BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Human Resources - ECPv6.15.17//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:https://www.h-r.la X-WR-CALDESC:Events for Human Resources REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/Los_Angeles BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20250309T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20251102T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20260308T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20261101T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20270314T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20271107T090000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260130T203000 DTEND;TZID=America/Los_Angeles:20260201T223000 DTSTAMP:20260526T024402 CREATED:20251231T183241Z LAST-MODIFIED:20260129T202111Z UID:9280-1769805000-1769985000@www.h-r.la SUMMARY:Dicky Bahto DESCRIPTION:Note: January 30’s program is cancelled in honor of the national strike. We encourage people to participate in this strike and to support organizations like CHIRLA\, who are doing front-line work in our communities. See below for revision of this weekend’s program. \n\n\n\nA three two-night survey of moving image and performance works by Dicky made in the last 5 years. \n\n\n\n $15 for both nights – No one turned away for lack of funds \n\n\n\n“His varied and complex engagement with moving image and photographic media is steeped in a deeply felt humanity and empathy\, manifesting through his inspired photographic eye and frequently direct interaction with and appreciation of the material vitality of film and cinema. His films achieve heightened emotional states of great intimacy and poetry\, often channeling the uniquely aleatory qualities of film to carry a sensuality and spirituality hovering in the space between loving depiction and vaporous abstraction.” (Mark Toscano) \n\n\n\nFriday\, January 30th Saturday\, January 31 at 8:30 pm – short films of Dicky Bahto \n\n\n\nThis programs features recent short films by Dicky Bahto\, none of which have previously screened in Los Angeles\, including his most recently completed film\, a portrait of the Argentine-French artist Cesar Cofone\, two recent music videos for Grouper and Tashi Wada\, and an excerpt from his three-hour long collaborative work Music for a Bellowing Room with composer Sarah Davachi. Plus maybe a special surprise or two! \n\n\n\nprogram: \n\n\n\n\nA portrait of Cesar Cofone (2025) 20.5 minutes\, Super 8 to HD\, color & b/w\, music by Marco Baldini\n\n\n\nClose Cloak (2025) 9 minutes\, Super 8 to HD\, b/w\, music by Grouper\n\n\n\nGrand Trine (2024) 6.5 minutes\, Super 8 to HD\, b/w & color\, music by Tashi Wada\n\n\n\nMusic for a Bellowing Room (2023) (excerpt) 28 minutes\, Super 8 to HD\, b/w & color\, music by Sarah Davachi\n\n\n\n\nPortrait of Cesar Cofone (2025)\n\n\n\nSaturday\, January 31 Sunday\, Feb 1 at 2:30 pm – Dicky Bahto’s Hivernale \n\n\n\nThe Los Angeles premiere of Dicky Bahto’s new hour-long film Hivernale\, accompanied by composer Sarah Davachi’s work Double Reeds.  \n\n\n\nprogram:Hivernale (2025) 60 minutes\, Super 8 and 35mm to HD\, color & b/w\, music by Sarah Davachi \n\n\n\nHivernale (2025)\n\n\n\nRescheduled date TBA Sunday\, February 1 at 2:30 pm – Dicky Bahto\, Corey Fogel\, Tashi Wada \n\n\n\nAn afternoon of performance work for still and moving images and sounds by Dicky Bahto\, Corey Fogel\, and Tashi Wada. The performance will be approximately one hour and change\, and may or may not include several different works that overlap or transition from one to another and back again with or without warning. \n\n\n\nDicky Bahto\, Corey Fogel\, Tashi Wada\n\n\n\nDicky Bahto has exhibited work utilizing still and motion picture photography\, sound\, and performance at a variety of museums\, galleries\, microcinemas\, film festivals\, conferences\, alternative spaces\, and scenic locations spanning the Northern Hemisphere\, from the Museum of Modern Art in New York to a series of nooks\, crannies\, and underbrush along and under Sunset Boulevard. He has works in the permanent collections of The Getty Museum and the Huntington Library\, Museum\, and Gardens. He frequently collaborates with musicians\, both as a performer and as a visual artist\, including Sarah Davachi\, Liz Harris\, Julia Holter\, and Tashi Wada\, as well as with his lover\, Patrick Londen\, and their cats Simone and Katoosh. \n\n\n\n \n\n\n\nBottom image: Hivernale\, URL:https://www.h-r.la/event/dicky-bahto/ ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/12/Portrait-of-Cesar-Cofone.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260206T120000 DTEND;TZID=America/Los_Angeles:20260208T180000 DTSTAMP:20260526T024402 CREATED:20260122T183800Z LAST-MODIFIED:20260207T012141Z UID:9336-1770379200-1770573600@www.h-r.la SUMMARY:Espera DESCRIPTION:Espera (2017) is a short documentary of an intimate conversation between Quevedo and an ex-lover on the eve of their separation. As the end grows nearer the two men struggle to reconcile their desires with the reality of their lives. For this one-weekend presentation at Human Resources Los Angeles\, Espera will be screened as a video installation playing on loop during regular hours (12pm-6pm).  \n\n\n\nEspera (the audio version) premiered at First Look Festival at The Museum of the Moving Image (London\, UK) in 2018 as a part of Radio Atlas. The audio work screened at Open City Documentary Festival (London\, UK) \, Locust Project (Miami\, FL)\, and the Banjuoja Audio Festival (Vilnius\, Lithuania). Espera is the winner of the 2018 Third Coast / Richard H. Driehaus Directors’ Choice Award and was shortlisted for the Hearsay International Audio Arts Festival ‘Celebrate’ and GanBéarla awards in 2019. \n\n\n\nEspera at Human Resources Los Angeles is organized by Azul Silverio. \n\n\n\nAbout the Artist \n\n\n\nSayre Quevedo is a documentary artist. He works across mediums to tell stories about intimacy\, identity\, and human relationships. His work has been featured on NPR\, Marketplace\, BBC Short Cuts\, Love Me on the CBC\, McSweeney’s and Radio Atlas. In 2018 his audio documentary short Espera received the Third Coast/RHDF Directors’ Choice Award and his audio documentary feature “The Quevedos” was nominated for a Best Audio Documentary award by the International Documentary Association (IDA). The following year he won the 2019 Third Coast/RHDF Gold Award for Best Documentary for “The Return.” That feature was also nominated for a Best Audio Documentary award by the IDA\, his second nomination two years in a row. In 2022 Quevedo was nominated twice by the IDA for Best Stand-Alone Audio Documentary\, winning the award for “Documenting a Death by Euthanasia.” Quevedo was the Fall 2019 Podcaster-In-Residence for the San Francisco Museum of Modern Art. He was an Associate Producer for The Daily at The New York Times and NPR’s Latino USA\, and a Producer for VICE News. He is currently an adjunct professor at Columbia University’s Oral History Master of Arts program and New York University’s Journalism Masters program. He is also a founding editor at Sound Fields\, a journal dedicated to the art and craft of audio documentary. \n\n\n\nAbout the Curator \n\n\n\nAzul Silverio is a researcher\, curator and cultural worker based in Tovangaar (Los Angeles). They are invested in championing and building community with artists\, curators\, creatives and cultural workers from LGBTQ+ and communities of color across the city and beyond. Formerly the Assistant Director of Programming at LACE (Los Angeles Contemporary Exhibitions)\, Juan joined LACE in 2019 as an apprentice and later ran all exhibitions\, programs\, and operations. With LACE\, they co-curated ABUNDANCE (2024)\, an interdisciplinary and performance art festival held at the L.A. Dance Project. With LA River Arts\, Juan co-curated “Ki’king with the River” (2025)\, a public programming series of performances and workshops highlighting LA-based queer artists in conversation with the LA river. They joined the arts and culture field by way of the Getty Marrow Undergraduate Internship program\, holding curatorial internships throughout Southern California at the Getty Research Institute\, Self-Help Graphics & Art\, and the 18th Street Arts Center. Juan was awarded a Leadership Institute fellowship in Visual Arts with the National Association of Latino Arts & Culture (NALAC) (2023) and was an AllPaper Seminar inaugural fellow at the Benton Museum of Art\, Pomona College\, Claremont\, CA (2022). A member of the National Performance Network (NPN) Board of Directors\, Juan contributed writing to the 60th Venice Biennale exhibition and catalogue\, Stranieri Ovunque/Foreigners Everywhere (2024)\, curated by Adriano Pedrosa\, and co-edited the LACE publication for CAVERNOUS: Young Joon Kwak and Mutant Salon (2018).  URL:https://www.h-r.la/event/espera/ CATEGORIES:screening ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2026/01/HRLA-Espera2026-web.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260213T200000 DTEND;TZID=America/Los_Angeles:20260213T233000 DTSTAMP:20260526T024402 CREATED:20260122T184634Z LAST-MODIFIED:20260211T184216Z UID:9340-1771012800-1771025400@www.h-r.la SUMMARY:the body draws the room DESCRIPTION:the body draws the room is a performance by Carmen Argote that transforms the gallery space into an immersive drawing environment through the body. Using a combination of shaving cream and black oil paint\, Argote creates large-scale marks on walls and floors as she moves through the space by crawling on her back and tracing the perimeter. Argote performs the physical act of pushing up against the walls of the gallery with her feet\, turning movement\, endurance\, and presence into a material record of the room itself.  \n\n\n\nThis performance marks Argote’s return to HRLA where she exhibited My Father’s Side of Home in 2014. the body the draws the room reflects the artist’s ongoing exploration of architecture\, psychology\, and embodiment\, offering audiences an opportunity to witness the physical and conceptual scope of her work.  \n\n\n\nTickets are $15 and available on Withfriends. No one will be turned away for lack of funds. \n\n\n\nThis project was supported\, in part\, by a Foundation for Contemporary Arts Emergency Grant. URL:https://www.h-r.la/event/the-body-draws-the-room/ CATEGORIES:performance ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2026/01/Performance-documentation-Headlands-DSC_1117.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260221T140000 DTEND;TZID=America/Los_Angeles:20260221T160000 DTSTAMP:20260526T024402 CREATED:20260216T201543Z LAST-MODIFIED:20260216T201740Z UID:9409-1771682400-1771689600@www.h-r.la SUMMARY:Tom Marioni – ACTION AND TALK DESCRIPTION:Free rsvp \n\n\n\nA progenitor of West Coast conceptual art\, Tom Marioni will present a critical re-engagement with the ontological foundations of California’s avant-garde. Marioni\, the founder of the Museum of Conceptual Art (MOCA) in San Francisco (1970–1984)\, will perform two definitive “actions” that collapse the boundaries between temporal duration and physical residue: Out of Body Free Hand Circle (on prepared wall)\, a wall-based manifestation of Zen-influenced persistence\, and One Second Sculpture (1969). The latter\, described as a “drawing in space\,” involves the release of a coiled metal tape measure to produce an instantaneous fusion of sound\, line\, and gravity. \n\n\n\nMarioni’s performative lecture is presented by Society of Art and Living Archives (SALA) and Human Resources Los Angeles (HRLA) and in partnership with the Performance Art Museum (PAM). The project is organized by SALA founder Alberto Cuadros.Marioni’s deep-rooted connection to the Southern California conceptual art scene includes a significant solo exhibition at the Newport Harbor Art Museum (now OCMA)\, a survey at the Hammer Museum\, and his inclusion in the landmark exhibition Out of Actions at MOCA Los Angeles. Marioni has collaborated with and curated many artists\, including Marina Abramović\, Chris Burden\, John Cage\, Terry Fox\, Paul Kos\, Linda Montano\, Bruce Nauman\, and Barbara T. Smith. This upcoming performance in Los Angeles is a live archival activation of a transformative period of experimental art in California. \n\n\n\nAbout the ArtistTom Marioni (b. 1937\, Cincinnati\, Ohio) is an influential figure in the history of American conceptual art and a primary architect of the West Coast’s “social sculpture” movement. After moving to San Francisco in 1959\, Marioni fundamentally challenged the traditional boundaries of the art object\, shifting the focus from the production of static things to the creation of “idea-oriented situations.”In 1970\, Marioni founded the Museum of Conceptual Art (MOCA) in San Francisco. Through his work at MOCA and his earlier tenure as curator at the Richmond Art Center (1968–1971)\, Marioni provided a radical platform for ephemeral\, sound-based\, and body-oriented “actions” by artists such as Chris Burden\, Bruce Nauman\, and Terry Fox. Marioni is perhaps most widely recognized for his ongoing social artwork\, The Act of Drinking Beer with Friends Is the Highest Form of Art (first staged at the Oakland Museum in 1970). This piece\, which involves a weekly salon where the social exchange is the medium and the resulting debris is the “artifact\,” has been acquired into the permanent collection of the San Francisco Museum of Modern Art (SFMOMA) and performed globally. Marioni’s work is held in the permanent collections of the Museum of Modern Art (New York)\, the Centre Pompidou (Paris)\, and the Stadtische Kunsthalle (Mannheim). He remains a central figure in the San Francisco art community\, where he continues to lead the Society of Independent Artists and collaborate with Crown Point Press. \n\n\n\nAbout the CuratorAlberto Cuadros is an artist\, curator\, and independent art historian based in California\, and the founder of SALA (Society of Art and Living Archives). Originally established in 2020 as Society of Art Los Angeles\, the organization expanded into San Francisco in 2025. Cuadros’s work through SALA is characterized by a “socially engaging” approach\, often using his extensive network of artists and cultural leaders to create immersive experiences that address the current realities of the urban environment. \n\n\n\nSALA is a 501(c)(3) nonprofit dedicated to telling the stories of overlooked California art in site-specific exhibitions\, talks\, salons\, and programs.The organization focuses on California’s cultural history\, dating back to the 1840s\, to connect traditional practices with contemporary creativity. Based in San Francisco\, SALA is inspired by the inclusive nature of “salon culture” and aims to bring together art and daily life closer through exhibitions\, workshops\, city-wide tours\, and experimental programming. SALA’s 2026 programming (titled Living Archives: San Francisco) interprets intersectional Bay Area art histories and the specific sites where they unfolded. URL:https://www.h-r.la/event/tom-marioni-action-and-talk/ ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2026/02/Marioni-invitation-2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260222T170000 DTEND;TZID=America/Los_Angeles:20260222T203000 DTSTAMP:20260526T024402 CREATED:20260208T211746Z LAST-MODIFIED:20260219T210401Z UID:9356-1771779600-1771792200@www.h-r.la SUMMARY:A World Without FIFA's World Cup (Part 2) DESCRIPTION:Hansen Dam Park\, Los Angeles. Photo by Michael Wells\, 2006.\n\n\n\n“Nobody earns a thing from the crazy feeling that for a moment turns a man into a child playing with a balloon\, a cat toying with a ball of yarn\, a ballet dancer flying through the air with a ball as light as a balloon or a ball of yarn\, playing without even knowing he’s playing\, with no purpose or clock or referee.” — Eduardo Galeano\, Soccer in Sun and Shadow \n\n\n\nFollowing up on last month’s World Without a World Cup event — join us for a mixer & forum designed to spotlight fútbol communities & countercultures\, FIFA and Olympic refuseniks\, league historians\, players\, poets and artists. The aim is to make connections between scenes\, spaces of play\, dial into the challenges of this moment and share how we show up for each other. \n\n\n\nWe’ll have libations and snacks\, and will encourage people to mingle\, chat\, cruise for game. \n\n\n\nAttending/presenting: members of Dyke Soccer\, NOlympics\, People’s FC\, South El Monte Arts Posse\, artist-poet Nico Avina\, historian of Latinx women’s leagues in LA Kathy Pululpa (check out her article\, “Nos Vemos en la Cancha”)\, and public historian\, UCR Prof. and moderator Jorge Leal. Hosted by HRLA members Advik Beni & Jennifer Doyle. \n\n\n\n5pm: Doors open for mixer + slide show\, short sport-video art (available on-line\, curated by Jennifer Doyle). \n\n\n\n6pm: Presentations & discussion \n\n\n\nPhoto: Hansen Dam Park\, Los Angeles. Michael Wells\, 2006. \n\n\n\nFree\, RSVP or just show up! URL:https://www.h-r.la/event/world-without-a-world-cup-part-2/ CATEGORIES:forum,panel/conversation ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2026/02/Banner-Image-World-without-World-Cup-2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260223T190000 DTEND;TZID=America/Los_Angeles:20260223T220000 DTSTAMP:20260526T024402 CREATED:20260211T234719Z LAST-MODIFIED:20260218T235225Z UID:9380-1771873200-1771884000@www.h-r.la SUMMARY:David Dove • mattie barbier • Rowell/Bell/Shook DESCRIPTION:On Monday\, February 23rd\, David Dove – the Houston-based improviser\, composer\, and trombonist – makes his Los Angeles solo debut at HRLA at a show pulled by UPEND. \n\n\n\nVia drones\, heavy and deep\, Dove will tap into the architectural resonances of Human Resources with Subwoofer Trombone\, his improvisational project that explores sub-bass frequencies using trombone\, pitch shifters\, effect pedals\, and… subwoofer. \n\n\n\nStarting with his refined palette of ‘bone timbres\, Dove moves between jazz inflections and minimalist abstractions\, feeding into a system that slackens time and stretches sound into a slow-moving expanse. This low-frequency undercurrent opens a space where Dove can explore further resonant interplay and even weave in passages of others’ repertoire\, sparking subtle dialogues across time and tone. \n\n\n\nThis Monday evening sound salon will also feature a set from LA-based musician and composer mattie barbier\, and a trio set from double-bassists Sam Rowell and Georgia Bell\, with saxophonist Wilson Shook. \n\n\n\nAdvance tickets are available via [withfriends] \n\n\n\n\n\n\n\nBased in Houston\, Texas\, David Dove is a trombone player\, composer\, improviser\, facilitator\, and curator. Dove has focused on acoustic playing for most of his career\, developing a style that draws influence from jazz\, 20th-century composition\, electronic music\, and free improv among other sources. A devoted improviser\, Dove has collaborated with scores of artists over the decades\, including his mentor Pauline Oliveros\, Joe McPhee\, Carmina Escobar\, Tom Carter\, Thomas Lehn\, Jawwaad Taylor\, and Lucas Gorham. Venues where Dove has performed include The Arches in Glasgow\, Scotland; DOM Cultural Center in Moscow\, Russia; Chinati Foundation in Marfa\, Texas; and the Menil Collection in Houston\, Texas. \n\n\n\nDove is also the founder of Nameless Sound – a crucial Houston arts organization that – for 25 years – has presented adventurous musicians from around the world\, fostered the local experimental music community\, and remained focused on a mission to educate through creative music practice. The organization and its artists work directly with young people in public schools\, community centers\, and homeless shelters to promote creativity\, diversity\, and improvisation. URL:https://www.h-r.la/event/david-dove-mattie-barbier-rowell-bell-shook/ ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2026/02/daviddove_trombone-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260227T180000 DTEND;TZID=America/Los_Angeles:20260301T170000 DTSTAMP:20260526T024402 CREATED:20260217T233956Z LAST-MODIFIED:20260219T231552Z UID:9418-1772215200-1772384400@www.h-r.la SUMMARY:Lynne Marsh: after-lived DESCRIPTION:Friday\, February 27 –Opening Performances 6–9 pm \n\n\n\nSaturday\, February 28 –Performances 1–5 pm \n\n\n\nSunday\, March 1 –Performances 1–3 pm\, Conversation 3–5 pm \n\n\n\nThese poor nymphs of the present\, distorted by the endless screens they must pass through before finding themselves in something resembling “the real world.” Unaccustomed to the weight of what we might call reality\, they fall out of an infinite space-time into the brutal pull\, or rather push\, of gravity. \n\n\n\n–Hannah Sage Kay\, Poor Nymphs Poorer Selves* \n\n\n\nafter-lived unfolds over three days at Human Resources Los Angeles as an exhibition-based performance. Performers work through gestures learned from a motion-capture animation archive: they embody\, repeat\, reorient\, and endure them. Each performer trains with an avatar generated from a digital scan of their own body\, set in motion as if possessed. What begins as data becomes flesh\, altered by the screens it has passed through. \n\n\n\nThe archive carries its own residue: combat loops\, evasions\, falls\, and impacts. Gestures circulate in a dense image economy\, detached from their original conditions and optimized for reuse. Here\, however\, they meet the weight of gravity. Slowed down and enfleshed\, a fall is no longer seamless. Impact registers. Repetition produces strain. \n\n\n\nThe title after-lived names a condition in which systems persist beyond their declared obsolescence\, continuing to operate even after their logic has been exhausted. In this state\, gestures survive their contexts. They loop\, mutate\, and return. The body becomes the site where these loops are absorbed\, tested\, redirected\, and possibly exited. \n\n\n\n*excerpt from exhibition text for Standing Death Backward at council_st\, June 2025 \n\n\n\nLynne Marsh is a Canadian artist based in Los Angeles and Associate Professor at UC Riverside. Her practice questions the status of the image through mediation\, technology\, and production. Ideas central to Marsh’s research include offstage space\, production-in-production\, affective and cultural labor\, music as a framing device\, and the Brechtian revealing of the mechanics of cultural and theatrical production. \n\n\n\nPerformers \n\n\n\nAbriel Gardner (aka bob) is an artist. She has a background in dance and works in many media. She currently lives in New York. \n\n\n\nJobel Medina is a Filipino-American dancer and choreographer based in Los Angeles. His work spans the United States and France\, and he has collaborated with artists including Tino Sehgal\, Benjamin Millepied\, Dimitri Chamblas\, Alex Prager\, Kim Gordon\, Simon McBurney\, Shahar Binyamini\, Danielle Agami\, and Tom Weinberger. His choreography has been presented at institutions such as the Philharmonie de Paris (with LA Dance Project)\, The Broad\, the Museum of Contemporary Art\, the Musée d’Orsay\, and the Institute of Contemporary Art. \n\n\n\nRyan OByrne is an artist and MFA candidate in Studio Art at The University of California\, Riverside. His work antagonizes the compulsive circulation of conventional terms of logic\, investing in the poetic potential of neologisms that might interrupt repetitions of violence\, extraction\, and exploitation. He is a graduate of The Juilliard School’s Drama Division. \n\n\n\nCecilia Slongo is an interdisciplinary artist from Argentina\, based in Los Angeles. She investigates the body as an archive and its relationality with the material and non-material realms. Cecilia is currently exploring the intersection of media\, corporeality and memory. \n\n\n\nIn conversation with \n\n\n\nAmy Skjerseth is Assistant Professor of Popular Music at University of California\, Riverside. She researches media\, music\, material culture\, and technology. Her books Preprogrammed: How Electronic Presets Changed Music and Media (UC Press) and the coedited volume The Routledge Companion to Voice and Identity will be out later this year. \n\n\n\nJudith Rodenbeck is an art and cultural historian whose research focuses on intermedial art practices since 1945. She trained at Yale\, Columbia\, and the Massachusetts College of Art & Design\, and is currently a Professor of Media & Cultural Studies at the University of California\, Riverside. \n\n\n\nLynne Marsh would like to acknowledge the support of the UC Riverside Center for Ideas and Society and the UC Humanities Research Institute. URL:https://www.h-r.la/event/after-lived/ ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2026/02/after-lived_HRwebhomepage_3000x2000-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260307T160000 DTEND;TZID=America/Los_Angeles:20260322T180000 DTSTAMP:20260526T024402 CREATED:20260215T200413Z LAST-MODIFIED:20260318T170041Z UID:9388-1772899200-1774202400@www.h-r.la SUMMARY:*autonomous together DESCRIPTION:a proposition about autonomies and their meanders by gloria galvez\, fran ilich and clara lópez menéndez – with contributions from the larger Los Angeles organizing community \n\n\n\nOpening March 7th\, 4 – 8pm \n\n\n\nFor all related public programs please see bottom of this page \n\n\n\nautonomous together* \n\n\n\nautonomy is an act in motion\, a practice\, an attitude and approach to experience\, but one that is not pursued alone. autonomy is a perpetual joyous negotiation of the conditions of our shared freedom from the mandates of colonization\, commodification\, exchange\, dehumanization\, and the destruction of nature. \n\n\n\nlike ants move by sensing other ants\, tracing their routes through walls\, around trees\, and into the earth\, we move towards our desired autonomy following the trails that others have left behind in its quest.  \n\n\n\nworks throughout this exhibition study various social and political practices that move away from dominant systems that deprive the many and\, instead\, build towards collective\, non-hierarchical people and earth-centered infrastructures. together we seek to invite the audience to co-imagine a new commons\, because\, as some friends said over ten years ago\, we owe each other everything.** And liberation is not a solitary practice\, but an interdependent one. \n\n\n\n∞∞∞∞∞∞ \n\n\n\nProgramming \n\n\n\nMarch 7 at 6pm Tumbleweed Soup Kitchen & Recipe Share session with Community Chef Chris Rodriguez \n\n\n\nOur knowledge of our surrounding edible environment has been intentionally severed by the dominant systems that seek to keep us dependent on their low wages and commodities. Tumbleweed soup is a generations-old recipe that has been passed on by indigenous communities and shared amongst people as a survival food during the Great Depression and Dust Bowl period. Chris Rodriguez\, a mutual aid chef of Mexican-Indigenous and Iberian ancestry\, will continue the culinary lineage of this soup and share with attendees a bowl of soup and his recipe for how to make it. \n\n\n\n∞∞∞∞∞∞ \n\n\n\nMarch 15 – Urban Foraging session with Community Chef Chris Rodriguez\, Atlakatl Ce Totchli and clara lópez menéndez \n\n\n\nIn this session attendees will learn how to i.d. and harvest tumbleweed from Chef Chris Rodriguez. Through the hike to forage the plants Chris\, Atlakatl Ce Totchli and clara lópez menéndez will share stories about how traditional knowledge of foraging medicinal and edible plants around the world has actively suppressed as a means of status quo control. \n\n\n\n∞∞∞∞∞∞ \n\n\n\nMarch 20\, 7m to 9pm Autonomous Convening with Skira Martinez – Cielo\,  Kruti Parekh – Youth Justice Coalition\, and Marta Escudero – Alcove Learning Center. Food served by M.A.A.L.A. \n\n\n\nThis convening invites the community to share a meal and strategies for building resilient autonomous communities. The convening will be facilitated by community organizers who work in housing\, community safety\, and arts projects that practice community autonomy. They will  share strategies from their work and facilitate a conversation that explores how we can together build the world we desire. Food will be provided by Mutual Aid Action Los Angeles. \n\n\n\n∞∞∞∞∞∞ \n\n\n\nMarch 21\, Reclaiming Presence – Saturday March 21st\, 5pm onward \n\n\n\nClosing gathering for autonomous together* –– join us for an evening that explores autonomy through storytelling\, film\, text\, and shared body movement  \n\n\n\n5:30pm – Amelia Bande\, will present a performance that is also a conjuring for us to orally weave counter narratives together. \n\n\n\n7:30pm – Screening Fences to Freedom (45min\, 2025) –– In 2021\, Gustavo Otzoy and his neighbors found themselves surrounded by hundreds of LAPD officers in the midst of the controversial raid on the Covid-era Echo Park homeless encampment. Fences to Freedom is the untold story of what led to the encampment forming\, its eventual eviction\, and the consequential effects on Gustavo’s life thereafter. Stick around after the screening for a Q&A with director Ian Midgley and community organizer Joann Swann. \n\n\n\n9 – 9:30pm – Bite & Write –– Grab a slice of pizza\, browse a book on autonomy\, and write down\, on the table\, a meaningful book quote for others to encounter \n\n\n\n10pm – closing – Music to celebrate\, reclaim collective presence and dancing with rhythms by DJ Adam O and DJ Swann \n\n\n\n∞∞∞∞∞∞ \n\n\n\n* in 2017 virgil b/g taylor made a series of screen printed t-shirts that said “autonomous together”\, as a commemoration of virgil’s friends’s traumatic experience as part of the counter-rally that gathered in Charlottesville\, Virginia\, in August 2017. As an expression\, “autonomous together” articulates a form of reciprocity that resonated deeply with ourselves and the ethos of this project. So we asked if we could summon it for the title of this show. \n\n\n\n** Fred Moten and Stephano Harney in the Undercommons\, 2013. \n\n\n\n∞∞∞∞∞∞ \n\n\n\ngloria galvez is an artist\, educator\, organizer\, and nature steward whose artistic practice zig-zags across drawing\, video\, sculpture\, and communal experiences — while every so often interweaving into these forms and their making\, community organizing and citizen science insights and frameworks. within this practice\, her current focus invokes alternate and simultaneous realities that prompt rebellious and revealing questions to the current social-political conditions of things – both living and nonliving things – both human and non-human things. and her work offers people physical and abstract spaces of learning\, recollection\, possibility\, self-determination\, and imagination. \n\n\n\nFran Ilich is an artist and writer based in NYC. His practice deals with narrative media\, economy\, games and hacktivism. For instance\, the creation of collective wealth and alternative financial flows\, inventing unorthodox ways to fund and maintain social infrastructures. He draws on ancient modes of exchange\, and uses narrative and creative devices to forge organizational models that transform capitalist systems into solidarity platforms. Rather than reject existing financial tools and capitalist mechanisms\, such as banks\, bonds\, hedge funds\, and capital accumulation\, he shuffles them around in such a way that they instead can foster community building enterprises and non-vertical economies. He is the author of 3 novels and the book-long essay Another Narrative is Possible. His works range from interactive web telenovelas to alternate reality games and utopian experiments in social organization\, like the Diego de la Vega Coffee Co-op and Spacebank\, a virtual community investment bank. \n\n\n\nclara lópez menéndez is an art worker practicing in the fields of curating\, pedagogy\, writing and performance. Among her recent projects are The Awakening\, Antoni Hervas’ solo exhibition at Human Resources LA\, and HRLA Studies\, a series of free classes. She is regular faculty in the Art Program at CalArt’s School of Art. URL:https://www.h-r.la/event/autonomous-together/ ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2026/02/SHOW-IMAGE4-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260328T200000 DTEND;TZID=America/Los_Angeles:20260328T235900 DTSTAMP:20260526T024402 CREATED:20260227T194647Z LAST-MODIFIED:20260326T225740Z UID:9433-1774728000-1774742340@www.h-r.la SUMMARY:SHAME DESCRIPTION:$15 tickets \n\n\n\nSHAME is a deliberately subversive nightlife concept created by curator Peter Kalisch after stepping away from booking Queerspace LA. Framed as a reaction against the excess\, vanity\, and image-driven culture of Los Angeles nightlife\, the party rejects hedonism and performative self-indulgence in favor of introspection\, discomfort\, and raw authenticity. Rather than offering escapism\, “Shame” confronts attendees with the emotional undercurrents often masked by club culture—inviting a space where vulnerability replaces spectacle. \n\n\n\nGirl Pusher “With a streamlined set up of just vocals from Gabby Giuliano and drums (both electronic & acoustic) from Jarrod Hine\, Girl Pusher is punk just the way we like it – futuristic and uncompromising” – Deathbomb Arc \n\n\n\nSRSQ (pronounced seer-skew) is the solo project of Kennedy Ashlyn. SRSQ explores nuance\, nostalgia\, reflection\, and reconciliation\, manifesting in the aural landscape of her 2018 debut album Unreality. \n\n\n\nDiesel Dudes is an Oakland-based “musclewave” or electro-punk band specializing in high-energy\, sweat-soaked music paired with body-building themes. Known for intense live performances involving muscle-bound dancers\, the group blends EBM (Electronic Body Music) with punk energy\, focusing on themes of strength\, lifting\, and humor. \n\n\n\nDagger Wound – a noise masochist bringing abrasive sounds with a strong political message and a cathartic performance style that slices through reality. \n\n\n\nDVVSK – (pronounced Dusk) is a non-binary drag queen based in Los Angeles\, known for their performances and artistry. with shoutouts from notable figures like Alaska Thunderfuck. URL:https://www.h-r.la/event/shame/ ATTACH;FMTTYPE=image/heic:https://www.h-r.la/wp-content/uploads/2026/02/PetersShow-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260411T160000 DTEND;TZID=America/Los_Angeles:20260426T180000 DTSTAMP:20260526T024402 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/ ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2026/03/CdmT-banner-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260413T200000 DTEND;TZID=America/Los_Angeles:20260413T223000 DTSTAMP:20260526T024402 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/ ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2026/04/CF-spring.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260424T183000 DTEND;TZID=America/Los_Angeles:20260424T213000 DTSTAMP:20260526T024402 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/ ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2026/04/1000041871.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260428T200000 DTEND;TZID=America/Los_Angeles:20260428T220000 DTSTAMP:20260526T024402 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/ ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2026/04/LO1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260430T190000 DTEND;TZID=America/Los_Angeles:20260430T220000 DTSTAMP:20260526T024402 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/ ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2026/04/ARM240408-070.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260501T190000 DTEND;TZID=America/Los_Angeles:20260501T233000 DTSTAMP:20260526T024402 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/ ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2026/04/cake26hr-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260502T180000 DTEND;TZID=America/Los_Angeles:20260502T220000 DTSTAMP:20260526T024402 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 ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2026/04/STQTM-verse-1_newversion-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260508T193000 DTEND;TZID=America/Los_Angeles:20260508T220000 DTSTAMP:20260526T024402 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/ ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2026/05/years-as-ruin_igpost.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260510T193000 DTEND;TZID=America/Los_Angeles:20260510T213000 DTSTAMP:20260526T024402 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/ ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2026/05/unnamed-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260514T000000 DTEND;TZID=America/Los_Angeles:20260524T235959 DTSTAMP:20260526T024402 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/ ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2026/04/unnamed-3-1-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260516T120000 DTEND;TZID=America/Los_Angeles:20260516T190000 DTSTAMP:20260526T024402 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/ ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2026/05/Bob.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260527T160000 DTEND;TZID=America/Los_Angeles:20260527T200000 DTSTAMP:20260526T024402 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/ ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2026/05/who-makes-chinatown-promo-poster-2.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260529T000000 DTEND;TZID=America/Los_Angeles:20260531T235959 DTSTAMP:20260526T024402 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/ ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2026/04/AS-FOR-WEB-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260605T000000 DTEND;TZID=America/Los_Angeles:20260606T235959 DTSTAMP:20260526T024402 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/ ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2026/05/CantoJuanga-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20260611T200000 DTEND;TZID=America/Los_Angeles:20260611T210000 DTSTAMP:20260526T024402 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/ ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2026/05/P25-frame-at-0m17s-scaled.jpg END:VEVENT END:VCALENDAR