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X-WR-CALDESC:Events for Human Resources
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20140107T000000
DTEND;TZID=America/Los_Angeles:20140107T000000
DTSTAMP:20160311T093546Z
CREATED:20160311T093546Z
LAST-MODIFIED:20160311T093546Z
UID:1281-1389052800-1389052800@www.h-r.la
SUMMARY:Jose Esteban Muñoz memorial event
DESCRIPTION:
URL:https://www.h-r.la/event/jose-esteban-munoz-memorial-event/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20140105T000000
DTEND;TZID=America/Los_Angeles:20140105T000000
DTSTAMP:20160311T093546Z
CREATED:20160311T093546Z
LAST-MODIFIED:20160311T093546Z
UID:1280-1388880000-1388880000@www.h-r.la
SUMMARY:Geddes gengras and psychic reality
DESCRIPTION:
URL:https://www.h-r.la/event/geddes-gengras-and-psychic-reality/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20131219T000000
DTEND;TZID=America/Los_Angeles:20131219T000000
DTSTAMP:20160311T093545Z
CREATED:20160311T093545Z
LAST-MODIFIED:20160311T093545Z
UID:1279-1387411200-1387411200@www.h-r.la
SUMMARY:Gazelle Records night with lee noble
DESCRIPTION:
URL:https://www.h-r.la/event/gazelle-records-night-with-lee-noble/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20131217T000000
DTEND;TZID=America/Los_Angeles:20131217T000000
DTSTAMP:20160311T093545Z
CREATED:20160311T093545Z
LAST-MODIFIED:20160311T093545Z
UID:1278-1387238400-1387238400@www.h-r.la
SUMMARY:ROGIER SMALL + TiFEMME (amsterdam music artists)
DESCRIPTION:
URL:https://www.h-r.la/event/rogier-small-tifemme-amsterdam-music-artists/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20131215T000000
DTEND;TZID=America/Los_Angeles:20131215T000000
DTSTAMP:20160311T093545Z
CREATED:20160311T093545Z
LAST-MODIFIED:20160311T093545Z
UID:1277-1387065600-1387065600@www.h-r.la
SUMMARY:Dont Rhine/Ultra-Red filming
DESCRIPTION:
URL:https://www.h-r.la/event/dont-rhineultra-red-filming/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20131214T000000
DTEND;TZID=America/Los_Angeles:20131214T000000
DTSTAMP:20160311T093545Z
CREATED:20160311T093545Z
LAST-MODIFIED:20160311T093545Z
UID:1276-1386979200-1386979200@www.h-r.la
SUMMARY:UCLA class screening
DESCRIPTION:Short film screening and facility tour for Spencer Douglass’s UCLA art class. Will be finished by 12pm.
URL:https://www.h-r.la/event/ucla-class-screening/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20131213T000000
DTEND;TZID=America/Los_Angeles:20131213T235959
DTSTAMP:20230212T192522Z
CREATED:20160311T093545Z
LAST-MODIFIED:20230212T192522Z
UID:1275-1386892800-1386979199@www.h-r.la
SUMMARY:Paul Salveson / Crown Shape perform Pulsar Through SE-70
DESCRIPTION:
URL:https://www.h-r.la/event/paul-salveson-performance/
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/03/P1010020.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20131212T190000
DTEND;TZID=America/Los_Angeles:20131212T190000
DTSTAMP:20200525T092412Z
CREATED:20160311T093545Z
LAST-MODIFIED:20200525T092412Z
UID:1274-1386874800-1386874800@www.h-r.la
SUMMARY:SENSES ON LEAVES: The Fall of Perception
DESCRIPTION:Comprehension-scrambling shorts for your untapped awarenesses. \nDoors at 7 pm\, screening at 8\, discussion at 9\nFree. \nStupid Pills takes a field trip to Human Resources in downtown LA for an evening of cinematic misunderstanding. Discover uncharted territories of experience\, fertile areas of creativity\, and\, with luck\, the sublime. \nThe shorts: \nPasadena Freeway Stills\, dir. Gary Beydler\n(1974) 6 min.\nLydia’s Interiors\, dir. Diaz\n(2013) 22 min.\nThe Georgetown Loop\, dir. Ken Jacobs\n(1996) 11 min.\nRGB XYZ\, dir. David OReilly\n(2007) 12 min.\nThe Girl Chewing Gum\, dir. John Smith\n(1976) 12 min. \nThe talk: \nMaja Manojlovic\nfrom UCLA’s Cinema and Media Studies\nand USC’s Media Arts + Practice Program\n\nMark Toscano\nfilm archivist/curator/filmmaker\n\nDavid OReilly\nfilmmaker\n\nDiaz\nfilmmaker \nThe central heating for the soul: \nMC Hymnal\, disc jockey \n   \n(L-R) David OReilly\, Maja Manojlovic\, Mark Toscano\, and Diaz. \n  \nhttps://www.h-r.la/wp-content/uploads/2016/03/131212_sol.m4a \n 
URL:https://www.h-r.la/event/stupidpills-sarah-bay-williams/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/03/SENSESonLEAVES.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20131208T000000
DTEND;TZID=America/Los_Angeles:20131208T000000
DTSTAMP:20160311T093545Z
CREATED:20160311T093545Z
LAST-MODIFIED:20160311T093545Z
UID:1273-1386460800-1386460800@www.h-r.la
SUMMARY:Benefit for Castellar Elementary
DESCRIPTION:
URL:https://www.h-r.la/event/benefit-for-castellar-elementary/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20131207T000000
DTEND;TZID=America/Los_Angeles:20131207T000000
DTSTAMP:20160311T093545Z
CREATED:20160311T093545Z
LAST-MODIFIED:20160311T093545Z
UID:1272-1386374400-1386374400@www.h-r.la
SUMMARY:Dominique Gilliot (JohnBirtle...)
DESCRIPTION:
URL:https://www.h-r.la/event/dominique-gilliot-johnbirtle/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20131116T000000
DTEND;TZID=America/Los_Angeles:20131116T000000
DTSTAMP:20160311T093545Z
CREATED:20160311T093545Z
LAST-MODIFIED:20160311T093545Z
UID:1271-1384560000-1384560000@www.h-r.la
SUMMARY:LA Film Forum Sleep screening
DESCRIPTION:
URL:https://www.h-r.la/event/la-film-forum-sleep-screening/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20131114T000000
DTEND;TZID=America/Los_Angeles:20131207T000000
DTSTAMP:20160311T093545Z
CREATED:20160311T093545Z
LAST-MODIFIED:20160311T093545Z
UID:1270-1384387200-1386374400@www.h-r.la
SUMMARY:Rasmus Røhling
DESCRIPTION:
URL:https://www.h-r.la/event/rasmus-rohling/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20131106T000000
DTEND;TZID=America/Los_Angeles:20131106T000000
DTSTAMP:20160311T093545Z
CREATED:20160311T093545Z
LAST-MODIFIED:20160311T093545Z
UID:1269-1383696000-1383696000@www.h-r.la
SUMMARY:Tim Hecker and William Basinski
DESCRIPTION:
URL:https://www.h-r.la/event/tim-hecker-and-william-basinski/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20131103T000000
DTEND;TZID=America/Los_Angeles:20131103T000000
DTSTAMP:20160311T093545Z
CREATED:20160311T093545Z
LAST-MODIFIED:20160311T093545Z
UID:1268-1383436800-1383436800@www.h-r.la
SUMMARY:semiotexte
DESCRIPTION:
URL:https://www.h-r.la/event/semiotexte/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20131102T000000
DTEND;TZID=America/Los_Angeles:20131102T000000
DTSTAMP:20160311T093545Z
CREATED:20160311T093545Z
LAST-MODIFIED:20160311T093545Z
UID:1267-1383350400-1383350400@www.h-r.la
SUMMARY:Suzy Poling
DESCRIPTION:
URL:https://www.h-r.la/event/suzy-poling/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20131027T190000
DTEND;TZID=America/Los_Angeles:20131027T190000
DTSTAMP:20160527T092623Z
CREATED:20160311T093545Z
LAST-MODIFIED:20160527T092623Z
UID:1266-1382900400-1382900400@www.h-r.la
SUMMARY:HECUBA: CRIME
DESCRIPTION:HECUBA – CRIME a collaboration with John Knuth. \nBRET NICELY – A Sculpture made alongside\, but unconnected to\, millions of tiny acts. \nSunday\, Oct 27\, 2013 7:00 pm start time. \nSpecial Performance: HECUBA – CRIME \nThe LOCATION of Crime will be Human Resources\, Los Angeles. \nThe SPACE of Crime will be John Knuth Fading Horizon \nThe LENGTH of Crime will be its natural duration. \nThe STIMULUS of Crime will be heat\, light\, sound\, smell\, smoke\, people and Fading Horizon. \nThe SOUND of Crime will be created with digital and analog electronic instruments and human voices. \nThe PEOPLE of Crime will be Hecuba\, John Knuth\, Lita Albuquerque\, Mecca Vazie Andrews\, Diaz\, Dawn Kasper\, Johanna Kozma\, Sarah Rara\, and Ami Sioux. \nThe ACTION of Crime is undetermined. \nBRET NICELY – A Sculpture re-made alongside\, but unconnected to\, millions of tiny acts. \nA performance lecture on possible futures for art.
URL:https://www.h-r.la/event/hecuba-bret-nicely-closing/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/03/crime-Poster-NAMES.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20131017
DTEND;VALUE=DATE:20131029
DTSTAMP:20160729T005142Z
CREATED:20160311T093545Z
LAST-MODIFIED:20160729T005142Z
UID:1265-1381989600-1382939999@www.h-r.la
SUMMARY:John Knuth: Fading Horizon
DESCRIPTION:Opening Reception:\nThursday\, Oct 17\, 7:00 – 10:00 pm \nGallery Hours:\nSaturday and Sunday\, 12:00 pm – 5:00 pm and by appointment \nSpecial closing performance with HECUBA and Bret Nicely Sunday Oct. 27 starting at 7 pm \nHuman Resources is pleased to announce a new show by John Knuth: Fading Horizon. This all-encompassing installation will utilize 1\,000 pounds of sugar\, light bulbs and Mylar thermo blankets. \nThe floor of the gallery will be covered with Mylar thermo blankets\, light bulbs and mounds of sugar. As the light bulbs heat the sugar\, the sugar caramelizes and creates small volcanoes which mark the blankets underneath. The gallery fills with sweet smelling smoke that is at first enticing but soon becomes overwhelming. Eventually the blankets are hung on the walls\, displaying the minimal abstract compositions left behind by the caramelized sugar. These compositions change over time as the material slowly drips down the blankets and on to the floor. \nFading Horizon is a commanding fusion of material\, sculpture\, painting and installation work\, which evokes ideas of climate change and entropy. Knuth is inspired by sugar as a material with infinite sculptural possibilities. It can be diluted in water\, crystalized\, eaten\, caramelized or molded into forms. The pure white color of sugar gives the sense of a blank canvas with the deep brown caramel rivulets providing a stark contrast. The show explores the idea of chance\, uncertainty and change as an amorphous\, transcendent place. \nJohn Knuth’s work engages base-level alchemy. He often employs simple materials that transcend their base quality. He has fed hundreds of thousands of houseflies paint\, which they regurgitate on to canvas to make delicate abstract compositions. His work explores the physical quality and poetic meaning of materials.  \nJohn Knuth has most recently exhibited his work in a solo show at SOD Gallery in Copenhagen\, Denmark. His fly paintings were featured in a video entitled “Made in Los Angeles” on MOCAtv which quickly went viral and was picked up by the Huffington Post\, BoingBoing.net\, Gizmodo.com\, Wired\, among other news outlets. He has shown work at Another Year in LA\, International Art Objects\, Greene Exhibitions\, The Santa Monica Museum of Art\, LACMA\, LACE and Cohen Gallery in Los Angeles\, and Land of Tomorrow in Louisville\, KY. He has show internationally in Denmark\, Germany\, Iceland\, Sweden and England. Knuth was born in 1978 in Minneapolis\, MN and received an MFA from USC and a BFA from the University of Minnesota.
URL:https://www.h-r.la/event/john-knuth/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/03/knuth.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20131003
DTEND;VALUE=DATE:20131015
DTSTAMP:20160527T090202Z
CREATED:20160311T093545Z
LAST-MODIFIED:20160527T090202Z
UID:1264-1380780000-1381730399@www.h-r.la
SUMMARY:BASE : Session I
DESCRIPTION:Niv Acosta\nGina Dell’Amico\nNick Duran\nLauren Davis Fisher\nMadeline Hollander\nArley Marks\nTemra Pavlovic\nMårten Spångberg\nSylvie Spencer \nSession I is a choreography of spaces. \nAll architecture is impermanent. All human spaces are constructed. Some walls are meant to conceal. \nStructured space dictates human flow; it is a choreographic force. \nA sewing factory; a cinema; a corral; an arena; a cell; a corridor\, the Beverly Hills Hotel. \nHUMAN RESOURCES\, LOS ANGELES\nOCTOBER 3 – 13\nOPENING RECEPTION OCT 3 6 – 8 PM\nEXHIBITION HOURS 10 AM – 10 PM DAILY \nBASE is a series of choreography exhibitions.\nThese Sessions incorporate performance\, workshops\, video\, and material research. \nBASE is the curation of choreography which reflects the specific nature of the medium. BASE seeks to construct a viewing experience that promotes the consideration of choreographic works as artworks\, but disrupts traditional relationships between viewer and objects\, spectator and performer. Choreography implies the intentional construction of relationships of bodies to space\, architecture\, other bodies\, and viewers. BASE explores the multitude of possibilities for a choreography of the viewing experience. \nBASE: Session I will be held at Human Resources\, Los Angeles\, whose mission is to broaden public engagement with experimental\, interdisciplinary and conceptual art and foreground underexposed modes of expression. For the duration of the exhibition\, artist Lauren Davis Fisher will continuously construct a mobile skeleton structure\, dividing the warehouse space into multiple\, shifting interiors that will support works from a selection of artists and performers. These modules become evolving organs examining the conscious and unconscious potentialities of the body\, performance\, and perception. \nLauren Davis Fisher\, “New Structures\, New Orientations”  (2013Dimensional lumber\, cable\, lights. Dimensions variable). Photograph by Cameron Crone.
URL:https://www.h-r.la/event/elizabeth-sonenberg/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/03/99a8e2334c235e24-BASE-SCHEDULE-UPDATE.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20130929T190000
DTEND;TZID=America/Los_Angeles:20130929T190000
DTSTAMP:20160527T090943Z
CREATED:20160527T090755Z
LAST-MODIFIED:20160527T090943Z
UID:2074-1380481200-1380481200@www.h-r.la
SUMMARY:Fault Lines
DESCRIPTION:Compilation Album Release / Performance / Installation \nPerformance and video installation “SYMPATHETIC RELEASE” by Barnett Cohen & Jules Gimbrone with select performances by FAULT LINES contributors: \nMorgan Gerstmar with Madeline Falcone\, Emily Call & Betsy Rettig\nMolly Allis / Jenica Anderson / Misra Iltus / Hanna Campbell\nDavid Paha\nJules Gimbrone\nAidan Reynolds\nMax Wanderman\nOdeya Nini\nMarcus Rubio with Ben Levinson\, Andrew Young\, Suzanne Kite\, Aidan Reynolds\, Evan Spacht\, Max Wandermann\, Christoffer Schunk\, & Josh Joshua Carro\nTodd Lerew\nAlex Black\nSarah Faith Gottesdiener / Oscar Santos\nBridget Batch\nJen Hutton \n“FAULT LINES started as a desire to cultivate a space where sound becomes a physical presence. By locating artists inside a geological feature of the earth\, FAULT LINES encouraged composers to create time-based work that resembles the extreme temporal scales of tectonic plates. Whether these plates appear deeply still or silent\, at any moment they can send waves of massive movement and disruption. This buildup of potential energy or stress within a fault line is stored until the strain is released\, causing rupture. This latent energy is analogous to the medium of recorded sound\, specifically the vinyl LP that holds kinetic energy in its rotation. Although each composer worked independently from Jen Hutton’s text\, the pieces are connected by their experimentation in timbre\, a textural feature that helps to objectify sounds\, and gives differentiation regardless of pitch or loudness. A focus on the physicality of sound textures\, and the spaces that these sounds inhabit\, appear to dictate the artists’ compositional choices. Often sound is considered an abstract\, liminal\, and/or transitory medium given meaning through its narrative thrust — where it takes the listener through a linear\, time-based journey. FAULT LINES\, however\, is an attempt to give sound a physical body\, a body where time bends\, is held\, expands\, and is again made solid.” – Jules Gimbrone
URL:https://www.h-r.la/event/fault-lines/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/05/1240157_10151690730418542_1789245173_n.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20130925
DTEND;VALUE=DATE:20130929
DTSTAMP:20160527T092719Z
CREATED:20160311T093545Z
LAST-MODIFIED:20160527T092719Z
UID:1263-1380088800-1380347999@www.h-r.la
SUMMARY:GEO WYETH: KITCHEN STEVE IN S&M
DESCRIPTION:A new angle on Geo Wyeth’s Kitchen Steve project \nThe world of Kitchen Steve\, a musician and exhibitionist\, expressed through song and various objects and video in a full scale installation. Steve and his bandmate Joanne starring in a new musical by Steve and Joanne. Steve on keyboards and vocals and roller skates. Please come inside! \nSEPT 25—27th\, 2—6 PM — daytime gallery hours for viewing video  \nSEPT 27th\, 8pm — performance  \n$5 SUGGESTED DONATION TO HELP SUPPORT THE ARTIST
URL:https://www.h-r.la/event/geo-wyeth-project-2/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/03/533253_10100327832582674_1232553205_n.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20130918
DTEND;VALUE=DATE:20130923
DTSTAMP:20180726T081952Z
CREATED:20160311T093545Z
LAST-MODIFIED:20180726T081952Z
UID:1262-1379484000-1379829599@www.h-r.la
SUMMARY:La Pocha Nostra + Alejandra Herrera
DESCRIPTION:La Pocha Nostra \n \n \n \nAlejandra Herrera\, photos by Andrew Thompson \nThis evening was a real lesson in performance art for me. These two performances extended beyond every pre-conception I have toward performance art. The “stars” of the show was La Pocha Nostra. They are an internationally recognized performance art troupe led by the shamanistic Guillermo Gómez-Peña. The two other core performers that make up La Pocha Nostra are Erca Mott and Roberto Sifuentes. In the main room of Human Resources\, the group set up three mid-sized stages against three walls\, projecting a video on the fourth. On one stage a woman received geo-political acupuncture. Mott and Sifuentes were on the two stages that faced one another\, each performing beautiful albeit gruesome tableaus\, while Gómez-Peña roamed through the audience encouraging interaction with the each scene. \nWhen I compared the entirety of all performance art that I have witnessed personally\, they where clearly a cut above; the intense display was lucidly conceived\, beautifully lit and well staged. Each aspect of their performance was minimal but used to maximum potential and the results where impressive. The person that introduced me to the group described them as\, “the de-colonized Marina Abramovic”. After witness their show I understood what that meant. \nWhile La Pocha Nostra were the “stars” of the show\, Alejandra Herrera was the real thing for me. Herrera had constructed a false room in the alleyway behind Human Resources that was all white and had a number of domestic items. Items included two children chairs\, a table with china\, two shelves with glass stemware\, numerous containers of wine and a large white on white cloth banner on the very back wall. Her performance incorporated her two young daughters. Sometimes she would have them join her performing certain movements\, other times she would sit them down and teach them the alphabet in both English and Spanish. In between soft nurturing moment like these\, Herrera would strain to hold large stacks of china until she could no longer hold them. The stacks would fall with a terrible crash. (She was very mindful of the children not being in the way of the breaking shards.) It was clear that the stacks of china were meant to represent a personal struggle that only she alone could go through. As the performance unfurled Herrera would spray and sometimes spit wine onto the white banner. The text would slowly reveal a quote. \nThe room was cramped as audience members squeezed in to see but moved out of the way as the petite Herrera helped her children sweep up all the broken china on the floor and place it into a glass jar with the word “hurt” on it. I was only able to read a few words of the text but what was clear to me was the word “prematurely”. I immediately understood the imagery of a mother holding a tremendous weight\, only for it to drop and shatter into a thousand sharp and painful memories that must be carefully cleaned up as a family. The intensity of the metaphor became overwhelming for me and I began to weep. \nHaving lost someone recently myself\, I intimately understood all the broken shards placed into a fragile hurt jar. I have been moved by many artworks but never to tears and then sobs. I eventually pulled myself together but not before being noticed by Gómez-Peña who was standing behind me at that moment. He touched me on the shoulder and said\, “This is very powerful.” \nIt was later revealed that the text was a quote by the performance artist Natalie Loveless. It was she that experienced the trauma. Despite the biographical separation of the quote and the performer\, I was touched by an intense connection to love and loss\, hope and frustration and the mess that we must silently clean up after an ordeal. \nText by Andrew Thompson via Dot Photo Zine
URL:https://www.h-r.la/event/la-pocha-nostra/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/03/LaPocha.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20130914T000000
DTEND;TZID=America/Los_Angeles:20130918T000000
DTSTAMP:20160311T093545Z
CREATED:20160311T093545Z
LAST-MODIFIED:20160311T093545Z
UID:1261-1379116800-1379462400@www.h-r.la
SUMMARY:Joel Kyack
DESCRIPTION:
URL:https://www.h-r.la/event/joel-kyack/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20130913T000000
DTEND;TZID=America/Los_Angeles:20130913T000000
DTSTAMP:20160311T093544Z
CREATED:20160311T093544Z
LAST-MODIFIED:20160311T093544Z
UID:1260-1379030400-1379030400@www.h-r.la
SUMMARY:hold for GATE + RENDORIZORS + p KOLOVOS
DESCRIPTION:
URL:https://www.h-r.la/event/hold-for-gate-rendorizors-p-kolovos/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20130812T000000
DTEND;TZID=America/Los_Angeles:20130826T000000
DTSTAMP:20160912T010904Z
CREATED:20160311T093544Z
LAST-MODIFIED:20160912T010904Z
UID:1259-1376265600-1377475200@www.h-r.la
SUMMARY:Interval / Habitat\, Byron Westbrook
DESCRIPTION:Memory can play as much of a role in the experience of a moment as the immediate elements that form the moment. The filmic “cut” is an increasingly present element in our lives\, causing constant intervallic shifts in perceived environment and mental states. Interval/Habitat considers the idea of the interval as a quality of environment\, sound\, and time. By employing this idea of “cut” and transition from moment to moment\, the exhibition hopes to explore how dramatic perceptual events can linger in memory\, creating separate psychological transitions that affect our interaction with physical space as well as with each other.\nByron Westbrook’s Interval/Habitat installation at Human Resources approaches the space as a dramatic stage. Inviting several guest performers and the audience to activate this stage\, it plays looping sequences of light and sound to create “scenes” and filmic “cuts” to impose a time-based narrative form over all activity within the space. The piece approaches light and sound as physical\, structural material to facilitate a changing awareness of self\, body\, space\, and presence of others\, defining social boundaries by limiting what visitors can see or hear\, and dynamically shifting their focus between navigating internal psychological space and external physical space.\nInterval/Habitat hosted an accompanying series of performances\, each of which offered focused examples of what may emerge from the imposition of Interval/Habitat’s dramatic structure on physical interaction\, perception and communication.\nPerformance included:\nAugust 15\, 7pm Jules Gimbrone and ensemble /Alison D’Amato\, Jos McKain and Jillian Stein / Jeff Witscher\nAugust 18\, 3 – 7pm Jesse Peterson and Cassia Streb / Sam Fisher and Gabriel Marantz / Maya Gingery and ensemble\nAugust 22\, 7pm Casey Anderson and ensemble / Ted Byrnes\, Ulrich Krieger and Wyatt Keusch/ Erin Schneider with Rose Mackey\, Eirik Schmertmann\, Elizabeth Sonenberg\, and Jos McKain\nByron Westbrook is an artist working with the dynamic quality of physical space through site-specific installations and unique listening formats to activate architecture and community. He has presented work at Clocktower Gallery\, LMAK Projects\, ISSUE Project Room\, Diapason Gallery\, ExitArt (NYC)\, ICA London\, The LAB (San Francisco)\, VIVO MediaArtCenter (Vancouver)\, O’ (Milan)\, among many others. He has been an artist in residence at Clocktower Gallery\, Wassaic Project\, Diapason Gallery\, Hotel Pupik\, and Institute of Intermedia. He has also worked closely with composer/filmmaker Phill Niblock’s Experimental Intermedia Foundation since 2005. He holds an MFA from the Milton Avery Graduate School of Arts at Bard College and lives and works in Brooklyn\, NY. \nhttp://www.byronwestbrook.com
URL:https://www.h-r.la/event/interval-habitat-byronwestbrook/
CATEGORIES:exhibition
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DTSTART;TZID=America/Los_Angeles:20130801T000000
DTEND;TZID=America/Los_Angeles:20130801T000000
DTSTAMP:20160311T093544Z
CREATED:20160311T093544Z
LAST-MODIFIED:20160311T093544Z
UID:1258-1375315200-1375315200@www.h-r.la
SUMMARY:CAMILLE WERNER 24hr SHOW
DESCRIPTION:
URL:https://www.h-r.la/event/camille-werner-24hr-show/
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DTSTART;TZID=America/Los_Angeles:20130727T000000
DTEND;TZID=America/Los_Angeles:20130727T000000
DTSTAMP:20180725T223237Z
CREATED:20160311T093544Z
LAST-MODIFIED:20180725T223237Z
UID:1257-1374883200-1374883200@www.h-r.la
SUMMARY:SISTER ACT: PERFORM CHINATOWN AFTER-PARTY
DESCRIPTION:Nao Bustamante and Karen Tongson from Crime Scene\, photo by Sarah Kessler \nNao Bustamante kicked off Human Resources LA’s July 27th benefit and Perform Chinatown After-party with characteristic mischievous flair. In the preamble to her performance\, as she was thanking HRLA for inviting her and thanking us for being there to support the benefit\, she seamlessly slipped in some minor mayhem: “Thanks for coming out on this hot LA night even though you all know how hot it can get in this room. Your donations tonight will go toward to a new AC system\, so please give yourself a round of applause.” The crowd applauded\, taking the bait and collectively dreaming of future where the vast\, sparse Chinatown gallery space would be comfortably climate controlled. Then she continued on with a list of other dream remodeling projects that the night’s donations were supposedly going toward—hardwood floating floors\, bathrooms with changing tables\, and finally an adjoining parking structure—and the applause turned to knowing laughter and a shared recognition of the value of alternative spaces like HRLA.  This was not a benefit for glamorous architectural renovations\, but just to keep the doors open so that the HR collective can continue to bring us the kind of ground-breaking and politically astute performance art that we were offered that night. \nBustamante’s “Chase Scene” is a monologue that inverts the damsel-in-distress narrative into a feminist take-back-the-night fairytale. Performed as 1940s noir radio play with two microphones to capture the organically produced sound effects she made with feet and hands\, and a third microphone for her voice that narrates the scene in a Betty Boop/40s glamour queen cadence punctuated with lilting tones\, breathy gasps\, and sprinkled with a generous use of “gosh.” The mood was further complimented in this performance by Karen Tongson’s live saxophone scoring. Like most of Bustamante’s performance work this was an intense physical feat of endurance and control\, as hands\, feet\, voice are orchestrated to unfold the familiar story of a male stranger following a woman’s moonlit stroll down an empty city street\, his implicit menace communicated only through the clodding sound of steadily increasing heavy steps matched by the increasingly frantic click-clack of high heels as the woman attempts to evade the stranger’s approach. The tense monologue includes all the familiar attempts at evasion—by turns polite (“no need to walk me home\, Mister\, I’m perfectly fine”)\, strategic (“I have lots of cousins and uncles who live on this street”)\, and\, finally\, desperate (“Maybe if I turn down this alley\, I can lose him”). This last move initiates the piece’s denouement where\, now cornered in a dead-end alley\, she is forced to confront him. She stands her ground\, “I’m warning you\, Mister\, don’t come another step closer. Not one more step.” Of course\, we hear the inevitable\, threatening step and then sounds of a struggle—assorted vegetables providing the sound effects for bodies receiving blows and a final crunch of bones snapping. \nYet this is where Bustamante’s story diverges from the familiar. The silence following the struggle is broken by the click clack of heels as our heroine gingerly steps over the body\, apologizing to the stranger while also firmly reminding him that she tried to warn him. Bustamante’s campy fable about the routine use of threat to police gender in public space resonates even more powerfully in the wake of the Zimmerman acquittal\, and the long list of less publicized cases such as Cece McDonald\, Marissa Alexander\, and John H. White\, that all reflect the racially segregated and gender normative logics that govern the concepts of public and and private space and just who is entitled to “stand their ground.” Bustamante’s mode of campy temporal drag then becomes away to register the now decades long backlash against civil rights\, feminist\, and queer movements that have left so many of us feeling like we are fighting a backward slide into a dystopic noir version of cultural politics. \n \nNarcissister\, photo by Artemisa Clark \nNarcissister’s performances also inhabit a strange temporality of post- or meta-drag. Her mannequin-like mask is frozen in both a bland affectless expression and a late 1970s/early 1980s temporality producing a combination that is surprisingly moving. As Narcissister’s movements give new interpretations to late disco hits\, the movements of the bobbed wig framing her face shift and you can swear you glimpse new expressions flicker across the mask’s surface registering moments of exhaustion\, abandon\, curiosity\, and desire as she explores and discovers hidden mysteries in her own fantasmatic and impossibly generative body. For instance\, in “Winter/Spring Collection\,” Narcissister’s collaboration with A.L. Steiner for MOCATV screened at the benefit\, she positions a Chinese lantern between her decorative extra set of mannequin legs making it an expansive magical vagina that\, like Mary Poppins bag (or is it that Poppin’s bag is really always already a magical vagina?)\, produces an array of objects for her consideration before offering up a large white magnolia flower that seems to finally satisfy the impulse that led to the self-plunging quest. As Narcissister takes the flower delicately to her face to see and smell through her senseless mask\, there is a baffling sincerity to the gesture. Or later as she furiously rubs the touch screen of the machine that is now placed between her legs and clothed in thong underwear\, the mask seems to betray a complex matrix of yearning\, curiosity\, and frustration. This trope of the magically generative and endlessly exchangeable vagina is common across other Narcissister pieces\, but in addition to a sex-positive embrace of the grotesque and an illustration of capitalism’s relationship to the excessive feminine\, there is also something almost therapeutic in this imagining of a symbolic equivalent to the phallus that is such a resource for creative genesis and pleasure—Narcissister’s vagina seems to offer whatever she needs most in the moment. \nIn “Dollhouse”\, the piece she performed for the benefit\, this self-production becomes even more literal as the vagina\, through a process of acrobatic striptease\, sprouts a new head complete with the same iconic Narcissister face. Indeed\, the faces replicate everywhere on her body—with both heads donning masked faces on front and back—so that from any direction at least two faces are visible. This dance of self-fracturing is expressed in the soundtrack of Diana Ross’ “Upside Down” as it describes the vertiginous\, destabilizing and even self-annihilating effect that characterizes the classic female experience of romantic love. Eventually\, though\, the faces paired on front and back begin to find each other as the music transitions to a more promising tale of romance in George Benson’s “Just the Two of Us.” Narcissister contorts her body in a stunning choreography that allows the faces to alternately gaze longingly into each other’s eyes. However\, like lovers on the Grecian urn\, or the expressions on their own mask faces\, they are stuck\, frozen in longing without hope of realizing the embrace they yearn for. \nAmong many possible readings of this conceptually rich work\, I’m most drawn to the mode of sophisticated\, and distinctly feminist/queer\, meditation it offers on the discourse of self-love. We sometimes forget that in the myth of Narcissus\, it isn’t mere arrogance that leads him to choose himself as love object but rather misrecognition of his reflection for another. Instead of the kind of entitled and self-conscious strutting that we so often label as narcissistic in our culture of ubiqutous Facebook selfies and incessant documentation of self-pampering vacations and dining experiences\, Narcissus forgets himself completely and eventually dies from this self-neglect. Narcissister’s auto-erotic\, and decidedly campy\, reenactment of Narcissus’s attempt to caress his own image with her own body’s looping contortions reintroduce a much needed complexity to our examination of the framework of narcissism as she asks us to ponder the meaning\, and even radical possibilities\, of true self-love. \nText by Andrea Fontenot\, courtesy of Artillery Magazine
URL:https://www.h-r.la/event/hr-benefit/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/03/nao1.jpg
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DTSTART;TZID=America/Los_Angeles:20130724T000000
DTEND;TZID=America/Los_Angeles:20130724T000000
DTSTAMP:20160311T093544Z
CREATED:20160311T093544Z
LAST-MODIFIED:20160311T093544Z
UID:1256-1374624000-1374624000@www.h-r.la
SUMMARY:Yann Novak-curated: Pinkcourtesyphone\, Steve Roden\, Frank Bretschneider
DESCRIPTION:Pinkcourtesyphone\, Steve Roden\, Frank Bretschneider\, Robert Crouch
URL:https://www.h-r.la/event/yann-novak-curated-pinkcourtesyphone-steve-roden-frank-bretschneider/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20130721T000000
DTEND;TZID=America/Los_Angeles:20130721T000000
DTSTAMP:20160311T093544Z
CREATED:20160311T093544Z
LAST-MODIFIED:20160311T093544Z
UID:1255-1374364800-1374364800@www.h-r.la
SUMMARY:ECSTATIC MUSIC BAND + JOSEPH HAMMER + DAMION ROMERO + RALE
DESCRIPTION:
URL:https://www.h-r.la/event/ecstatic-music-band-joseph-hammer-damion-romero-rale/
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DTSTART;TZID=America/Los_Angeles:20130720T193000
DTEND;TZID=America/Los_Angeles:20130720T213000
DTSTAMP:20160523T213942Z
CREATED:20160311T093544Z
LAST-MODIFIED:20160523T213942Z
UID:1254-1374348600-1374355800@www.h-r.la
SUMMARY:Rafa Esparza: El Hoyo
DESCRIPTION:“el hoyo is a hole. a hole that sucks time.” \nIn “el hoyo” Rafa Esparza engages with trash and discarded items\, using el basurero/ the dumpster as a framing device wherein he negotiates his relationship to memory and time. \n\n\n\nThe evening will move in three parts\, with brief intermissions in between. “el hoyo” will begin outside of Human Resources and move through an installation inside the gallery with a participation by Nick Duran (http://nickduran.org/home.html) and “Beto” Esparza. \n\nJuly 20\, 2013\nStart time 7:30\n(Early arrival is strongly suggested as the performances will begin promptly at 7:30pm.)\nNo cover charge\, donations are welcome.Rafa Esparza lives and works in Los Angeles. His work ranges in medium from installation\, sculpture to drawing\, painting; and most predominantly live performance. Esparza is persistent in staging situations where he attempts to experience a time and space inaccessible to him. Using live performance as his main form of inquiry; site specificity\, materiality\, memory and (non)documentation become primary tools in interrogating\, critiquing and examining ideologies\, power structures and binaries that problematize the “survival” process of historicized narratives and the environments wherein people are left to navigate and socialize. Esparza has performed in a variety of spaces ranging from community engaged places such as AIDS Project Los Angeles\, to galleries including Los Angeles Contemporary Exhibitions\, Highways Performance Space\, REDCAT\, Human Resources\, SOMArts and most recently public sites through out the city of L.A.
URL:https://www.h-r.la/event/rafa-esparza-july-20-performance/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/03/Esparza-El-Hoyo-Tain.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20130713T000000
DTEND;TZID=America/Los_Angeles:20130713T000000
DTSTAMP:20160311T093544Z
CREATED:20160311T093544Z
LAST-MODIFIED:20160311T093544Z
UID:1253-1373673600-1373673600@www.h-r.la
SUMMARY:KARABAL NIGHTLIFE reunion show + guests
DESCRIPTION:
URL:https://www.h-r.la/event/karabal-nightlife-reunion-show-guests/
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