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DTSTART;TZID=America/Los_Angeles:20261003T180000
DTEND;TZID=America/Los_Angeles:20261011T180000
DTSTAMP:20261001T084426Z
CREATED:20260910T202844Z
LAST-MODIFIED:20261001T084426Z
UID:10575-1791050400-1791741600@www.h-r.la
SUMMARY:CRUISE LA: 10 YEARS DEEP
DESCRIPTION:RSVP \n\n\n\nJoin us for an immersive opening celebration of Cruise LA’s 10th anniversary\, where the exhibition and living culture merge. Through photographs\, ephemera\, and installation\, the exhibit traces how Cruise LA has become a catalyst for reshaping the Los Angeles leather/kink community by creating space for the people who disrupt the leather archetype. Historically unwelcoming to many racialized and gender-expansive people\, the local leather community continues to be transformed by those insisting on new ways of belonging. \n\n\n\nFor one night\, Cruise LA’s monthly party spills into the Human Resources gallery in Chinatown. Revel in the pleasures of queer liberation and embodied connection with our resident DJ\, gogo dancers\, BDSM demonstrations\, and artist activations that blur the line between exhibition and celebration. \n\n\n\nCome dressed up\, dressed down\, or anywhere in between—there is no dress code\, we dare you to be bold. A free clothes check will be available for guests who want to shed some layers once inside. Photography is permitted throughout the event\, but only with the consent of everyone being photographed. \n\n\n\nWander through a decade of Cruise LA’s intimate history\, then get embodied in our recreation of a leather bar darkroom\, where you’re invited to explore your own desires with friends—or some beloved strangers. \n\n\n\nLeave with a deeper sense of the radical possibilities of pleasure\, embodiment\, and chosen community. By journeying through the exhibit and into the party\, guests are invited to imagine what becomes possible when we trust our bodies\, make space for one another’s desires\, and practice joy together\, even amid uncertainty. \n\n\n\nExhibition on view Thursdays-Sundays\, 12-6 pm.\n\n\n\nOpening reception on Saturday\, October 3 from 6-10 pm with performances at 7 pm sharp: featuring (in order of performance) Strange Kindness\, Page Person\, Mary Typhus\, Anansi\, & Mowgli Wilde \n\n\n\nClosing event on Sunday\, October 11 from 2:00–6:00 pm featuring flash tattoo by Comonground Studio artists Charlie Boy and Roz\, bootblacking by Cruise LA community bootblacks\, and exhibit walkthroughs with Cruise LA founders Ponylee & Vanessa Craig\, and queer nightlife photographer Amina Cruz. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAbout Cruise LA \n\n\n\nCruise LA marks 10 years of facilitating connection through community leather and kink events\, centering historically disenfranchised communities through arts-based programming\, cultural events\, and joyful gathering. \n\n\n\nFounded in 2016 by Pony Lee and Vanessa Craig\, the heart of Cruise LA has evolved with the people who showed up—on the floor\, behind the bar\, in the booth\, on the team\, and in the crowd. Since its founding\, Cruise LA has produced the only monthly party at Eagle LA exclusively centering women and TGI people. In 2019\, Cruise premiered the first Mx. leather title in Los Angeles\, continuing its work of carving out space for communities historically marginalized within Leather. \n\n\n\nJoy and pleasure have always been central to that work. Alongside parties and cultural programming\, Cruise LA has cultivated resources for harm reduction\, safer play\, education\, mutual aid\, and collective care—grounded in radical self-acceptance and interdependence. \n\n\n\nAs Cruise LA celebrates a decade\, we honor those who came before us and fought to create the foundations of our community\, as well as everyone who has shaped Cruise along the way. Their legacy lives on in the art\, events\, relationships\, and spaces we continue to create together—spaces that celebrate systemically excluded bodies and expand what belonging in Leather can look like.
URL:https://www.h-r.la/event/cruise-la-10-years-deep/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20261015T193000
DTEND;TZID=America/Los_Angeles:20261015T220000
DTSTAMP:20261001T090307Z
CREATED:20261001T085807Z
LAST-MODIFIED:20261001T090307Z
UID:10726-1792092600-1792101600@www.h-r.la
SUMMARY:Kevin Corcoran\, Adam Lion & Wilson Shook; Music Research Strategies; Cherlyn Hsing-Hsin Liu & Michael Pisaro-Liu; A ∩ D
DESCRIPTION:tickets \n\n\n\nDoors: 7:30 pm \n\n\n\nFirst set: 8 pm \n\n\n\nA unprecedented confluence of creative voices from California and beyond\, tonight’s audiovisual offerings substantiate diverse angles of approach to the fundamental questions of how to listen and what to do about it. \n\n\n\n– \n\n\n\nKevin Corcoran\, Adam Lion & Wilson Shook \n\n\n\nImprovising as a trio for the first time\, but with overlapping collaborative histories\, Kevin Corcoran\, Adam Lion\, and Wilson Shook bring a deep appreciation for the irreducible complexity of moment and place\, a fine attunement to its possibilities and constraints\, and an abiding commitment to chucking it all and doing something completely different. \n\n\n\nKevin Corcoran works with sound and listening through percussion and place. \n\n\n\nAs a percussionist he is focused on techniques which emphasize texture\, friction\, sympathetic vibration\, sustained tones and the use of found materials. Whether working with a single drum\, an electro-acoustic approach\, or playing drum kit\, improvisation is crucial to his practice as generative method and non-hierarchical exchange of ideas. \n\n\n\nIn fieldwork projects\, noticing tensions between land use and disuse\, infrastructure and open space\, contamination\, weathering\, and remediation guides his place-based practice of recording and composing with sound\, image\, object\, and text. \n\n\n\nBased in San Francisco\, California\, Kevin collaborates across disciplines with musicians\, dancers\, filmmakers\, writers and visual artists. He has performed in North America\, Europe\, and East Asia\, exhibited audiovisual work in the US and Taiwan\, and published internationally on small labels dedicated to experimental music. \n\n\n\nAdam Lion is a percussionist dedicated to experimental music rooted within the traditions of composition and improvisation. Valuing idiosyncratic techniques\, Lion explores new sonic frameworks involving agency\, perception\, immediacy\, and constraint. Through composition he explores larger philosophical concepts such as the creation of structure through chance\, cohesion through independence\, and the borderlands between the raw materiality of sound and human cognition. At the core of this approach is a full embrace of the objective properties of instruments and sound itself. Of equal importance are the social\, emotional\, and metaphysical relationships that naturally arise during collaboration between performers\, objects\, and spaces. Lion creates systems which navigate these dynamics\, uncovering unique sonic environments grounded within the immediate moment. This dichotomy between material constraint and autonomy reflects a dialectic which continually points to the same question- how can we use music to research these ideas? \n\n\n\nWilson Shook is an improvising saxophonist and manual therapist living in Pasadena\, CA. His approach to music has been shaped by collaborative relationships with Gust Burns\, Paul Hoskin\, Ben Bennett\, Greg Kelley\, Carol Genetti\, Ted Byrnes\, and others\, as well as an ongoing sonic exploration of the resonant void spaces of American hydrologic and automotive infrastructure. \n\n\n\nA self-taught musician\, Wilson approaches improvisation\, study\, collaboration\, and performance as sites of radical experimentation with modes of being\, relating\, and perceiving. Wilson’s practice cultivates an awareness of human vulnerability and technological fallibility; embraces excess\, fragmentation\, and incompleteness; and pursues the chaotic\, queer\, and interdependent imperatives of an aleatory existence amidst a crumbling\, toxic culture. \n\n\n\nAttentiveness\, transformation\, commitment to the materiality of the musical act and its consequences; radical presence as the only avenue of escape. Always mindful of the axiom\, via Éluard—There is another world\, but it is in this one. \n\n\n\nMusic Research Strategies \n\n\n\nMusic Research Strategies performs “Throwin’ Hands” – a solo double bullroarer and traps vector from “Ebonics Native Land Acknowledgement: Floating Signifier.” “Throwin’ Hands” is microtonal\, socio-legal communication praxeology for theorizing critical and ethical social contracts with Indigenous Knowledge Systems (De-Center for UNKNOWING). \n\n\n\nMusic Research Strategies is known for SIGE Records (Seattle) releases such as White People Killed Them\, Black Spirituals (defunct)\, Eleven Postures (solo)\, and more; releases on Weird Cry Records (Ojai); plus\, numerous Creative Improvised Music partnerships with international players; and\, international Insurgent Learning Workshops (ILWs) for reimagining the UGRR quilt block codes for today’s political landscape. Music Research Strategies is grateful for support from COTFG\, Charlotte Street Foundation\, FCA\, Center for Indigenous Studies @ Bard\, Borealis Festival\, Sonic Acts\, PRO ARTS COMMONS\, Intercultural Leadership Institute\, High Desert Soundings\, Yucca Valley Materials Lab\, East Side Arts Alliance\, NAKA Dance Theater\, In Defense of Memory\, Blues Detection Agency\, No Idea and so many more. Thank U! \n\n\n\nMusic Research Strategies will also perform with trumpeter Lemuel Marc for High Desert Soundings. \n\n\n\nCherlyn Hsing-Hsin Liu & Michael Pisaro-Liu \n\n\n\nCherlyn Hsing-Hsin Liu is an artist\, filmmaker\, and writer whose practice draws on experimental literature\, the conceptual avant-garde\, and philosophy. Liu’s work concerns materiality across different contexts and eras\, including its transformation\, symbolism\, decay\, and emotional resonance. For Liu materiality includes both living and inanimate matter. Through film\, poetry\, painting\, sculpture\, and other media\, she reflects the light and darkness of the world she lives in. Her films have been shown at international film festivals and museums\, including the Edinburgh International Film Festival\, Helsinki Festival\, Festival des Cinémas Différents et Expérimentaux de Paris\, Image Forum Festival at the Museum of Kyoto\, CROSSROADS at the San Francisco Museum of Modern Art\, M+ Museum\, the Taipei Fine Arts Museum\, the Belvedere 21\, the Barbican Centre\, among others. \n\n\n\nMichael Pisaro-Liu is a guitarist and composer and a long-time member of the Wandelweiser collective. While\, like other members of Wandelweiser\, Pisaro-Liu is known for pieces of long duration with periods of silence\, in the past fifteen years his work has branched out in many directions\, including work with field recording\, electronics\, improvisation and ensembles of very different kinds of instrumental constitution. Much of his current work takes the form of mixed-media assemblages\, in collaboration with filmmaker/artist/writer Cherlyn Hsing-Hsin Liu. \n\n\n\nPisaro-Liu is the Director of Composition and Experimental Music the California Institute of the Arts. \n\n\n\nA ∩ D \n\n\n\nAngela Frances Wilson (modular synth) and Devin Sarno (bass + electronics) combined to form A ∩ D (or: A Intersects D)\, a mostly-musical project that emphasizes the experience of music – which always goes beyond. Instead of thinking about microphones and amps\, elevate: discover the difference between a hiss of regret and the fuzz of desire. A lot of music (some good) is just sounds. A ∩ D’s music extends the subconscious\, our natural experiential always-mode. Seeming contradictions between booms and delicacy become moot: the ambience is in the music\, creating the music\, and a simple vice versa. A smell is a vista is a ritual is in the air. The light of being-outsideness echoes in the core of their intimate sonic actions. Space and time’s immateriality has never been so palpable. (Andrew Choate)
URL:https://www.h-r.la/event/kevin-corcoran-adam-lion-wilson-shook-music-research-strategies-cherlyn-hsing-hsin-liu-michael-pisaro-liu-a-%e2%88%a9-d/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20261016T190000
DTEND;TZID=America/Los_Angeles:20261016T210000
DTSTAMP:20261009T202218Z
CREATED:20261008T183358Z
LAST-MODIFIED:20261009T202218Z
UID:10754-1792177200-1792184400@www.h-r.la
SUMMARY:Propositional Attitudes / Scorebook / Open Score(d)
DESCRIPTION:Fri\, Oct 16 at 7pm \n\n\n\n\n\n\n\n\n\ntickets \n\n\n\nPropositional Attitudes / Scorebook / Open Score(d) \n\n\n\nFriday\, October 16\, 2026\, 7-9pm \n\n\n\nJoin us for an evening of open scores—artist-made instructions\, propositions\, prompts\, and possibilities for making performances together. The event will draw from score collections including the Democracy Sessions festival scorebooks\, produced by Wild Up (2024\, 2026)\, and Propositional Attitudes: What do we do now?\, edited by John Burtle and Elana Mann (Golden Spike Press: 2018). These scores grasp democratic ideals through slipping fingers asking: Who is listening and who has the right to speak? What is (not) being heard? Some of these scores will be performed by Wild Up musicians and local artists. Others are written for audience members; what is traditionally a passive role will become active\, unruly\, feral. The scores performed and presented across the evening assemble something like a collective voice—not consensus\, but radical harmonics\, interpersonal exchange\, and rehearsed tools for social organizing. We should try them. \n\n\n\nOrganized by Wild Up\, Elana Mann\, and John Burtple \n\n\n\nScores by: Chohi Kim\, Will Rawls\, Udita Upadhyaya\, Molly Pease\, Michel Von Loh\, Kensaku Shinohara\, John Burlte\, Adam Overton\, John Burtle and John Barlog\, Elana MannPerformers: Brian Walsh\, Kensaku Shinohara\, Chohi Kim\, Archie Carey\, Mona Tian
URL:https://www.h-r.la/event/propositional-attitudes-scorebook-open-scored-2/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20261017T170000
DTEND;TZID=America/Los_Angeles:20261017T213000
DTSTAMP:20260929T064140Z
CREATED:20260910T195831Z
LAST-MODIFIED:20260929T064140Z
UID:10567-1792256400-1792272600@www.h-r.la
SUMMARY:Young Boy Dancing Group
DESCRIPTION:tickets \n\n\n\nYoung Boy Dancing Group performance \n\n\n\n60-80 minutes \n\n\n\nPerformance cast TBA \n\n\n\nNo flash lights\, photography is allowedmay contain fog and/or loud musicentry and exit at anytime is allowed \n\n\n\nYoung Boy Dancing Group was initiated in 2014 as a mercurial performance group. As Spike Magazine wrote: “Since making their debut as a performance group at Paris’s Club Silencio in 2014\, eccentric tactics earning early viral fame have matured into immersive studies in physical intensity\, sensuality\, and extreme absurdity.”  In other words by Sam Max for Culture Bot: ”In their work\, I experience Young Boy Dancing Group as hovering between life and death. The choreography sustains suspension between a quivering\, levitating ecstasy of the body and spirit\, and the inevitable silence of death. None of it is easy\, but we do it anyway\, and the best we can ask for is a collective ritual\, maybe in the form of a dance\, that makes meaning of it all. In this way Young Boy Dancing Group’s language is just like life. It’s as devastated as it is celebratory. The dance is something to be moved through\, despite the constant threat of collapse.”  \n\n\n\nInitiated in 2014\, Young Boy Dancing Group began as a nameless performance collective\, a versatile host embracing an ever-changing network of dancers. Young Boy Dancing Group has worked in video\, photography\, fashion\, sculpture\, and installation but the group remains best known for rawly intimate performances in which the materiality of bodies encounters the ethereality of light. \n\n\n\nNotable performances include Madonna\, Good for the Soul music video (2026); Ephemera Festival\, Warsaw(2026); Teatro del Canal\, Madrid (2026); Schinkel Pavilion\, Berlin (2025); BUoY\, Tokyo (2025); Acs\, Seoul (2025); Eaton\, Hong Kong (2025); Pioneer Works\, New York City (2024); Art Basel\, Basel (2024); Performance Space New York\, New York City\, NY (2024)\, Kim?\, Riga (2024); Rhizome\, New York City\, NY (2024); Dover Street Market\, Paris (2024); Silencio\, Paris (2024); 2024 at Gessneralle Zurich\,  2023 at Mendes Wood DM\, Sao Paulo\, O’Flaherty’s\, New York City\, 2019 at Disappearing Berlin\, Schinkel Pavillon\, Berlin\, BOFFO\, NYC\,  Music festival Ceremonia\, Mexico\, Baltic Triennial\, Tallinn\, Athens Biennial\, Athens\, Performance\, Music festival\, Creepy Teepee\, Kutna Hora. \n\n\n\nhttps://www.youngboydancinggroup.com
URL:https://www.h-r.la/event/ybdg-performance/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20261022T120000
DTEND;TZID=America/Los_Angeles:20261026T180000
DTSTAMP:20261006T174727Z
CREATED:20261006T025304Z
LAST-MODIFIED:20261006T174727Z
UID:10734-1792670400-1793037600@www.h-r.la
SUMMARY:malavika rao: are there roots where the ground trembles?
DESCRIPTION:“are there roots where the ground trembles?” is a solo exhibition by malavika rao\, featuring ceramics and patchwork installation that considers how a place becomes liveable when permanence is uncertain. \n\n\n\nThe exhibition features a growing population of strange ceramic creature-dwellings: porous structures with alcoves\, openings\, chambers\, and interiors that draw from dollhouses\, earthen and adobe architecture\, and vernacular building traditions. Though empty\, the structures suggest that something has already lived there\, or might be arriving. Patchwork installation made from inherited materials partially enclose the sculptures\, transforming the gallery into a provisional dwelling\, carrying traces of family\, migration\, and the making and remaking of home. \n\n\n\nThe work imagines dwelling in a world shaped by ecological change\, migration\, and shifting relationships to place – where architecture is not simply something we inhabit\, but something that might itself become a neighbor\, a feeling\, a creature\, or a home in the making. \n\n\n\nExhibition on view—October 22nd to 26th\, 2026 12 – 6 PM \n\n\n\nOpening Reception— Saturday\, October 24\, 20266 – 10 PM \n\n\n\nStrange Soft Sculptures (Workshop led by malavika rao)— TICKETS (Sliding scale: $15 – $40)Friday\, October 23\, 20262 – 6 PMJoin us in transforming fabric scraps\, stuffing\, and thread into strange textile forms of their own imagining – with openings\, cavities\, pockets\, appendages\, and unexpected ways of holding and being held. \n\n\n\nAbout malavika rao: malavika rao is a multidisciplinary artist and educator working primarily in painting\, fiber\, ceramics\, and installation. Their practice considers homemaking as a form of worldmaking\, exploring how people construct home\, belonging\, and relationships to place amid histories of migration\, ecological change\, and inherited structures of care. Working across craft and installation\, malavika creates speculative environments that sit between the familiar and the strange\, asking what it means to inhabit a world that is constantly changing. \n\n\n\nmalavika works as an artist and educator in Los Angeles\, where they are invested in building community-based arts programs and creating spaces for people to come together through artmaking. They have taught at Colorado College\, Otis College of Art and Design\, the Armory Center for the Arts\, and LA Tactile Lab\, and have led workshops at CalArts\, Craft Contemporary\, Nova Community Arts\, and Heavy Manners Library. Their community-based work includes the LA Community Solidarity Quilt\, an ongoing collaborative project that brings together artists and community members through collective textile-making. Their work has been exhibited at Coburn Gallery\,  SOMArts Cultural Center\, Yiwei Gallery\, Valence Projects\, Human Resources\, and Venice Art Walk\, among others.
URL:https://www.h-r.la/event/malavika-rao-are-there-roots-where-the-ground-trembles/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20261030T200000
DTEND;TZID=America/Los_Angeles:20261031T200000
DTSTAMP:20261020T122036Z
CREATED:20260922T233459Z
LAST-MODIFIED:20261020T122036Z
UID:10632-1793390400-1793476800@www.h-r.la
SUMMARY:On the Floor by Théophylle Dcx & Maria Silk
DESCRIPTION:On the Floor marks the first collaboration between Théophylle Dcx and Maria Silk. In this duet\, these two friends attempt to piece together traces of 70s and 80s queer San Francisco. Specifically\, their project explores the legacies carried by dance music genres of the late 70s and 80s (especially disco and hi-NRG) in relation to the early days of the HIV/AIDS crisis. The piece weaves together the links between nightlife\, the virus\, and queer memory\, drawing on materials gathered throughout Dcx and Silk’s research: interviews with DJs and clubgoers\, Patrick Cowley’s music and personal diaries\, live recordings of Sylvester\, practices like flagging and fan dancing\, and ephemera from clubs like the I-Beam and the Trocadero Transfer. Working in relation to this archive\, Dcx and Silk push themselves into altered states induced by dance\, moving through an inner space of hedonism\, exhaustion\, escape\, and discipline.Warning: This performance contains strobe lighting. \n\n\n\nChoreography and Performance: Théophylle Dcx and Maria SilkMusic: Izaak Schlossman Dramaturgical Assistance: Kim Ip and Marion Parigi Lighting Design: gg torres (San Francisco) and Andrew Odom (LA)Production: DIZZYINGStyling: Alfredo RomeroPhoto Credit: Robbie Sweeny \n\n\n\nWith \n\n\n\nStyles Alexander – October 30CAUDA: For a solitary they-goat in West Hollywood is a solo dance-theatre project by Styles Alexander exploring cultural extinction\, erotic desirability\, and the hauntological persistence of counterculture. Reimagining Nijinsky’s faun as a gay cryptid wandering through West Hollywood\, the work considers the body a site of historical haunting: an accumulation of mythology\, choreography and history of erotic transgression–a subcultural survival. \n\n\n\nPart animal\, part cultural-relic the faun is the outsider asking if an obsolete gesture can still produce a rupture. The faun recalls social worlds that once gave these gestures their disruptive force but have since been consumed by an assimilated aesthetic. Can the original demon-twink imbibe in the same pleasures of a world that has commercialized access? Why is the sex-party $100 to enter? Can an animal survive in a world that demands he become a brand? Can desire truly manifest when everyone knows they’re being watched? \n\n\n\nSevyn 0000 – October 31Ahead of her brief return to Los Angeles\, Sevyn 0000 shares work from an upcoming EP project. The Perverse is a collection of original compositions and sound design by the NYC-based artist and musician created in collaboration with Borna Barzin for his theatrical work of the same name.  \n\n\n\nFor this performance\, Sevyn expands the project beyond its original theatrical context\, bringing together experimental sound and body movement that unfolds as a controlled experiment and quickly destabilizes. Exploring the transsexual body as a site of distortion\, vulnerability\, and reinvention\, the work examines the relationship between sound\, flesh\, identity\, and the shifting boundaries of physical representation. Through repetition\, tension\, and transformation\, the performance considers the body not as a fixed form\, but as something continually constructed\, dismantled\, and reimagined. \n\n\n\nTICKETS \n\n\n\nOn the Floor has been supported by the Berkeley Center for the Science of Psychedelics\, Flourish Trust\, and The Center for Interdisciplinary Critical Inquiry’s Psychedelics in Society and Culture fellowship program; the Kenneth Rainin Foundation’s New and Experimental Works (NEW) program; the Zellerbach Family Foundation’s Community Arts program; CounterPulse’s Edge Residency program; as well as residencies at Actoral and the Ballet National de Marseille. \n\n\n\nThéophylle Dcx lives and works in Marseille. His practice is akin to a personal diary. Biographical\, youthful\, and resolutely memorial\, it hyperbolically shares anger\, fatigue\, anxiety\, joy\, desires\, and hopes in the face of a perpetually collapsing world. Social\, political\, and medical catastrophes punctuate the narrative. His work treats the body as an archive and an embodied political gesture\, on which appear the ebb and flow of history\, the stakes of social struggles and the need for emancipation from contemporary normative regimes. His work has been presented at Palais de Tokyo (Paris)\, Datsuijo (Tokyo)\, CounterPulse (San Francisco)\, Art-O-Rama (Marseille)\, and Théâtre Saint Gervais (Geneva). \n\n\n\nMaria Silk is an artist based in San Francisco. Centered on performance\, her practice examines themes of collectivity and friction within queer and trans life as well as received narratives around queer history and identity. Her work draws on over a decade of activity as a drag queen and DJ in San Francisco’s queer nightlife. Silk’s work has been exhibited and performed at Bay Area venues including the Berkeley Art Museum\, the Cantor Center for the Arts\, CounterPulse\, Slash\, and Southern Exposure\, and internationally at Fierce! Festival (Birmingham\, UK)\, and Improspekcije (Zagreb\, Croatia). \n\n\n\nStyles Alexander is a Los Angeles–based transdisciplinary artist\, choreographer\, playwright\, and performer. Trained at Boston Conservatory\, Alexander spent several years developing experimental performance in the San Francisco Bay Area\, including co-founding RUPTURE\, a Black performance collective. Their practice moves between dance\, theatre\, and performance art\, employing absurdity\, mythology\, and theatrical maximalism to investigate desire\, becoming\, and the contradictions of contemporary life. They are currently building an immersive theatre work called TarNation\, supported by the Rainin Foundation and Zellerbach Family Foundation. \n\n\n\nSevyn 0000 is a New York–based DJ\, producer\, and multidisciplinary artist whose practice explores the intersections of sound\, movement\, and performance. Working across experimental electronic music\, sound design\, and composition\, her work builds immersive sonic worlds that investigate intimacy\, repetition\, tension\, and transformation. Drawing from both club culture and experimental performance\, she approaches sound as a physical and emotional experience. \n\n\n\nPerformance organized by Keko Jackson and produced with the help of clara lópez menéndez
URL:https://www.h-r.la/event/on-the-floor-by-theophylle-dcx-maria-silk/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20261104T190000
DTEND;TZID=America/Los_Angeles:20261104T213000
DTSTAMP:20260924T002304Z
CREATED:20260922T200823Z
LAST-MODIFIED:20260924T002304Z
UID:10678-1793818800-1793827800@www.h-r.la
SUMMARY:Normal Dreams - Liana Zhen-Ai + Astrid Sonne
DESCRIPTION:tickets \n\n\n\nPretty but Wicked presents Normal Dreams\, a new performance by dancer Liana Zhen-Ai and musician Astrid Sonne. First presented as a part of the Pairings series at La Mama Experimental Theatre Club in New York\, curated and produced by Cameron Sczempka\, now brought to London via Club Cheek and Qu Junktions. Expect never heard before songs\, movement\, noise\, props and a video call from the big apple. \n\n\n\ndoors at 7 and performance at 8 \n\n\n\nAbout Liana Zhen-Ai  \n\n\n\nLiana Zhen-ai is a Brooklyn/London-based dancer and interdisciplinary artist from Los Angeles. She has performed as a soloist with choreographers Holly Blakey\, Andrea Miller\, and Akira Uchida. Her dancing has been featured in Vogue US\, NOWNESS\, and Face Magazine\, and in venues including MoMA\, Lincoln Center\, Southbank Centre\, and Théâtre Chaillot de Nationale. Liana’s work uses the lenses of new materialism and object-oriented ontology to interrogate shame\, nature\, and narrative. Her choreographic practice sits at the intersection of dance\, dramaturgy\, and scholarship\, and her work has been presented at Prototype Festival\, Amant\, Center for Performance Research\, and Green-Wood Cemetery in collaboration with the New York Philharmonic.  \n\n\n\nAbout Astrid Sonne \n\n\n\nAstrid Sonne is a Danish\, London based composer and viola player. Throughout her acclaimed discography\, Astrid Sonne has been carefully crafting different moods through electronic and acoustic instrumental endeavours. On her most recent album Great Doubt (January 2024) this skill is refined\, now with the distinct addition of the composer’s own vocal in the fore. The tone of each track is unmistakably Sonne’s\, structured around contrasts through an impeccable sense of timing. Lyrics on the album are sparse\, merely highlighting different scenes or emotional states of being\, leaving the music to fill in the blanks. Yet they also form a pattern of ambiguity\, consolidated through the album title\, searching for answers through looking at how and what you are asking\, questions for the world\, questions of love.
URL:https://www.h-r.la/event/normal-dreams/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20261105T203000
DTEND;TZID=America/Los_Angeles:20261105T213000
DTSTAMP:20261024T223857Z
CREATED:20261022T021750Z
LAST-MODIFIED:20261024T223857Z
UID:10784-1793910600-1793914200@www.h-r.la
SUMMARY:SONANCE NO.1
DESCRIPTION:tickets \n\n\n\nSONANCE NO.1 is a 30-minute musical performance featuring a group of collaborating musicians\, composed for an audience of humans and plants. \n\n\n\nCould a musical performance be composed not only to be heard\, but to physically participate in the life of another organism? Shall we play the sound of a caterpillar mucnching ? or a Bee buzzing?   \n\n\n\nSONANCE NO.1  invites plants to occupy seats alongside human audience members. Together\, they will attend a musical performance in which human reception is no longer the sole measure of the experience\, and performers are invited to play for plants whose ways of receiving and responding to sound are uniquely their own. \n\n\n\nSONANCE NO.1  asks us to reflect on who or what we make things for\, and what it means to attend to the living beings with whom we share space. \n\n\n\nGuests are invited to bring a plant\, share the audience with a gathering of living plants\, and to consider what it might mean to listen alongside another species. \n\n\n\n-Jazmin Jazzy Romero
URL:https://www.h-r.la/event/sonance-no-1/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20261106T200000
DTEND;TZID=America/Los_Angeles:20261106T230000
DTSTAMP:20261027T232303Z
CREATED:20261026T071220Z
LAST-MODIFIED:20261027T232303Z
UID:10790-1793995200-1794006000@www.h-r.la
SUMMARY:Leila Bordreuil / Twig Harper / Elif Dinçer
DESCRIPTION:UPEND Presents \n\n\n\nLeila BordreuilTwig HarperElif Dinçer \n\n\n\nLeila Bordreuil – the astounding Brooklyn-based cellist and composer from France – corrals feedback with shredder moves\, stretching it out\, far out. From delicate play on the thresholds between tonality and atonality to aggressive scrape and scrunch\, her solo sets on amplified cello are full frequency affairs. These excursions not only plumb the possibilities of the instrument\, but also the resonances of the architecture in which they are aired. \n\n\n\nAn active force in New York’s most forward improvising and composing scenes\, Bordreuil tours extensively\, and has collaborated with a wide gamut of key players including Kali Malone\, Laurel Halo\, Tamio Shiraishi\, Michael Foster\, Chris Corsano\, Bill Nace\, Luke Stewart\, and Lee Ranaldo. \n\n\n\n“Bordreuil’s music accesses concepts from noise\, free jazz\, contemporary classical and other experimental traditions but adheres to no single genre. Mixing melancholic cello melodies with harsh noise walls\, she creates “steadily scathing music\, favoring long and corrosive atonalities.” (New York Times). Driven by a fierce interest in pure sound and inherent texture\, Leila challenges conventional cello practice through extreme extended techniques and amplification methods\, to the extent she sometimes seems to be playing the P.A rather than her cello.” \n\n\n\nThis dream gig also features solo sets from a couple L.A. heads. System trickster TWIG HARPER brings fresh cybernetic moves into his post-concrète carnival of sound\, and harpist ELIF DINÇER opens the show with her clever (and microtonally-forward) improvisations and inventions. \n\n\n\n[[ Advance tickets available via Pools ]]
URL:https://www.h-r.la/event/leila-bordreuil-twig-harper-elif-dincer/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20261107T200000
DTEND;TZID=America/Los_Angeles:20261108T180000
DTSTAMP:20261102T212337Z
CREATED:20261021T220921Z
LAST-MODIFIED:20261102T212337Z
UID:10770-1794081600-1794160800@www.h-r.la
SUMMARY:GRAVES\, HOLES\, AND MYTHOGRAPHIES 
DESCRIPTION:Film and performance by Vitreous Chamber \n\n\n\n-Malic Amalya and Nathan Hill- \n\n\n\nTwo nights of film and live sound performance  \n\n\n\nGRAVES & HOLES ◆ SATURDAY\, NOVEMBER 7 — 8PM  \n\n\n\nA night to worship at Vaseline graves\, descend into holes\, and rest toward the death of cinema \n\n\n\nMYTHOGRAPHIES ◆ SUNDAY\, NOVEMBER 8 — 6PM  \n\n\n\nA political and sober excavation of myth\, living lessons and your first breath on Mars \n\n\n\n◆ \n\n\n\nVitreous Chamber is the audio/visual collaboration between Malic Amalya and Nathan Hill.  \n\n\n\nTogether they make experimental films and videos with electronic musical scores. Visceral and cacophonous\, their work traverses gritty landscapes of abandoned buildings\, blast zones\, and back rooms. They burn 16mm film\, smear Vaseline on camera filters\, and circuit bend electronics.  \n\n\n\nThe duo has been collaborating since 2014. They co-direct as well as provide integral visual and technical assistance on individually directed projects. Malic specializes in 16mm filmmaking\, while Nathan’s expertise lies in analogue video and synthesizer music production.  \n\n\n\nMalic and Nathan’s works have screened throughout the US and Europe. Their 16mm film Vaseline is distributed by Collectif Jeune Cinéma in Paris and has screened in Light Field (San Francisco)\, Anthology Film Achieves (NYC)\, Onion City (Chicago)\, the Berlin Porn Film Festival (Germany)\, and Le Cirque Électrique (Paris). They have performed Towards the Death of Cinema in the San Francisco Cinematheque’s Perpetual Motion series\, in the MIX NYC Experimental Queer Film Festival\, at Microlights in Milwaukee\, and at Nightingale Cinema in Chicago.  \n\n\n\nIn 2018\, Malic and Nathan were resident artists at Signal Culture. Their video Magnetic Resonance won an Audience Choice Award at the 2016 San Francisco Cinematheque’s Crossroads Artist-Made Film and Video Festival. 
URL:https://www.h-r.la/event/graves-holes-and-mythographies/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20261110T200000
DTEND;TZID=America/Los_Angeles:20261110T235500
DTSTAMP:20261103T191350Z
CREATED:20261103T190522Z
LAST-MODIFIED:20261103T191350Z
UID:10800-1794340800-1794354900@www.h-r.la
SUMMARY:Unnatural Beauty (Experimental\, Durational\, Non-Cover Covers)
DESCRIPTION:tickets\, notaflof \n\n\n\nLong form durational explorations of contemporary music  \n\n\n\nNon-cover covers \n\n\n\nMeditations on themes and dynamics in beloved works \n\n\n\nExperiments with our own crafts and modes through the lens of others creations  \n\n\n\nWith: \n\n\n\nJulius Smack \n\n\n\nHowls Road \n\n\n\nSehseiyah \n\n\n\nCaedmon \n\n\n\nIssac Sherman \n\n\n\nPeekaboo \n\n\n\nParticle Girl \n\n\n\nJosephine Sugnavati \n\n\n\nAlex Lichtenauer \n\n\n\nTyler Holmes \n\n\n\nRussia \n\n\n\nDeJoiré \n\n\n\nTravis D \n\n\n\n& more \n\n\n\nExploring works by Kelela\, Alice Coltrane\, and Russia
URL:https://www.h-r.la/event/unnatural-beauty/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20270215T080000
DTEND;TZID=America/Los_Angeles:20270215T170000
DTSTAMP:20260929T064318Z
CREATED:20260915T152720Z
LAST-MODIFIED:20260929T064318Z
UID:10609-1802678400-1802710800@www.h-r.la
SUMMARY:Jennifer Bewerse’s A Gently Tilting Planet
DESCRIPTION:SAVE THE DATE \n\n\n\nDetails coming soon. \n\n\n\nStay tuned!
URL:https://www.h-r.la/event/a-gently-tilting-planet/
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