter-intuitive argument for the power of women’s sports. Where many working in the queerer spaces of sports studies argue for the elimination of sex segregation\, Doyle argues for not just the value of women’s sports\, but the supremacy of women’s sports as the category through which we experience what it means to unravel and destroy our ideas about women’s capacities\, escape regimes of sex policing.  \n\n\n\nThis reading will be followed by a 8PM screening of Kurt Mayer’s Erik(A)\, a 2006 documentary film about Alpine athlete Erik Schinnegger. (This is postponed.) \n\n\n\nErika Schinneger was identified as female at birth\, and raised as a girl and a woman. A gifted athlete\, Erik(A) was the 1966 world champion in women’s downhill skiing and a massive celebrity in her country when\, in 1967\, she was identified as having differences of sex development by a newly mandated genetic test. Schinegger was put in an impossible place: she was coerced into withdrawing from competition and encouraged to have a “minor procedure” which would feminize her\, and offered the hollow promise that if she did so\, she’d be able to return to the national team. Schinegger chose instead to undergo surgeries that would bring Schinegger’s body into alignment with what had been\, until then\, a nearly incomprehensible experience of his difference. He was (reluctantly) invited to train with the national men’s team\, but was shunned and pushed out of the sport. Today\, he runs a popular school for skiers. Schinegger published a memoir of his experiences in 1988. This film (presented in German with English subtitles) is a rare document\, centered on a trans/intersex athlete — we hear from Schinegger\, his family\, Austrian ski officials\, and the women with and against whom Schinegger competed.  \n\n\n\nAll screenings have modest sliding scale tickets. Become a member for $13/month to access all HR events including this summer’s Cinema Land screenings!
URL:https://www.h-r.la/event/sex-test-erika-a-der-mann-der-weltmeisterin-wurde-the-man-who-was-the-womens-world-champion/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260712T193000
DTEND;TZID=America/Los_Angeles:20260712T220000
DTSTAMP:20260805T094415
CREATED:20260701T200012Z
LAST-MODIFIED:20260702T211536Z
UID:9671-1783884600-1783893600@www.h-r.la
SUMMARY:Cassia Streb\, Tim Feeney\, Melissa Achten\, Eli Klausner
DESCRIPTION:Performance by Cassia Streb\, Tim Feeney\, Eli Klausner\, and Melissa Achten \n\n\n\nThese two established sound-making duos join together for the first time to present an evening of 2 brand new experiments. Taking inspiration from wind power they’ll be moving sound through the vast space that is HRLA over the course of both pieces. \n\n\n\nCassia Streb and Tim Feeney are both LA-based sound artists who have been performing\, recording\, and creating sound installations together since 2019. Their sound pieces explore instrumental and found sound\, movement\, tape recorders\, door frames\, window panes\, rainstorms\, pine cones\, concrete floors\, and children’s cartoons. They have collaborated to create sound projects for High Desert Soundings in Wonder Valley\, Sound Symposium in St. John’s Newfoundland\, the Evergreen Cemetery in Santa Cruz\, and other special places and unique circumstances. Their collaborative albums have been released by Kuyin\, MAPPA\, Infrequent Seams\, Full Spectrum\, Harmonic Ooze\, Sawyer Spaces\, and Extradition. \n\n\n\nMelissa Achten and Eli Klausner are two composers\, improvisers\, and multi-instrumentalists based in Los Angeles. Their decade long collaboration combines multimedia\, live electronics\, esoteric objects\, and hand-built instruments to create ᴅᴇᴀᴛʜꜰʟᴀᴠᴏʀᴋɪꜱꜱ. \n\n\n\n$15 presale tickets \n\n\n\nDoors at 7:30 \n\n\n\nSounds at 8:00
URL:https://www.h-r.la/event/cassia-streb-tim-feeney-melissa-achten-eli-klausner/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260702T000000
DTEND;TZID=America/Los_Angeles:20260712T235959
DTSTAMP:20260805T094415
CREATED:20260610T194530Z
LAST-MODIFIED:20260610T194705Z
UID:9649-1782950400-1783900799@www.h-r.la
SUMMARY:NO SLEEP/NO PICNIC
DESCRIPTION:On View: July 2–12\, 2026Hours: Wednesday–Sunday\, 12–6PM \n\n\n\nOpening Reception: Thursday\, July 2\, 6–9PMwith live performance \n\n\n\nNO SLEEP/NO PICNIC brings together work by queercrip artists Halo Starling and Libby Paloma in a two-person exhibition at Human Resources Gallery\, Los Angeles. The show pairs Starling’s textile installation NO SLEEP (2026) with Paloma’s soft-sculptural installation NO PICNIC (2023)\, two works that refuse the idea that surviving difficulty should be invisible\, dignified\, or done alone. \n\n\n\nStarling’s NO SLEEP (2026) draws on their experience of Severe Obstructive Sleep Apnea (OSA)\, chronic nightmares\, and Complex Post-Traumatic Stress Disorder (C-PTSD). Starling’s ensuing years-long sleep debt required five months of convalescence in their bed. The work takes the form of a sleep temple: the bedsheets from Starling’s recovery hang like temple walls\, adorned with pillow-shaped votives. The votives — silkscreened onto hand-woven linen\, the material of ancient Greek bedding — reference the stone offerings of affected body parts that Ancient Greek supplicants would bring to these temples. Viewers encounter vertical bed sheets that cannot be slept on\, mirroring the struggles of living with a sleep disorder. Private convalescence becomes sacred architecture; befriending sleep becomes a ritual.  \n\n\n\nPaloma’s NO PICNIC (2023) is an 18-foot-long soft-sculptural installation that transforms idiomatic expressions into an absurd\, meticulous picnic scene. Living with a connective tissue disorder and autoimmune illness\, Paloma draws on her background in Speech-Language Pathology to materialize phrases like “bigger fish to fry\,” “the whole enchilada\,” “in a pickle\,” and “when life gives you lemons” as soft sculptures in fabric\, vinyl\, polyfill\, and felt — a metallic rainbow fish\, a frying pan\, a lemonade pitcher sweating vinyl ice cubes\, lace enchiladas. The installation enacts what Paloma calls “world softening”: the practice of imagining a softer world\, while also considering who has the privilege to luxuriate in public spaces\, and what life circumstances might prompt someone to express these phrases. \n\n\n\nTaken together\, the NO SLEEP/NO PICNIC diptych is a meditation on the near-constant state of queercrip survival\, encountering and resisting barriers to access\, and the resulting body trauma\, all day and all night. NO SLEEP was created as a response to NO PICNIC\, meditating on the embrace and challenges of a “world-softening” bedtime for traumatized crips. NO PICNIC is about seeking softness in the daytime in public; NO SLEEP is about struggling with softness in the nighttime in private. Together the works ask what it costs to keep going\, and what forms of care make it possible. \n\n\n\nHalo Starling (he/they\, b. Perth\, Australia) is a Los Angeles–based artist\, filmmaker\, and writer whose work explores dreaming\, trans and queer countercultures\, crip futurity\, and the transformative potential of altered states. Drawing from archives\, ritual\, and speculative worldbuilding\, they create poetic forms that blur the boundaries between memory\, myth\, and collective imagination. Their debut solo show\, Fairy Prince (2025)\, was exhibited at ONE Archives at the USC Libraries. Starling earned their MFA in Film and Media Arts from Temple University\, and is a Ph.D. student in Media Arts + Practice at USC School of Cinematic Arts. \n\n\n\nLibby Paloma (she/they\, b. Santa Ana\, CA) is a New York-based interdisciplinary artist working across sculpture\, installation\, and performance. Embracing maximal aesthetics\, humor\, and craft traditions\, Paloma transforms familiar materials into representational forms imbued with layered meaning. Immersive and labor-intensive\, Paloma’s soft sculptures draw on craft practices and traditional sewing techniques passed down by the women in her Mexican and Chicana lineage. Through the conceptual framework of “world-softening\,” Paloma explores intersectional identity and the radical potential of softness. Paloma earned a Master of Science in Communicative Disorders from San Francisco State University and a Master of Fine Arts from Parsons School of Design at The New School.
URL:https://www.h-r.la/event/no-sleep-no-picnic/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260627T193000
DTEND;TZID=America/Los_Angeles:20260627T210000
DTSTAMP:20260805T094415
CREATED:20260618T010923Z
LAST-MODIFIED:20260619T211602Z
UID:9663-1782588600-1782594000@www.h-r.la
SUMMARY:Isaura String Quartet
DESCRIPTION:$15 sugested donation \n\n\n\n“The brilliant playing of the Isaura Quartet is a technical triumph\, equal to the emotional demands of the music.”— SEQUENZA 21 \n\n\n\n“[The music] was felt in the body\, in the nerves and sinews\, under the ribcage\, and in the throat. All this from a remarkable string quartet that extended the syntactical and sonic range of their instruments.”— JACKI APPLE\, FABRIK MAGAZINE \n\n\n\nIsaura String Quartet returns to the Dog Star Festival for the first time since 2016\, presenting music by Laura Cetilia\, inti figgis-vizueta\, Sarah Hennies\, and Gloria Coates. Inspired by their collaboration with Coates on the west coast premiere of her 9th string quartet\, ISQ’s program explores themes of transformation\, liberation\, and imagining new futures as we want to see them. Coates wrote of her 9th quartet’s final movement\, The Cry\, that it “suggests heralding of a new world of sound.” Audiences are invited to join ISQ for an evening of musical embodiment through microtonal tuning\, improvisatory soundscapes\, extended technique\, and very many long\, slow glissandi. \n\n\n\nIsaura String Quartet is a Grammy Award-nominated ensemble based in Los Angeles. Described as “venturesome” and “edgy” in the LA Times\, the quartet pushes boundaries while staying true to their mission of promoting contemporary chamber music through live performance\, workshops\, and collaborative projects with composers and interdisciplinary artists. Founded in 2013\, ISQ’s practice is centered around music\, community\, and developing systems to support and examine the spaces in which they work. The quartet has commissioned 35 new works\, prioritizing new pieces through their programming with a focus on workshopping and supporting the work of emerging composers. Isaura String Quartet is Betsy Rettig (she/her)\, Emily Call (she/her)\, Laila Zakzook (she/her)\, and Mads Falcone (they/them).  \n\n\n\nPhoto by Zeynep Yeldan
URL:https://www.h-r.la/event/isaura-string-quartet-2/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260625T200000
DTEND;TZID=America/Los_Angeles:20260625T213000
DTSTAMP:20260805T094415
CREATED:20260608T194418Z
LAST-MODIFIED:20260609T193811Z
UID:9637-1782417600-1782423000@www.h-r.la
SUMMARY:Lechedevirgen: XOCHIHUA Ancestral Blooming
DESCRIPTION:$15 Suggested donation \n\n\n\n“Travestis somos\, vestimos fores\, y nos transformamos con las estaciones”Dusting off a seemingly withered past\, this performance addresses the transvestite ancestrythat survives and flourishes in Abya Yala\, emphasizing the sacred role of sexual dissidenceand trans people in precolonial times. \n\n\n\nLechedevirgen reclaims the symbolic power of flowers and their ancestral connection totransvestism\, using the metaphor of blossoming (the blossoming of the trans/travesti body\,the same blossoming of revolutions and liberation) to reclaim the history that was erasedand extirpated by the processes of domination that imposed compulsory heterosexuality anda cisgender fundamentalism that still pathologizes\, criminalizes\, and takes the lives of ourtransvestite/trans/non-binary communities. \n\n\n\nThe word “Xochihua\,” translated as “she who carries the flower\,” is the Nahuatl term fortransvestites and queer men—homosexual men who dressed and acted as women—inAztec times before colonization in the territory now known as “Mexico\,” the second deadliestcountry for trans people in the world in the current context. Xochihuas are strongly linked toXochipilli\, the “lord of flowers\,” a deity of art\, joy\, ecstasy\, sexual pleasure\, sacred flowers\,and entheogens. \n\n\n\nLechedevirgen (they/them)\, is a non-binary sexual dissident mexican artist that conceives oftheir artistic work as the creation of acts of disobedience and symbolic revenge\, combiningwriting\, performance\, ritual\, and expanded transvestism from an anti-patriarchal\, anti-colonial\, and anti-racist perspective. A representative of the LGBT+ counterculture and apioneer of post-pornography in Mexico\, their invented “Heterosexual DeconversionTherapies” and is the author of “Deshacer el Arte” (OnA Ediciones\, 2025)\, “PensamientoPuñal” (Dos Filos\, 2022)\, and the phrase “I Don’t Feel Pride\, I Feel Rage\,” which addresseshate crimes and critiques pinkwashing. Them has presented their work in Colombia\,Ecuador\, Mexico\, the United States\, Canada\, and Europe.
URL:https://www.h-r.la/event/lechedevirgen-xochihua-ancestral-blooming/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260621T130000
DTEND;TZID=America/Los_Angeles:20260621T170000
DTSTAMP:20260805T094415
CREATED:20260618T005214Z
LAST-MODIFIED:20260618T011557Z
UID:9655-1782046800-1782061200@www.h-r.la
SUMMARY:Juneteenth Workshop & Wellness
DESCRIPTION:Hood Rave Juneteenth Workshop and Wellness in collaboration with Black Techno Matters \n\n\n\nAn afternoon of music\, healing\, and creative exploration guided by Black artists. Dig into a hands-on Digitakt workshop with Jack TP2\, settle into ambient selections and a live performance by yNOTi and MyGhettoRomance\, get loose at the arts and crafts station\, and close the day with a sound bowl experience led by E.M. Bae.  \n\n\n\nWhether you’re here to learn\, to rest\, or to connect\, this programming is rooted in the spirit of Juneteenth and what liberation looks and sounds like in practice. \n\n\n\n$10 Suggested donation \n\n\n\nfree with the purchase of tickets to Hood Raves Juneteenth warehouse party  \n\n\n\n \n\n\n\n \n\n\n\nFlyer design by @leona_joo
URL:https://www.h-r.la/event/hood-rave-juneteenth-workshop-wellness/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260611T200000
DTEND;TZID=America/Los_Angeles:20260611T210000
DTSTAMP:20260805T094415
CREATED:20260521T184226Z
LAST-MODIFIED:20260522T070505Z
UID:9619-1781208000-1781211600@www.h-r.la
SUMMARY:Ex Tortion₇
DESCRIPTION:Ex Tortion₇ \n\n\n\nOn Thursday June 11th\, please join us for the sixth installment in Ex Tortion\, an improvised performance series where performers engage around/inside a sculptural enclosure. \n\n\n\nAudience members are encouraged to move around freely during the performance. \n\n\n\nPerformance begins promptly around 8pm and runs approximately 40 minutes. \n\n\n\nFeaturing: \n\n\n\nJeonghyeon Joo – Haegeum \n\n\n\nHenry Gonzalez (from Silverlake Fencing Club) – Foil \n\n\n\nVictor Yuan (from Silverlake Fencing Club) – Foil \n\n\n\nShannon Kennedy – Assorted Amplified Instruments  \n\n\n\n \n\n\n\n \n\n\n\n \n\n\n\nFree
URL:https://www.h-r.la/event/ex-tortion%e2%82%87/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260610T200000
DTEND;TZID=America/Los_Angeles:20260610T223000
DTSTAMP:20260805T094415
CREATED:20260527T205506Z
LAST-MODIFIED:20260527T212132Z
UID:9626-1781121600-1781130600@www.h-r.la
SUMMARY:RAGE Thormbones / Toil to Gather
DESCRIPTION:RAGE Thormbones: Breaking Ships.They play loud.  \n\n\n\nRAGE Thormbones will be playing Breaking Ships\, which is from their record of the same name: https://triptickstapes.bandcamp.com/album/breaking-ships \n\n\n\nRAGE Thormbones is Weston Olencki and Mattie Barbier.  \n\n\n\n \n\n\n\n\n\n\n\nToil to Gather \n\n\n\nNicki Chen (Viola) and Nicholas Deyoe (guitars) \n\n\n\n \n\n\n\n[Advance Tickets]
URL:https://www.h-r.la/event/rage-thormbones-toil-to-gather/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260605T000000
DTEND;TZID=America/Los_Angeles:20260606T235959
DTSTAMP:20260805T094415
CREATED:20260512T191550Z
LAST-MODIFIED:20260512T195528Z
UID:9599-1780617600-1780790399@www.h-r.la
SUMMARY:Dorian Wood: Canto (Versión Juanga)
DESCRIPTION:Doors at 7:30PM \n\n\n\nPerformance begins at 8:00PM  \n\n\n\n$15 / sliding scale  :   Friday Tickets  –  Saturday Tickets \n\n\n\nDorian Wood returns to Human Resources for two nights only with an immersive performance that interweaves music from her newly-released album Canto de Todes (New Amsterdam Records) with iconic songs by the legendary singer/composer Juan Gabriel. Loved by millions around the world\, El Divo de Juárez has left an undeniable imprint on our collective consciousness. Says Wood: “Growing up in South L.A. in the 80’s\, Juanga’s music was the air we breathed\, always on the radio\, on TV\, drifting in the air at picnics in MacArthur Park\, backyard birthday parties\, bake sales at Plaza de la Raza\, and soothing us to sleep from the living room while our parents stayed up. No other artist has achieved this kind of omnipresence. I want my brief return to L.A. this year to convey these memories\, and this honoring of Juanga\, de toda corazón.”  \n\n\n\nWood’s own composition Canto de Todes–Spanish for “Song of Everyone”–is a mutating project that began as a touring 12-hour work and was released in May 2026 as a 70-minute album that weaves together chamber classical\, folk\, torch song\, and experimental music. Canto de Todes emphasizes the urgency of music as a vessel for social change\, and simultaneously honors the ancestral trajectory of Wood’s Costa Rican-Nicaraguan family in the U.S.
URL:https://www.h-r.la/event/dorian-wood-canto-version-juanga/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260529T000000
DTEND;TZID=America/Los_Angeles:20260531T235959
DTSTAMP:20260805T094415
CREATED:20260424T220528Z
LAST-MODIFIED:20260507T182036Z
UID:9534-1780012800-1780271999@www.h-r.la
SUMMARY:Shorter Than a Tunnel\, Longer Than a Bridge
DESCRIPTION:Shorter Than a Tunnel\, Longer Than a BridgeAmelia Charter and Sam Wentz \n\n\n\nFriday May 29th\, 7pm \n\n\n\nSaturday May 30th\, 7pm  \n\n\n\nSunday May 31st\, 4pmAmelia Charter and Sam Wentz collaborate for the first time in an evening-length performance at the intersection of movement\, object practice\, and sound. Gathering a growing body of materials\, organic and inorganic\, they construct an elemental\, sonic system. Structures are continuously emerging\, disrupted\, and reconfigured. How are things built around us\, under us\, between us\, and through us? When it falls away\, what are we left with? \n\n\n\nBios \n\n\n\nAmelia Charter is a performance artist\, producer\, teacher\, and writer. She earned her BA in Performance and Directing from Fort Lewis College in Durango\, Colorado\, was co-founder of Denver Performance Research (2009 – 2012)\, and received an MFA and fellowship in Performance from the School of the Art Institute of Chicago (2014).  \n\n\n\nHer works have been featured in Los Angeles at The Electric Lodge\, Paloma Street Studio\, and Pieter Performance Space\, in Chicago at Sector 2337\, Defibrillator Gallery\, Mana Contemporary\, Co-Prosperity Sphere\, and Links Hall\, in Indianapolis at The Sugar Space and The Oilwick\, in Philadelphia at the Museum of Art and Mascher Space Cooperative\, and at Kriti Gallery in Varanasi\, India. \n\n\n\nCharter’s work is often engaged with everyday objects that are at once familiar and yet not themselves. As an artist and designer\, the tactile and sensorial qualities are important both functionally and experientially. Her multidisciplinary processes include making clothing\, music\, building furniture\, and quilting. Charter’s work considers the spatial capabilities of ‘a stage’ as it lives in a theatre\, gallery\, and private and public spaces. She moves between the intimacy of one-on-one performances and the larger visibility of public space works. \n\n\n\nSam Wentz is an LA-based dancer\, performer and maker. Wentz has collaborated with a wide range of artists and companies\, including Ajani Brannum\, the Trisha Brown Dance Company (2009–2014)\, Wally Cardona + Jennifer Lacey\, Jay Carlon\, Gerald Casel\, Dimitri Chamblas\, the Merce Cunningham Trust\, Katherine Helen Fisher\, Levi Gonzalez\, Jmy James Kidd\, Mark Morris Dance Group\, Abigail Levine\, Annie B .Parson\, Judith Sánchez Ruíz\, Kensaku Shinohara\, Susan Sgorbati\, Jacob Wolff\, and Stephanie Zaletel. \n\n\n\nAs a maker\, his performance work\, often situated within studio and gallery contexts\, draws from improvisational practices and an ongoing inquiry into the relationships between bodies\, objects\, and attention. His work has been presented at the Bennington Museum (VT)\, the Firehouse Joshua Tree\, the Geffen Contemporary at MOCA\, G-Son Studios\, Human Resources LA\, Pieter Performance Space\, REDCAT\, and The Tank (NYC). In 2024\, he was published by the University of Michigan for “A Society to Me: On Conflict and Intimacy Training” in Conversations Across the Field of Dance Studies\, Volume 43.  \n\n\n\nBeyond his artistic practice\, Wentz extends choreographic thinking into organizational and collective contexts. A full time faculty member at CalArts\, he was elected Chair of Faculty for the 2024–2025 academic year\, where he played a key role in guiding faculty and staff through their successful unionization with the UAW. 
URL:https://www.h-r.la/event/shorter-than-a-tunnel-longer-than-a-bridge/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260527T160000
DTEND;TZID=America/Los_Angeles:20260527T200000
DTSTAMP:20260805T094415
CREATED:20260513T185204Z
LAST-MODIFIED:20260516T184832Z
UID:9608-1779897600-1779912000@www.h-r.la
SUMMARY:Who Makes Chinatown?
DESCRIPTION:The Southeast Asian Community Alliance (SEACA) builds community power and develops youth leaders to advocate for immigrant and refugee families\, protect affordable housing\, and fight displacement. To understand Chinatown and the layered complexities of this working-class neighborhood\, students from Lincoln and Downtown Business Magnets High Schools interviewed Chinatown residents and workers on topics related to housing\, small businesses issues\, and cultural identity\, among others. They transformed their findings into art to share with our community. Join us to discover “Who Makes Chinatown?”\, an evening of youth-led storytelling\, art\, community\, and refreshments!
URL:https://www.h-r.la/event/who-makes-chinatown/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260516T120000
DTEND;TZID=America/Los_Angeles:20260516T190000
DTSTAMP:20260805T094415
CREATED:20260506T194031Z
LAST-MODIFIED:20260516T185313Z
UID:9592-1778932800-1778958000@www.h-r.la
SUMMARY:Bob Flanagan Memorial and Marathon Reading
DESCRIPTION:Bob Flanagan Memorial and Marathon ReadingHuman Resources Los AngelesMay 16 th 12-7pm \n\n\n\nBob Flanagan Memorial and Marathon Reading is a durational performance\, live reading\, and space to gather and honor the life and legacy of Bob Flanagan (1952–1996). Flanagan was a poet\, artist\, performer\, and sadomasochist with cystic fibrosis. Over the course of his 43 years of life\, he was a piercer at The Gauntlet\, a reader in the mid-1970s at Beyond Baroque Literary Arts Center\, and in the 1980s\, met the love of his life and his dominatrix Sheree Rose. With Sheree\, he built a D/s dynamic that lasted over sixteen years\, spanning underground BDSM spaces\, artistic exhibitions\, performances\, and private scenes in and around their home. Rose and Flanagan collaborated on dozens of performances and educational scenes for the BDSM community; they are two of the founding members of Society of Janus in Los Angeles. In 1992\, Sheree Rose and Bob Flanagan exhibited A Matter of Choice at Los Angeles Contemporary Exhibitions (LACE). Rose and Flanagan also exhibited Visiting Hours in 1992 at the Santa Monica Museum of Art and again at the New Museum in New York in 1994. Over the course of his career\, Flanagan also read at the Poetry Project in New York numerous times. During Bob’s life and after his passing\, their work was exhibited internationally in Germany\, Australia\, and Japan. In 1997\, Sick: The Life and Death of Bob Flanagan premiered at the Sundance Film Festival and won the Special Jury Prize. \n\n\n\nThe 30th Anniversary Memorial and Marathon Reading is a testament to Flanagan’s broad-reaching impact across countless communities for decades. His work with Rose set the precedent of contemporary performance art in relation to BDSM\, kink\, and body modification. The lineages Flanagan and Rose built through their collaborations continue to shape the work of disabled\, leather\, and freak artists today. Curated and produced by Sheree Rose and Mae Howard\, the event brings together artists\, poets\, disabled folks\, and leather freaks across generations to uplift Flanagan 30 years after his passing. Running from 12pm to 7pm\, the event will be a marathon reading of some of Flanagan’s writing\, including Pain Journal (1996)\, Slave Sonnets (1986)\, The Wedding of Everything (1983)\, Fuck Journal (1988)\, and Book of Medicine(unpublished). \n\n\n\nThe readers and performers for the event\, in alphabetical order\, are as follows: A.\, Sydney Acosta\, Iris Afantchao\, Jerri Allyn\, Quetzal Arevalo\, Ron Athey\, Daniel Babcock\, Amelia Bande\, Badly Licked Bear\, Alcide Breaux\, Rocio Bolivar\, John Burtle\, Kathe Burkhart\, Grace Caiazza\, Camilla Caldwell\, Andy Campbell\, Cassils\, Lena Chen\, Navah Chestnut\, Monet Clark\, Vivian Crockett\, Amina Cruz\, Jess Dayan\, Bec Dean\, Nat Decker\, Jane DeLynn\, Spike Einbinder\, Ruben Esparza\, FLESHPIECE\, Fluent\, Beatrix Fowler\, Micol Hebron\, Johanna Hedva\, Spyke Hirshon\, Sloane Holzer\, Mae Howard\, Y Howard\, Joselia Rebekah Hughes\, Xandra Ibarra\, Dominic Johnson\, Amelia Jones\, Kerosene Jones\, Vishal Jugdeo\, Peter Kalisch\, Amy Kingsmill\, Pony Lee\, thái lu\, Ren L[i]u\, Angelo Madsen\, Amanda Majors\, Jasmine Marin\, Shelley Marlow\, Jeanelle Mastema\, Carta Monir\, Martin O’Brien\, Mehregan Pezeshki\, Dominic Quagliozzi\, Riven Ratanavanh\, Siyona Ravi\, Sam Richardson\, Sheree Rose\, Jamie Ross\, Nina Salerno\, Cielo Saucedo\, Margie Schnibble\, Judy Sisneros\, Stuart Sweezy\, Rebecca Teich\, Roger Tréfousse\, Julie Tolentino\, Jeanne Vaccaro\, Valentino Velez\, Anuradha Vikram\, Agnes Walden\, Ione Wang\, Emir West\, and Empress Wu. \n\n\n\nThe Bob Flanagan Memorial and Marathon Reading will take place in hybrid form. Attendees can join in person at Human Resources or via YouTube Live to livestream from bed\, the waiting room\, the dungeon\, their couch\, a gallery\, or the bath. You can watch live on Youtube via this link. To make space for disabled and chronically ill readers and attendees\, we strongly request that in-person guests mask unless physically unable to do so. The gallery will have a variety of seating options including padded chairs with backs\, non-padded chairs\, and benches. Human Resources Los Angeles is wheelchair and rollator accessible. \n\n\n\nIn conjunction with the Memorial and Marathon Reading\, on May 14th from 7–8:30pm at the ONE Archives at the USC Libraries\, join NEED ME\, or\, (de)mystifying the myth of the modern primitive curator Quetzal Arévalo on a tour of the exhibition. Spanning everything from the early network of body modifiers throughout the United States and Europe\, the founding of the first-ever body-piercing-specific business and magazine\, to the artists who made work inspired by the body piercing renaissance\, this walkthrough guides viewers through the history\, research\, and making of NEED ME. This tour will include a special focus on performance artists Bob Flanagan and Sheree Rose. In honor of thirty years since Flanagan’s passing\, additional objects from Flanagan’s archive will be showcased for the occasion. Masks are required for this tour. The tour will be moving\, so audience members should be prepared to be mobile for approximately 45 minutes. There are no accessibility barriers for entry. Ample free parking is available right in front. \n\n\n\nThe Bob Flanagan Memorial and Marathon Readings is made possible by Human Resources LosAngeles and the ONE Archives at USC Libraries alongside the following individuals:Produced and Curated by Sheree Rose and Mae HowardAccessibility Coordinator: Cielo SaucedoASL Interpretation: David Banda and Natanael EscaleraZoom Monitors: Cielo Saucedo and Casey WaitLivestream Tech: Jazzy RomeroDay of Stage Management: Natalie Nicole Dressel and Lee RosenScreen printed Shirts: Kate Mosher Hall
URL:https://www.h-r.la/event/bob-flanagan-memorial-and-marathon-reading-3/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260514T000000
DTEND;TZID=America/Los_Angeles:20260524T235959
DTSTAMP:20260805T094415
CREATED:20260424T214744Z
LAST-MODIFIED:20260519T165910Z
UID:9532-1778716800-1779667199@www.h-r.la
SUMMARY:Collective Choreographies - Maura Chen
DESCRIPTION:Gallery Hours: Friday – Sunday 12pm – 6pm \n\n\n\nCollective Choreographies exhibits thirty-six labanotational ink drawings of line dances. Using a taxonomy of tiny and precise lines\, each notation corresponds to a movement within standard line dance choreography. These movements are typically specified by “stepsheets\,” written instructions popularly circulated through open-source websites to learn and teach line dances. Each drawing shows 121 “dancers” in a grid of 11 x 11 “dancing” simultaneously. Each hand-drawn depiction highlights the tension between coordinated\, identical movements and each unique and idiosyncratic instance. The representation of repetitive\, rhythmic sameness reveals itself to be\, in fact\, a representation of multiplicity and difference\, in the drawing as it is on the dance floor. As a meditation on coordinated movement\, the drawings seek to depict the muscle memory and propulsion of group movement that directs our physical bodies more than any coherent thought when moving together. \n\n\n\n–– Programs— \n\n\n\nOpening Reception \n\n\n\nThursday\, May 14\, 5-9pm \n\n\n\n– \n\n\n\nDance Lessons and Party \n\n\n\nSugar Honey IT and Fake ID \n\n\n\nSunday\, May 17\, 3-7pm (Lessons at 4pm and 5pm) \n\n\n\n$15 suggested donation NOTAFLOF \n\n\n\nTeachers: Corey & Abi of Bootleg Linedance  \n\n\n\n– \n\n\n\nDance Lessons and Party \n\n\n\nMucara Walk and Cherry Bottom Boom \n\n\n\nFriday\, May 22\, 7-11pm (Lessons at 8pm and 9pm) \n\n\n\n$15 suggested donation NOTAFLOF \n\n\n\nTeachers: Kira & Sean of Stud Country \n\n\n\n– \n\n\n\nDance Lessons and Closing Party \n\n\n\nPlay That Sax and Easy Rider (Contra Dance!) \n\n\n\nSunday\, May 24\, 3-7pm (Lessons at 4pm and 5pm) \n\n\n\n$15 suggested donation NOTAFLOF \n\n\n\nTeachers: Summer & Paris of Do Si Dontcha
URL:https://www.h-r.la/event/collective-choreographies/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260510T193000
DTEND;TZID=America/Los_Angeles:20260510T213000
DTSTAMP:20260805T094415
CREATED:20260505T194110Z
LAST-MODIFIED:20260507T182425Z
UID:9577-1778441400-1778448600@www.h-r.la
SUMMARY:MIRRORS OF RESISTANCE
DESCRIPTION:MIRRORS OF RESISTANCE \n\n\n\nWHEN: 7:30 PM\, May 10 \n\n\n\nCOST: $12 \n\n\n\nThe WAWOG LA community invites you to join us for a night of Palestinian film to raise funds for journalists in Gaza. \n\n\n\nWriters Against the War on Gaza (WAWOG) is a coalition of media\, cultural\, and academic workers who are committed to the horizon of liberation for the Palestinian people. We organize against Zionism and American militarism from within the imperial core.  \n\n\n\nWe will screen THE LAST SUPPER dir. Issa Freij and JAMILA’S MIRROR dir. Arab Loutfi. Films will have English subtitles. \n\n\n\nAs part of the fundraiser we will have a raffle. Every ticket holder is entered into the raffle for a chance to win BOOKS\, GIFT CARDS\, POSTERS\, and other prizes from local authors and our friends at Los Angeles literary institutions. Each payment of $12 is equal to one raffle ticket. Those who cannot attend in person can still send in a donation to be entered into the raffle. \n\n\n\nThe following Items will be available for the raffle: \n\n\n\n    —      $100 gift card and tote from Stories Bookstore \n\n\n\n    —      Posters form Justseeds Collective \n\n\n\n    —      T-Shirt from Poetic Research Bureau  \n\n\n\n    —      Books by authors Summer Farrah\, Muriel Leung\, Maya Salameh and Vanessa Villarreal \n\n\n\n    —      Books\, Jiji Keychain and tote from All Power Books \n\n\n\n    —      As well as limited edition prints available for raffle or purchase \n\n\n\nTickets sold at door. Masks required and provided. Space is wheelchair accessible.
URL:https://www.h-r.la/event/mirrors-of-resistance/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260508T193000
DTEND;TZID=America/Los_Angeles:20260508T220000
DTSTAMP:20260805T094415
CREATED:20260505T181947Z
LAST-MODIFIED:20260505T193757Z
UID:9574-1778268600-1778277600@www.h-r.la
SUMMARY:YEARS AS RUIN: A History of Los Angeles Art
DESCRIPTION:Presented by East of Borneo and Hard to Read\, YEARS AS RUIN highlights L.A. art through the ages\, bringing together a dynamic group of East of Borneo contributors past and present for an evening of words\, music\, and visuals. \n\n\n\nWith readings by Norman Klein\, Allison Noelle Conner\, Thomas Lawson\, Emma Dexter\, Vivian Chang and Dr. Nizan Shaked\, and A. R. Stain.  \n\n\n\nFollowed by Reynaldo Rivera in conversation with Fiona Duncan on his Los Angeles. \n\n\n\nFriday\, May 8\, 8pm  \n\n\n\nDoors 7:30pm \n\n\n\nat Human Resources – 410 Cottage Home St. \n\n\n\n* \n\n\n\nHard to Read is a literary social practice founded by Fiona Duncan. \n\n\n\nEast of Borneo is an online magazine of contemporary art and its history in Los Angeles. \n\n\n\n* \n\n\n\n“In the midst of our economic and political crisis\, we must assume that art history will be remade. New points of origin will be invented\, probably starting with the 1960s instead of the 1860s. Fluxus\, Archigram\, Conceptual art\, Minimalism\, Pop—1968 and ‘all that’… are now understood as the beginning\, not the finale… Of course\, that raises the question: the beginning of what?”—Norman Klein from “Notes on the Arts: Curating the Past 50 Years as Ruin\,” East of Borneo\, 2011
URL:https://www.h-r.la/event/years-of-ruin-a-history-of-los-angeles-art/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260502T180000
DTEND;TZID=America/Los_Angeles:20260502T220000
DTSTAMP:20260805T094415
CREATED:20260415T142255Z
LAST-MODIFIED:20260425T055511Z
UID:9486-1777744800-1777759200@www.h-r.la
SUMMARY:Songs to Quell the Monster Program 1 of 4: A Mother’s Lullaby
DESCRIPTION:Saturday\, May 2nd. Doors open at 6PM\, Starts at 6:30PM. \n\n\n\nPay What You Can (Suggested $10) \n\n\n\nTICKETS \n\n\n\nGrowing up\, we are first held by the voice of our mothers—its rhythms teaching us how to listen\, how to imagine\, how to feel our way through the world before we fully understand it. A lullaby can soothe\, but it can also shield\, shaping what is heard and what remains unsaid. In this opening program\, A Mother’s Lullaby\, Milisuthando Bongela’s Milisuthando returns to the fragile architectures of such protection\, tracing a childhood in the Transkei where the violences of apartheid were both ever-present and eerily obscured. Through a lyrical weaving of memory\, poetry\, and image\, the film lingers in the dissonance between what we inherit and what we later come to know—how love can coexist with omission\, and how care can be entangled with erasure. In dialogue\, Jonathon Haffner’s live performance extends this meditation\, improvising a sonic space where memory is not fixed but continually reworked. Together\, they ask: what songs carried us through\, and what truths did they quiet? \n\n\n\n______________________ \n\n\n\nSongs to Quell the Monster is a four-part programming series that gathers films and live performances that channel the defiant spirit of songs across histories and borders. Moving between the intimate and the collective\, these works confront authoritarianism\, colonial violence and and erasure–transforming memory\, voice and image into acts of refusal. A reminder that while the monster is vast\, so too are our songs.  \n\n\n\n______________________Milisuthando Bongela-Davis (b.1985\, South Africa) is an award-winning writer\, filmmaker\, cultural worker and artist. Her career began in the fashion industry but the last 16 years have seen her traverse the worlds of music\, art\, media and film – continually turning towards indigenous knowledge systems.  \n\n\n\nShe was Arts Editor for the Mail & Guardian’s Friday section and was host and co-producer of the podcast Umoya: On African Spirituality with Dr. Athambile Masola. Her debut feature film\, a personal essay documentary titled MILISUTHANDO had its in competition world premier at the 2023 Sundance Film Festival and selected for MoMA’s New Directors / New Films programme 2023 before opening the 2023 Encounters Documentary Film Festival. It was nominated and won awards for its groundbreaking form\, subject matter and approach to personal filmmaking.  \n\n\n\nShe is an inaugural fellow of the 2020 Adobe Women at Sundance Fellowship and in 2024\, she made an experimental silent film INGQUMBO commissioned by Neo Muyanga and William Kentridge’s Centre for the Less Good Idea in Johannesburg.  \n\n\n\nAfter a theatrical run at Anthology Film Archives in May 2025\, MILISUTHANDO was released on The Criterion Channel on 1 October 2025 and is independently distributed in Africa and as of April 7th 2026\, is distributed by The Tape Collective in the UK and  EU.  \n\n\n\nShe is currently an Artist in Residence at Headlands Centre for the Arts in the Marin Headlands of California where she is developing her second film.  \n\n\n\nWhile she has lived in New York since 2024\, the subject of her work is always rooted in South Africa   \n\n\n\nJonathon Haffner – Recently based in Los Angeles after more than two decades within New York City’s downtown music\, film\, and art scenes\, he has built a career across genres\, disciplines\, and international stages. \n\n\n\nFor over a decade\, he performed and recorded with filmmaker and poet Jonas Mekas\, accompanying live poetry and creating live scores for Mekas’ films. These collaborations included performances at the Serpentine Gallery in London\, Hiro Ballroom in New York City\, and The Stone\, founded by John Zorn. \n\n\n\nHaffner also toured extensively with Butch Morris\, appearing on more than 15 recordings with the late conductor in several different ensembles\, including Orchestra Slang and Nublu Orchestra. \n\n\n\nHe performs with the Great Lakes Quartet\, led by Wadada Leo Smith\, alongside the late Jack DeJohnette and John Lindberg. Their release on TUM Records was named a Top 10 Box Set of the Year by The New York Times\, and the ensemble has performed at the Berlin Jazz Festival\, the Leibnitz Festival in Austria\, and Jazz em Agosto in Lisbon\, Portugal. \n\n\n\nHaffner has also toured and recorded with Red Baraat\, Cyndi Lauper\, and Louis Cole\, appearing on Cole’s albums and video productions and performing with him in New York and Los Angeles. \n\n\n\nHis solo album\, Life on Wednesday\, produced by David Binney and featuring Craig Taborn and Wayne Krantz\, was invited to perform at the North Sea Jazz Festival in a concert also featuring Nasheet Waits and Marc Ducret. Following North Sea\, he led his own ensembles at the Vilnius Jazz Festival in Lithuania\, as well as the Nublu Jazz Festival and Winter Jazzfest in NYC.Additionally\, he co-leads projects with Kenny Wollesen and Tony Scherr\, released Rasa Rasa on John Zorn’s Tzadik label\, performs with Rocket Sci on Nublu Records\, and co-leads Big Shapes with Dave Harrington of Darkside and Max Jaffe. Big Shapes will release its second album in 2026. \n\n\n\nAdvik Beni and Nehal Vyas  are programmers and filmmakers based in Los Angeles. Originally from South Africa and India respectively\,  their curatorial work draws from oral traditions\, nationhood\, citizenship\, mythology\, and family histories. They are committed to building community spaces where filmmaking serves as an ally.
URL:https://www.h-r.la/event/songs-to-quell-the-monster-program-1-of-4-a-mothers-lullaby/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:performance,screening
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260501T190000
DTEND;TZID=America/Los_Angeles:20260501T233000
DTSTAMP:20260805T094415
CREATED:20260424T204654Z
LAST-MODIFIED:20260424T204821Z
UID:9519-1777662000-1777678200@www.h-r.la
SUMMARY:HRLA BirthDay / MayDay Extravaganza
DESCRIPTION:Celebrate May Day & HR’s 16th Birthday \n\n\n\nWithAjani BrannumCassia Streb & Jennifer BewerseHuntrezzJay CarlonMaria MaeaOlivia MoleTzotzona \n\n\n\nTickets \n\n\n\nFree for HR members
URL:https://www.h-r.la/event/hrla-birthday-mayday-extravaganza/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260430T190000
DTEND;TZID=America/Los_Angeles:20260430T220000
DTSTAMP:20260805T094415
CREATED:20260415T014006Z
LAST-MODIFIED:20260425T005004Z
UID:9477-1777575600-1777586400@www.h-r.la
SUMMARY:Dafne Vicente-Sandoval and Charles Curtis
DESCRIPTION:Bassoonist Dafne Vicente-Sandoval and cellist Charles Curtis perform live-in-concert – at an event pulled by UPEND – premiering a new version of Tashi Wada’s 2017 Witness\, originally written for Vicente-Sandoval on bassoon and now including accompaniment by Curtis on cello. In Witness\, a series of microtonally inflected scales and tetrachords are explored through repetition\, variation\, and improvisation. At this intimate concert\, Curtis will also present brief solo cello pieces\, possibly including music by Tashi Wada\, Morton Feldman\, Christian Wolff\, Alvin Lucier\, and/or other works in progress. Vicente-Sandoval’s own Minos Circuit Rewired\, for microphone feedback\, voice\, and disassembled bassoon\, will close the evening. \n\n\n\nDafne Vicente-Sandoval (b. 1979\, Paris) works at the intersection of bassoon acoustics\, resonant spaces\, and amplification; Charles Curtis (b. 1960\, Laguna Beach) explores classical cello performance\, precise tuning\, and sustained sound. Together\, they have marked out a distinctive perspective on contemporary experimental music. Working collectively with composers Alvin Lucier\, Tashi Wada\, and Éliane Radigue\, and individually with Jakob Ullmann\, Phill Niblock\, Peter Ablinger\, La Monte Young and Marian Zazeela\, and Christian Wolff\, Vicente-Sandoval and Curtis present a shared concert of works made for them\, along with original sound pieces. \n\n\n\n[ Advance tickets available via withfriends ]
URL:https://www.h-r.la/event/dafne-vicente-sandoval-and-charles-curtis/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260428T200000
DTEND;TZID=America/Los_Angeles:20260428T220000
DTSTAMP:20260805T094415
CREATED:20260424T205812Z
LAST-MODIFIED:20260424T214359Z
UID:9523-1777406400-1777413600@www.h-r.la
SUMMARY:LOCAL OCCURRENCE
DESCRIPTION:Tickets \n\n\n\nLOCAL OCCURRENCE\, is a project that I\, Henryk Golden\, am starting together with the violinist Myra Hinrichs and the percussionist Corey Fogel\, performing written and improvised music. The goal is to work with a set group of artists based in Southern California\, including the trio itself\, Ana Luisa Díaz de Cossío and Daniel Allas and experiment with what is possible with our trio over a series of OCCURRENCES. We use our instruments as tools to shape the sound and space the audience experiences. This includes the use of amplification\, distortionation and the physical dislocation within the space. \n\n\n\nWe hope to be in dialogue with the audience and between ourselves on what directions we can take. Creating a music community that is local to LA\, especially in a social sense. Where we as artists are coming together with the audience to create music that is of a place. In honor of one of the greatest creators of a local music community\, including the creation of the Scratch Orchestra in the UK\, we’ll play Cornelius Cardew’s “autumn 60”\, which is a set of instructions for writing a piece. So it is a new improvisation every time it is performed. \n\n\n\nWe are thrilled to share our music and the start off our project at Human Resources. The night will feature amplified noise tuba\, improvisation\, creative minds and a hunger for experimentation. Please share your thoughts with us during and after the show\, we’d love to hear them. The show will feature Kathleen Kim on violin and Michael Matsuno on flute as special guests.  \n\n\n\nSo excited to be part of music together with everyone at the show. \n\n\n\n \n\n\n\n \n\n\n\nCorey Fogel: https://coreyfogel.com \n\n\n\nMyra Hinrichs\, violinist\, is currently living in Los Angeles after spending several years living and working in Chicago. She is a graduate of Oberlin College and Conservatory and the Chicago Civic Orchestra training program. In performance\, she is a member of Chartreuse\, a string trio devoted to performing the music of living composers from around the world\, and Acorn Projects\, a string quartet exploring the edges of improvisation\, canon repertoire\, and activism. Myra has appeared with many other ensembles including Monday Evening Concerts\, dal niente\, 3+1 Quartet\, Mucca Pazza\, mocrep\, and a.pe.ri.od.ic. In the classroom\, Myra teaches violin students to explore and enjoy music making\, combining her Suzuki training and her love of new music. \n\n\n\nHenryk Golden: https://www.goldencomposer.com \n\n\n\nMichael Matsuno: https://www.michaelmatsuno.com \n\n\n\nKathleen Kim: https://kathleenkim.bandcamp.com \n\n\n\nDaniel Allas: http://www.danielallas.com/ \n\n\n\nAna Luisa Díaz de Cossío: https://analuisadiazdecossio.com/
URL:https://www.h-r.la/event/local-occurrence/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260424T183000
DTEND;TZID=America/Los_Angeles:20260424T213000
DTSTAMP:20260805T094415
CREATED:20260415T205854Z
LAST-MODIFIED:20260424T222245Z
UID:9502-1777055400-1777066200@www.h-r.la
SUMMARY:BUTCHONA - A Queer Cumbia Dance Party
DESCRIPTION:homeLA x Human Resources \n\n\n\nSchedule6:30–7:30 PM — Dance Instruction with Jasmine Flores7:30–9:30 PM — DJ Set + Dance Party with Butchona \n\n\n\nTickets$20 — Lesson + Dance Party (6:30 PM entry)$5–$10 — Dance Party Only (7:30 PM entry) \n\n\n\n \n\n\n\n\n\n\n\nhomeLA and Human Resources are teaming up for a night of queer cumbia—dance\, rhythm\, and collective joy—presented in conjunction with Gary “Ganas” Garay’s exhibition\, Cumbia de mi tierra at Human Resources. \n\n\n\nCumbia has long been a music of migration\, memory\, and movement—traveling across borders and evolving through community. This special evening brings that spirit to the dance floor\, beginning with an all-levels dance lesson by Jasmine Flores followed by a queer cumbia dance party led by Butchona\, with DJs Lady Soul and Killed by Synth. \n\n\n\nWhether you’re new to cumbia or already fluent in the rhythm\, this is an invitation to learn\, gather\, and move together. \n\n\n\nPart of Cumbia de mi tierra\, Gary “Ganas” Garay’s exhibition at Human Resources\, this evening extends the exhibition into lived experience—where sound\, movement\, and community animate the cultural histories and contemporary vitality of cumbia. \n\n\n\nCome early to learn. Stay late to dance.See you on the dance floor. \n\n\n\n— \n\n\n\nAbout the Artists and Exhibition \n\n\n\nButchona is a DJ collective and monthly lesbian party based in Los Angeles. Pulling from the rich history of Mexican norteño culture\, Butchona aims to be a space where lesbians and other queer and trans individuals can reclaim part of their Mexican identity on their own terms. Spinning a blend of corridos\, quebradita\, banda and more\, Butchona is the family house party where you can always show up as your authentic self. \n\n\n\nJasmine Flores  — Jayzeejazz — California native Jasmine Flores lives and breathes the rhythm of Los Angeles\, working as a full-time professional dancer\, choreographer\, instructor\, and movement artist in the heart of the city’s creative flow. Jasmine made her live television debut in 2018 at the American Latin Music Awards (The ALMAs)\, performing with reggaeton star J Alvarez. She closed out that same year with another major televised appearance at the Rose Parade in Pasadena\, dancing alongside the legendary Kool & The Gang. Her career continued to rise as she hit some of the most iconic stages in the world\, including Crypto.com Arena\, The Microsoft Theatre\, The Globe Theatre\, the Universal Dance Awards\, The Forum\, and more — performing with artists such as YoYo\, Darkeil ShahKar\, and others. Jasmine has also brought her fierce energy to legendary Los Angeles venues including Whisky a Go Go\, The Roxy Theatre\, and The Viper Room\, solidifying her presence in the city’s most historic entertainment spaces. Most recently\, Jasmine reached a global career milestone\, performing with Karol G at the NFL Opening Games in Brazil\, a major live televised event in São Paulo. She continues to expand her artistry\, traveling internationally for burlesque shows\, fire performances\, and immersive dance experiences that blend storytelling with movement. A true hybrid dancer\, Jasmine trains and performs across multiple styles — salsa\, jazz\, Latin fusion\, contemporary\, hip hop\, and burlesque — working closely with celebrity dancers and choreographers. Her versatility has led her across countless stages\, music videos\, and creative productions\, always ready for the biggest occasions and boldest challenges. Beyond performing\, Jasmine is a passionate dance instructor\, mentor\, and community builder\, teaching full-time across Los Angeles and cultivating inclusive spaces for dancers of all levels. She lives her dream daily — inspiring through movement\, culture\, and connection\, and celebrating the magic that happens every time she steps onto a stage. \n\n\n\nGary “Ganas” Garay (b. 1977) is a multidisciplinary artist\, performer\, DJ and record collector based in Los Angeles. His artistic practice is informed by his lived experiences crossing the U.S.-Mexico border\, recognizing and drawing attention to the rich and dynamic culture of everyday life. He is the founder of Mas Exitos music collective\, host of the dublab program Mas Exitos con Ganas\, and co-founder of Discos Rolas\, a record label and collaborative project dedicated to the cosmic sounds and musical histories of Latin America.Cumbia de mi Tierra is an art exhibit and installation that celebrates cumbia music from Mexico through ephemera\, material culture\, and art. From humble beginnings at family gatherings in Tepito and Peñon de los Baños\, Mexican cumbia transformed the folkloric\, regional dance music style from Colombia as it took roots in Mexico City and Puebla and in the diaspora in New York\, New Jersey and LA. Independent labels including Discos Dancing\, Discos Room\, and Discos Lambda released records of Mexican cumbia groups alongside bootleg compilations of South American cumbia. Sonideros such as La Changa\, La Conga\, Sonido Samurai and thousands of others not only set up mobile soundsystems throughout Mexico but also DJ their vast collections and perform saludos (shout-outs). Groups such as Super Grupo Colombia and Los Angeles Azules emerged in Mexico City innovating the cumbia by imitating the bass-heavy and mediated sound of cumbia sonidera.  \n\n\n\nCurated by artist Gary Garay\, the exhibit brings together collector Jose Hernández\, photographer Stefan Ruiz\, and artist Yair Sarmiento. Drawing on the extensive collection of Jose Hernández\, Gary Garay tells a story of cumbia sonidera in Mexico through curation and the creation of new work based on this archive. Consisting of flyers\, posters\, stickers\, sonidero business cards\, and cassette mixtapes and cassette recordings of specific bailes from the 1980s and 1990s Mexico City constitute a counter-history of print and graphic design. With its wild appropriation of Looney Toons\, Hannah Barbera\, Betty Boop\, this visual vernacular helped transform cumbia from rural folkloric popular dance music from Colombia into a modern\, urban\, soundsystem-based culture. From the printing press to the record press\, typewritten and Xeroxed cassette covers\, screen printing\, this fast-paced\, inexpensive independent media culture of the marginalized masses.  \n\n\n\nHuman Resources was founded in 2010 by a team of creative individuals who seek to broaden engagement with contemporary and conceptual art\, with an emphasis on performative and underexposed modes of expression. Human Resources is not-for-profit and seeks to foster widespread public appreciation of the performative arts by encouraging maximum community access. Human Resources also serves as a point of convergence for diverse and disparate art communities to engage in conversation and idea-sharing promoting the sustainability of non-traditional art forms. We are a volunteer organization. \n\n\n\nhomeLA is a performance platform that critically engages with the sites\, histories\, and narratives of Los Angeles to reveal the complexity of the city—past\, present\, and future—through varied contextual imaginings of “home.” We support experimental performance makers within the fields of dance and art through programs\, dialogue\, and advocacy. www.homela.org  / @home_la
URL:https://www.h-r.la/event/butchona/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260413T200000
DTEND;TZID=America/Los_Angeles:20260413T223000
DTSTAMP:20260805T094416
CREATED:20260407T230910Z
LAST-MODIFIED:20260407T230911Z
UID:9472-1776110400-1776119400@www.h-r.la
SUMMARY:SPRINGCLING
DESCRIPTION:SPRINGCLING is the latest experiment in curation by local percussionist-artist Corey Fogel\, challenging & augmenting what fits in a gallery\, on a “music program”\, within an acoustic setting\, and at an event. “Salon” may best describe this happening that marries artists from all corners of the country; of Corey’s creative friend circle; of the media sphere. Proceeding these prepositions is a preposterously proposed presentation of presumably preferred praxes. P’rhaps we’ll see you there!  \n\n\n\nsound\, saxophone\, food\, voice\, bass\, drama\, poetry\, percussion\, food\, projection\, electronics\, performance\, text\, noise.  7:58 PM \n\n\n\nTickets \n\n\n\nSam Weinberg is a saxophonist\, composer\, and improviser from New York City. His work attempts to forge and develop a distinct intervallic lexicon which is both mutable and structurally coherent.He has released three records for trio since 2023: Implicatures (Astral Spirits\, with Chris Lightcap and Tom Rainey)\, and two with his long-standing group with Henry Fraser and Jason Nazary (Plays Quarter Notes and Other Notes\, and Of Peeling Passage: Live at Sisters). Weinberg has also focused heavily on solo work in the last several years\, which has resulted in the albums Academy\, My Druthers\, Live at the Oche\, with another forthcoming in 2025. \n\n\n\nHeidi Ross is a private chef and multidisciplinary artist who creates culinary performances\, installations\, and dinners for private events\, galleries\, public and outdoor spaces. Heidi uses food as visceral communication through communion—exploring sentience and interspecies connection through sound\, touch\, taste\, and new media. \n\n\n\nCordey Lopez is an experimental musician and audio engineer currently based in Los Angeles\, CA. Through original composition and collaborative projects\, such as Gong Gaada and the Berkeley Gamelan\, his work currently explores intersections of electronics and Indonesian gamelan music. Cordey also performs solo under the moniker Baby Aspirin DVD using modular synthesizer to deconstruct and recontextualize cultural aesthetics of death metal. As an audio engineer\, Cordey tours internationally as Front of House with other experimental artists and is the lead engineer at Gnarnia Studios. \n\n\n\nMeg Shevenock is a writer\, artist and private teacher.Meg’s debut poetry collection\, The Miraculous\, Sometimes\, won the Marystina Santiestevan first book prize\, judged by Bob Hicok for Conduit Books & Ephemera. Her poems and essays have appeared in such places as Times Literary Supplement\, Lana Turner\, Best New Poets\, Denver Quarterly\, Ninth Letter\, jubilat\, and Kenyon Review blog. She is a recipient of a writer’s grant from The American Academy of Arts and Letters and an Ohio Arts Council Individual Excellence Award winner in Poetry. She is an occasional “reader” and researcher for internationally acclaimed visual artist Ann Hamilton. \n\n\n\nJudith Berkson is a composer\, vocalist\, and pianist. Her multi-disciplinary work explores tuning as it relates to memory and perception. She explores small spaces between similarity and difference as in her String Quartet 1 where each instrument is tuned a syntonic comma apart. Her solo project\, Liederkreis\, draws on 19th century German lieder\, noise\, and electroacoustic performance. She is also a Cantor and officiates traditional liturgical chanting. She has been featured in the Wall Street Journal\, The New York Times\, The New Yorker\, and on NPR. She has collaborated with the Kronos Quartet\, City Opera\, Laurie Anderson and has worked with ensembles including Mivos Quartet\, Wet Ink\, Yarn/Wire\, Experiments in Opera\, and the Boston Microtonal Society. She has recorded for ECM Records\, has written two operas. She is currently based in Los Angeles. \n\n\n\nCorey Fogel (b 1977) is a composer\, drummer\, and artist based in Los Angeles. He works across genre and medium to explore many facets of improvisation. He approaches sounds\, textiles\, collaborators\, gestures\, and objects as viable materials for spontaneous\, strategized\, time-based experimental performance\, often incorporating sculpture\, video\, music traditions\, theatricality\, and ritual. Fogel performs and composes in many rock\, jazz\, noise\, folk\, and chamber music capacities. He can be heard on over one hundred recordings as a percussionist. His compositions range from collaborative media scores to aleatoric ensemble compositions which use a combination of traditional and novel notation. For two decades\, he has worked with alternative music notation\, creating innovative and novel systems that encode and visualize the behaviors that comprise musicians’ improvisational vocabulary. His scores use digital design techniques to represent sonic trajectories\, relational dynamics\, and situationism in space. Once an exclusive transaction between composer and performer\, this work has grown into site-specific\, immersive mural paintings for an expanded audience. This creative activity became the subject of his doctoral dissertation\, entitled Graphic Score On Trial – The Utility and Emergence of a Transciplinary Linguistic. \n\n\n\nEllenberg is an academic and artist who works across the disciplines of film/video\, performance and theater. She began her career as filmmaker and video artist\, screening her films widely at international venues\, since creating her first film at Ocularis Collective\, in Williamsburg in 2000. Her creative practice centers around a re-imaging of the gendered subject within contemporary American popular culture and mythology. In the 2000’s\, she curated a range of multi-media events and screenings at venues including Monkeytown\, Anthology Film Archives\, Galapagos and The Horse Hospital (London). Ellenberg’s short films and art installations have been exhibited internationally at venues such as The Collectif Jeune Cinéma\, LA Freewaves\, LACMA\, Gallery SC (Zagreb)\, Issue Project Room\, Migrating Forms\, La Di Da Film Festival\, Art in General and EMAF (Osnabrueck). Recent Press; Art F City\, Art in America\, Bomb\, LA Weekly and Hyperallergic.
URL:https://www.h-r.la/event/springcling-2/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260411T160000
DTEND;TZID=America/Los_Angeles:20260426T180000
DTSTAMP:20260805T094416
CREATED:20260331T015123Z
LAST-MODIFIED:20260416T174146Z
UID:9450-1775923200-1777226400@www.h-r.la
SUMMARY:Cumbia de mi Tierra
DESCRIPTION:Gallery Hours: Friday- Sunday\, April 12th – April 26th\, 12pm – 6pm \n\n\n\nOpening event on Saturday\, April 11 from 4pm – 9pm. \n\n\n\n \n\n\n\nOpening event on Saturday\, April 11 from 4pm – 9pm \n\n\n\nRSVP \n\n\n\nDance performance by Club Inspiración Mexico. \n\n\n\nSonidero performances by Sonido La Rumba and El Tropical San Pancho. \n\n\n\nLive music by cumbia group Dolores y su Conjunto. DJ sets by Ganas\, El Kevin and Sonido Dolores. \n\n\n\nRecord store pop-up by Innovation Records and Discos Rolas. \n\n\n\nCeviche by Correas Mariscos. \n\n\n\n \n\n\n\n \n\n\n\nFilm screening on Saturday\, April 18 at 6pm \n\n\n\nTickets \n\n\n\nScreening of Sonidero Metropólis and Kumbia Net\, both directed by Alvaro Parra  \n\n\n\nGrupo Kual? Musica de Barrio\, directed by Discos Rolas. \n\n\n\nDJ sets by Noche Romantica\, Que Madre\, Dave Salvaje\, Sonido Sapo\, Kumbia Net\, Space Primo\, Discos Rolas\, Xandao and Ganas. \n\n\n\nQ&A with director Alvaro Parra. \n\n\n\nRecord store pop-up by Innovation Records and Discos Rolas. \n\n\n\n \n\n\n\n \n\n\n\nClosing Celebration on Saturday\, April 25 from 4pm – 9pm. \n\n\n\nTickets \n\n\n\nDance performance by Cali All-Stars. \n\n\n\nSonidero performances by Rafael Pamatz and Tropical San Pancho. \n\n\n\nDJ sets by Ritmo Santanero\, Discos Rolas\, Mas Exitos. \n\n\n\nRecord store pop-up by Innovation Records and Discos Rolas. \n\n\n\nMore related programs to be announced. \n\n\n\nCumbia de mi Tierra is an art exhibit and installation that celebrates cumbia music from Mexico through ephemera\, material culture\, and art. From humble beginnings at family gatherings in Tepito and Peñon de los Baños\, Mexican cumbia transformed the folkloric\, regional dance music style from Colombia as it took roots in Mexico City and Puebla and in the diaspora in New York\, New Jersey and LA. Independent labels including Discos Dancing\, Discos Room\, and Discos Lambda released records of Mexican cumbia groups alongside bootleg compilations of South American cumbia. Sonideros such as La Changa\, La Conga\, Sonido Samurai and thousands of others not only set up mobile soundsystems throughout Mexico but also DJ their vast collections and perform saludos (shout-outs). Groups such as Super Grupo Colombia and Los Angeles Azules emerged in Mexico City innovating the cumbia by imitating the bass-heavy and mediated sound of cumbia sonidera.  \n\n\n\nCurated by artist Gary Garay\, the exhibit brings together collector\, Jose Hernández\, photographer Stefan Ruiz\, and artist Yair Sarmiento. Drawing on the extensive collection of Jose Hernández\, Gary Garay tells a story of cumbia sonidera in Mexico through curation and the creation of new work based on this archive. Consisting of flyers\, posters\, stickers\, sonidero business cards\, and cassette mixtapes and cassette recordings of specific bailes from the 1980s and 1990s Mexico City constitute a counter-history of print and graphic design. With its wild appropriation of Looney Toons\, Hannah Barbera\, Betty Boop\, this visual vernacular helped transform cumbia from rural folkloric popular dance music from Colombia into a modern\, urban\, soundsystem-based culture. From the printing press to the record press\, typewritten and Xeroxed cassette covers\, screen printing\, this fast-paced\, inexpensive independent media culture of the marginalized masses.  \n\n\n\nDancer and record collector\, Hernández is an organic archivist of the cumbia sonidero scene who grew up in Mexico City and in the 1980s and 1990s and built his massive collection around the various ephemera of the scene. Garay documented\, archived\, and curated Hernández’s vast collection—which had been spread between California and his mother’s house in Mexico City.  Inspired by the collection\, Garay’s new work amplifies details that matter to diggers—record label logos\, album cover photographs of dancers and sonideros—by screen printing on materials such as silver\, tarps\, and brick. The metallic color recalls platinum records\, Mexican silver mines\, Pop Art\, and roll-up galvanized metal shop doors for places like Sonoramico Records and Discos Cali. Long part of Garay’s art practice\, the tarp acknowledges improvisation\, making do\, hiding\, and taking care—a temporary roof or wall at swap meets\, alleys\, bailes\, and Hélo Oiticica’s Tropicália. \n\n\n\nFinally\, Stefan Ruiz will have five large-format photographs from his 2011 photo essay documenting the “Cholombiano” street style of young cumbia and vallenato fans in Monterrey\, Mexico. 
URL:https://www.h-r.la/event/cumbia-de-mi-tierra/
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