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DTSTART;TZID=America/Los_Angeles:20190223T180000
DTEND;TZID=America/Los_Angeles:20190223T210000
DTSTAMP:20260826T054701
CREATED:20190211T024400Z
LAST-MODIFIED:20190216T005711Z
UID:4240-1550944800-1550955600@www.h-r.la
SUMMARY:Kenyatta A.C. Hinkle: The Evanesced
DESCRIPTION:In The Evanesced\, 100+ drawings\, large scale paintings and a suite of performances bring attention to a painful subject: missing black womxn in America and the African diaspora\, from history to the present day. Abstract “un-portraits” of elusive figures are conjured up–drawn with handmade brushes and while the Hinkle improvises dances to blues\, hip-hop\, and Baltimore Club music–pivot between real and imagined narratives representing thousands of black women who have disappeared due to colonialism\, human trafficking\, homicides\, and other forms of erasure. The Evanesced: Embodied Disappearance is a suite of performances that evoke the presences of various types of womxn navigating historical and contemporary contexts. The performance–which includes a soundtrack of whispers\, shuffles\, and snippets of popular and underground music–adds another dimension to this emotional examination of a fraught part of the black female experience. The Evanesced is an expression of the #SayHerName movement of mourning\, awareness\, and healing. \nKenyatta A.C. Hinkle is an interdisciplinary visual artist\, writer\, and performer. Her practice fluctuates between collaborations and participatory projects with alternative gallery spaces within various communities to projects that are intimate and based upon her private experiences in relationship to historical events and contexts. A term that has become a mantra for her practice is the “Historical Present\,” as she examines the residue of history and how it affects our contemporary world perspective. Her artwork and experimental writing has been exhibited and performed at The Studio Museum in Harlem\, Project Row Houses\, The Hammer Museum\, The Museum of Art at The University of New Hampshire\, The Museum of the African Diaspora (MoAD) in San Francisco\, The Made in LA 2012 Biennial\, The BALTIC Centre for Contemporary Art\, Newcastle upon Tyne\, UK and Páramo Galeria\, Guadalajara\, Mexico. Hinkle’s work has been reviewed by the Los Angeles Times\, LA Weekly\, Artforum\, Hyperallergic\, The Huffington Post\, The Washington Post and The New York Times. She is also the recipient of several awards including: The Cultural Center for Innovation’s Investing in Artists Grant\, Social Practice in Art (SPart-LA)\, Jacob K Javits Fellowship for Graduate Study\, The Fulbright Fellowship\, and The Rema Hort Mann Foundation Emerging Artists Award. Her writing has appeared in Not That But This\, Obsidian Journal\, Among Margins: Critical & Lyrical Writing on Aesthetics\, and she has a forthcoming first book called SIR\, a reflection on naming as a tool for undefining the defined\, that will be published with Litmus Press. Hinkle is currently an Assistant Professor of Painting at UC Berkeley’s Department of Art Practice.
URL:https://www.h-r.la/event/kenyatta-a-c-hinkle-the-evanesced/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2019/02/51927873_10158140000458976_4984909867471863808_o.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190218
DTEND;VALUE=DATE:20190222
DTSTAMP:20260826T054701
CREATED:20190202T223649Z
LAST-MODIFIED:20190217T010339Z
UID:4222-1550469600-1550728799@www.h-r.la
SUMMARY:Crinkle
DESCRIPTION:CRINKLE is a project exploring sensory perception and themes surrounding multi-sensory integration\, particularly the binding of taste and sound. An attempt at understanding the phenomenon of synesthesia moves one to question\, what does a taste experience sound like? How might a sound experience taste? \nIn asking\, this collaboration between artists Jonathan Silberman and Jasmine Sarp seeks to open a portal within which a unique culinary and soundscape experience will transpire. Over the course of a scored multi-course dinner\, performers and guests will examine and question orientation\, memory\, consciousness\, individual and shared experience\, resonance\, and vibration. \nThis dinner will take place three nights only\, with limited seating. Advanced ticket purchase is required to guarantee entry. \nFebruary 18\, 19\, and 20 @ 8 pm\nHuman Resources\, 410 Cottage Home Street \nfixed menu: $25\nfixed menu with wine: $35\n**The meal features a variety of small plates that include dairy\, gluten\, and nuts (pine nuts\, pistachios\, and hazelnuts). \nBios \nJonathan Silberman is a musician and community organizer based in Los Angeles. Known for his collaborative music making\, he has composed and performed extensively as a member of projects including Godzik Pink\, Rats and LA Fog. Recent work includes the solo saxophone album Red in the Missile Room. He runs the shop/studio/art space Character Projects and co-runs the nonprofit organization Art in the Park. \nJasmine Sarp is a food artist\, graphic designer\, and community organizer living in Los Angeles. Her culinary project Violet Plateau is a means to attune to the surrounding landscape and to explore ground with those willing to share a table. \nThis event is part of LA Fog’s three-day artist residency under Human Resources’ programming series\, 2019-Q1. \nNOTE:\nJust added\, LA Fog will be hosting an after hours Jam Session and hangout\, FREE and open to all\, taking place after the Tuesday night CRINKLE event\, beginning at 10:30PM. There will also be a bar with special drinks by CRINKLE’s Jasmine Sarp.
URL:https://www.h-r.la/event/crinkle/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2019/02/crinkle.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20190216T220000
DTEND;TZID=America/Los_Angeles:20190216T220000
DTSTAMP:20260826T054701
CREATED:20190202T180545Z
LAST-MODIFIED:20190202T180617Z
UID:4218-1550354400-1550354400@www.h-r.la
SUMMARY:A RAVE Is A Rave is a rave
DESCRIPTION:With tunes by amazing djs Baba Electronica\, Tyler Matthew Oyer and Toni and bargain prices!! \nFEB 16\n10pm – 4am\nDoor: $5-10 sliding scale\nBYOB \nCome dance those bones! A RAVE Is A Rave is a rave!! \nAnd please invite everyone and anyone!! The more the merrier since that space is generally gigantic.
URL:https://www.h-r.la/event/a-rave-is-a-rave-is-a-rave/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2019/02/ravex3red.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20190215T190000
DTEND;TZID=America/Los_Angeles:20190215T220000
DTSTAMP:20260826T054701
CREATED:20190127T051330Z
LAST-MODIFIED:20190202T225116Z
UID:4203-1550257200-1550268000@www.h-r.la
SUMMARY:tell no lies / claim no easy victories
DESCRIPTION:February 15\, friday – 7 – 10pm | Free & BYOB\n\n\nperformance-in-progress night with\n\nKarla Ekatherine Canseco & Christal Perez\nJinseok Choi\nMaria Maea\nRoksana Pirouzmand\nPacoima Techno\n\nimage credit: Roksana Pirouzmand\, Painting Pond\, 2009. Video still.\n\nevent organized by Clara López Menéndez
URL:https://www.h-r.la/event/tell-no-lies-claim-no-easy-victories/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2019/01/unnamed-4.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20190214T190000
DTEND;TZID=America/Los_Angeles:20190214T220000
DTSTAMP:20260826T054701
CREATED:20190202T224403Z
LAST-MODIFIED:20190202T224550Z
UID:4225-1550170800-1550181600@www.h-r.la
SUMMARY:Dorian Wood: Color From God-lung (Larkwat 00)
DESCRIPTION:Color From God-lung is an endurance-based opera series in which the performers create an intense yet minimalist environment through the use of their bodies\, and how they relate to each other. Inspired from a dream by Dorian Wood\, the opera unfolds within the petrified carcass of a giant celestial elephant\, one of thousands strewn across the earth\, many years after humankind’s demise. Past Color From God-lungs have been performed in Los Angeles\, San Francisco and Stockholm. This will be the last one. \nPerformers: \nPanteha Abareshi\nDalel Bacre\nJessica Barrett\nBadly Licked Bear\nGregory Barnett\nChequamegon Bollinger\nCarmina Escobar\nSerena Aurora Day Himmelfarb\nMelba Martinez\nJason Savvy\nKevin James Spear\nKari Svendsboe\nAnnabel Turrado\nDorian Wood\nAllison Wyper \nIMPORTANT:\n\nThis is a highly intense performance\, with a duration of three hours.\nNo one under 18 will be admitted.\nTickets may only be purchased in advance. There will be no tickets for sale at the door.\nPerformance begins at 7:00PM SHARP. Please arrive early. No one will be allowed entry after 7:00PM. \nTicket link: https://www.eventbrite.com/e/dorian-wood-color-from-god-lung-larkwat-00-tickets-55472724412
URL:https://www.h-r.la/event/dorian-wood-color-from-god-lung-larkwat-00/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2019/02/colorfromGodlungLarkwat00-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190209
DTEND;VALUE=DATE:20190212
DTSTAMP:20260826T054701
CREATED:20190205T210525Z
LAST-MODIFIED:20250316T050058Z
UID:4235-1549692000-1549864799@www.h-r.la
SUMMARY:There is almost not an interval
DESCRIPTION:We will walk along an unplanned route\, departing from HRLA at the end of the Golden Dragon Parade (3pm) on Saturday February 9th\, and then again at 3pm on Sunday February 10th. Each walk will begin in silence\, with conversation arriving in response to the territory covered and the pace of walking. Live audio from the walks will be streamed to HRLA for the duration of each walk—join us for the walk\, or stop by the gallery to listen in. \n\nThere is almost not an interval (lifted from Gertrude Stein’s 1926 mapping of a continuous present “Composition as Explanation”) approaches the formal components of attention (beginning\, ending\, duration\, suspension\, subject\, object) across a range of scales and distances. Seeking to “reconceptualize lurking as listening” as Kate Crawford proposed in 2009\, we talk now (and probably later too) about the role of memory\, anticipation\, projection\, and transience in forming the attentive listener. De-synchronized and displaced\, Intervals describe the contact between separated speeds\, tonalities\, rhythms\, and subjects; between interior and exterior\, public and private\, here and there\, now and then—punctuated by events and waiting\, covering distance and duration in steps.\n\n*note that Chinatown streets will be closed until 4pm on Saturday February 9th for the parade. Arriving via public transportation or rideshare is recommended on that day. (a map of road closures can be found here)
URL:https://www.h-r.la/event/there-is-almost-not-an-interval/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2019/02/thereisalmostnotaninterval.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20190207T190000
DTEND;TZID=America/Los_Angeles:20190208T233000
DTSTAMP:20260826T054701
CREATED:20190201T033623Z
LAST-MODIFIED:20250316T050123Z
UID:4208-1549566000-1549668600@www.h-r.la
SUMMARY:One\, Again / Against One
DESCRIPTION:One\, Again / Against One is a group show interested in the osculation of being one and many. Oriented towards the processes and conditions that enable relations to be skewed\, at times awkward\, or not necessarily there\, but almost\, is the exhibits domain.\n\nThe title of the show riffs off of Jackie Wang’s Against Innocence\, an essay describing the damaging effects of innocence as political rhetoric. Wang tells us innocence individualizes and defaces the facade of a narrative\, a condition\, a landscape\, a history to be easily assimilated — something relatable or universal.\n\nOne\, Again / Against One\, looks away with Wang\, against the pressures of individualization\, to become an isolated singular thing. The works in the show are exercises in failure\, adjustment\, becoming and unbecoming\, even cruising on to be more than one — always many\, always in flux.\n\nAarum Alatorre\nJohn Birtle \nGabriel Brenner\nHugo Cervantes\nAlexandria Douziech\nErika Kane \nBenicia King\nBrittany Ko\nOlivia Leiter\nPastel\nTroyese Robinson\nPenelope Uribe-Abee\n\n2/7: Soft Opening 7pm – 9pm\n2/8: Gallery Hours 12pm – 5pm with Pastel at 8pm and Erika Kane 9pm till late
URL:https://www.h-r.la/event/one-again-against-one/
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2019/01/0-1.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20190202T180000
DTEND;TZID=America/Los_Angeles:20190203T180000
DTSTAMP:20260826T054701
CREATED:20190201T040154Z
LAST-MODIFIED:20190201T203055Z
UID:4212-1549130400-1549216800@www.h-r.la
SUMMARY:THE DAMAGE + 24 HOUR MOVIE MARATHON
DESCRIPTION:Cinema began in wonder\, the wonder that reality can be transcribed with such immediacy. All of cinema is an attempt to perpetuate and to reinvent that sense of wonder.\n\n\n… \nUntil the advent of television emptied the movie theaters\, it was from a weekly visit to the cinema that you learned (or tried to learn) how to walk\, to smoke\, to kiss\, to fight\, to grieve. Movies gave you tips about how to be attractive. Example: It looks good to wear a raincoat even when it isn’t raining. But whatever you took home was only a part of the larger experience of submerging yourself in lives that were not yours. The desire to lose yourself in other people’s lives . . . faces. This is a larger\, more inclusive form of desire embodied in the movie experience. Even more than what you appropriated for yourself was the experience of surrender to\, of being transported by\, what was on the screen. You wanted to be kidnapped by the movie — and to be kidnapped was to be overwhelmed by the physical presence of the image. The experience of “going to the movies” was part of it. To see a great film only on television isn’t to have really seen that film. It’s not only a question of the dimensions of the image: the disparity between a larger-than-you image in the theater and the little image on the box at home. The conditions of paying attention in a domestic space are radically disrespectful of film. Now that a film no longer has a standard size\, home screens can be as big as living room or bedroom walls. But you are still in a living room or a bedroom. To be kidnapped\, you have to be in a movie theater\, seated in the dark among anonymous strangers. \nexcerpt from The Decay of Cinema\, Susan Sontag\, 1996 \nHuman Resources isn’t a movie theatre\, but it once was Cinema Land. \nOn Saturday\, February 2nd\, in the name of cine-love\, Lucy Bull invites you to join her for a 24 hour movie marathon at Human Resources. This event will begin promptly at 6PM and end at 6PM the following day. It coincides with the beginning of Bull’s occupation of the marquee with the painting The Damage\, on view 24/7 through February 17th. \nThe films were not chosen with a particular theme in mind. Instead\, it’s a mix of films that inspire and haunt with their sensuousness and authenticity… but also because they’re fun. \n– \nLucy Bull (b.1990\, New York) is a Los Angeles based artist. She has recently exhibited with AWHRHWAR (Los Angeles)\, Mother Culture (Los Angeles) and Andrew Edlin Underground (New York). In 2017\, Bull published “Plume” with Onestar Press (Paris). She also runs a table-top exhibition platform called From the Desk of Lucy Bull.
URL:https://www.h-r.la/event/unveiling-of-the-damage-24-hour-movie-marathon/
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2019/01/unnamed-5.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190119
DTEND;VALUE=DATE:20190129
DTSTAMP:20260826T054701
CREATED:20190113T193345Z
LAST-MODIFIED:20250316T050138Z
UID:4184-1547877600-1548655199@www.h-r.la
SUMMARY:Exquisite Rugs\, Exceptional Service: 530 N. Lake Avenue\, Pasadena
DESCRIPTION:An in-progress installation about Pasadena Rug Mart\, established in 1932 and closed in 2017\, commemorating this diasporic 20th Century shop as a personal\, cultural\, business\, and social archive of 530 N. Lake Avenue\, Pasadena and incorporating documentation and archival materials dating from the 1930s-2000s\, as well as books\, textiles\, ephemera\, yarn used to make repairs\, a c. 1932 neon sign as well as other objects telling the story of the space.\n\nSaturday 1/19 12—6\nSunday 1/20 12—8\nMonday 1/21 12–6\nTuesday 1/22 3–6\nSaturday 1/26 12—6\nSunday 1/27 12—6\n\nOn January 20\, there will be three slideshows featuring found slides created from translated annotations on each slide. Slideshows will take place at 2\, 5\, and 7pm.\n\nAdditional slideshow presentations on Saturday 1/26 at 2 and 5pm and on Sunday 1/27 and  a listening session with Arshia Fatima Haq (Discostan) will play contemplative sounds for and from the archive from 6-7:30pm.\n\n\n\nOrganized by Maryam Hosseinzadeh
URL:https://www.h-r.la/event/exquisite-rugs-exceptional-service-530-n-lake-avenue-pasadena/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2019/01/image1-1.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20190117T190000
DTEND;TZID=America/Los_Angeles:20190117T210000
DTSTAMP:20260826T054701
CREATED:20190104T210009Z
LAST-MODIFIED:20190104T210009Z
UID:4173-1547751600-1547758800@www.h-r.la
SUMMARY:Dorian Wood: Rhythm Nation 1814
DESCRIPTION:For one night only\, singer/composer Dorian Wood will honor the 30th anniversary of the release of Janet Jackson’s 1989 masterpiece “Rhythm Nation 1814” by performing it in its entirety\, arranged for voice and piano. Says Dorian: “I was 14 when this album came out. No other music at the time sounded like it. I knew every lyric and every dance move\, and Janet’s messages of social justice and reluctant sensuality helped shape my adolescence.” \n“A cutting edge sound that respectfully acknowledges the folk music of his birth\, Dorian is an artist who does not stop…his life is the rhythm of his creative impetus.” – GQ (Mexico) \n“The performer\, who bends genres as much as he bends gender\, in performances that are a little bit torch song and a lot avant-garde\, delivers vocals that offer sublime beauty and pain.” – Los Angeles Times
URL:https://www.h-r.la/event/dorian-wood-rhythm-nation-1814/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2019/01/dw_rn_hr.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190111
DTEND;VALUE=DATE:20190114
DTSTAMP:20260826T054701
CREATED:20181231T191310Z
LAST-MODIFIED:20181231T192100Z
UID:4167-1547186400-1547359199@www.h-r.la
SUMMARY:Elliot Reed: Ant
DESCRIPTION:January 11th + 12th 2019 12pm – 12am \nAnt is a new project by Elliot Reed. 45 performers create a film in private. The resulting multi-cam footage is projected in the same room\, January 11th + 12th 12pm – 12am \nAnt is inspired by the mathematics concept Langton’s Ant. Langton’s Ant proves that a set of repeated\, simple instructions reveals a complex pattern after many repetitions. This is an abstract machine. Actors navigate each other with written prompts\, each individual reacting to a secret motivation. All directing\, rehearsal\, and subsequent actions are filmed in real time. Any props or detritus from the shoot will be left exactly as is\, leaving a physical memory of private action. Potential is a word that comes to mind. Knowing\, believing\, and understanding that something powerful is present\, but somehow just out of reach. The viewer will recognize their body in relationship to the venue\, and in somatic response to the performers on screen. Elliot Reed will be present noon to midnight January 11th and 12th\, reading an original poem every hour. A printed collection of these poems titled Ant will be available for purchase.
URL:https://www.h-r.la/event/elliot-reed-ant/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2018/12/Screen-Shot-2018-12-31-at-8.56.29-AM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20190106T180000
DTEND;TZID=America/Los_Angeles:20190106T180000
DTSTAMP:20260826T054701
CREATED:20181230T030559Z
LAST-MODIFIED:20181230T030559Z
UID:4163-1546797600-1546797600@www.h-r.la
SUMMARY:Jennifer Doyle: Letting Go
DESCRIPTION:Letting Go \nA reading of a work in progress: reflections on living with harassment. \nJennifer Doyle is a member of the Board of Directors for Human Resources Los Angeles. She is the author of Campus Sex/Campus Security\, Hold It Against Me: Difficulty and Emotion in Contemporary Art and Sex Objects: Art and the Dialectics of Desire.
URL:https://www.h-r.la/event/jennifer-doyle-letting-go/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/12/unnamed-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20190104T180000
DTEND;TZID=America/Los_Angeles:20190104T200000
DTSTAMP:20260826T054701
CREATED:20181229T193610Z
LAST-MODIFIED:20181229T222019Z
UID:4153-1546624800-1546632000@www.h-r.la
SUMMARY:Autumn Knight: Yes + No: A Cult
DESCRIPTION:This event is a 2 part performance. Part 1 uses text\, light persuasion\, and vocalization to think about the construction of collective thought\, action\, and belief. Part 2 is a lecture about cognitive dissonance. \nAutumn Knight is an interdisciplinary artist working with performance\, installation and text. Her performance work has been in group exhibitions at various institutions including DiverseWorks Artspace\, Art League Houston\, Project Row Houses\, Blaffer Art Museum\, Crystal Bridges Museum\, Skowhegan Space (NY)\, The New Museum\, The Contemporary Art Museum Houston\, Optica (Montreal\, Canada)\, The Poetry Project (NY) and Krannart Art Museum (IL). Knight has been in residence with with In-Situ (UK)\, Galveston Artist Residency\, YICA (Yamaguchi\, Japan) and Artpace (San Antonio\, TX). In 2015\, Knight was an Artadia awardee. Knight was a 2016-2017 artist in residence at the Studio Museum in Harlem (NY). She has served as visiting artist at Montclair State University\, Princeton University and Bard College. She attended the Skowhegan School of Painting and Sculpture (2016) and holds an M.A. in Drama Therapy from New York University. \n$10 suggested donation\, no-one turned away for lack of funds.
URL:https://www.h-r.la/event/autumn-knight-yes-no-a-cult/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/12/MC-6560.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190101
DTEND;VALUE=DATE:20190402
DTSTAMP:20260826T054701
CREATED:20181222T203234Z
LAST-MODIFIED:20190314T062611Z
UID:4148-1546322400-1554098399@www.h-r.la
SUMMARY:2019-Q1
DESCRIPTION:We thought we were going to have to move out\, now it seems we don’t. We’ll be in this space for the foreseeable future\, then we’ll be in another. Until then\, continuous grand finales! Including contributions from: \n\nAarum Alatorre\nAce Farren Ford\nAlexandria Douziech\nAlex Twomey\nAlex Zhang Hungtai\nAlice Cunt\nAllison Wyper\nAmanda Horowitz\nAmitis Motevalli\nAndorkappen\nAndre Keichian\nAndy Seven\nAng Wilson\nAnnabel Turrado\nAnna Luisa Petrisko\nAria Safar\nArne Gjelten\nAutosex\nAutumn Knight\nBaba Electronica\nBadly Licked Bear\nBapari\nBenicia King\nBite Marx\nBonemagic\nBreana Gilcher\nBrian Walsh\nBrittany Ko\nBully Fae Collins\nCamila Maria Alvarez\nCarmen Amengual\nCarolyn Castaño\nCelia Hollander\nChelsea Rector\nChen Guan-Hong (陳觀鴻)\nChequamegon Bollinger\nChris Avitabile\nChristal Perez\nChristane Oyen\nChristine Breihan\nChristopher Garcia\nChristopher Reid Martin\nChristopher Warinofsky\nClara Lopez Menendez\nConscious Summary\nConstance Strickland\nCrasslos\nDalel Bacre\nDalton Chase Goulette\nDan Clucas\nDaniel Brummel\nDanketsu 9\nDawn Kaspar\nDerek Monypeny\nDntel\nDorian Wood\nDylan Fujioka\nElliot Reed\nEmily Lacy\nEric Kim\nErika Kane\nFernando Solanas\nFlannery Silva\nFUCK U PAY US (FUPU)\nGabie Strong\nGabriel Brenner\nGary Dauphin\nGASP\nGelare Khoshgozaran\nGeoff Geis\nGrant Capes\nGregory Barnett\nGuan Rong\nHande Sever\nHausa\nHugo Cervantes-Flores\nIan E. Wellman\nIris Yirei Hu\nIsaac Prado\nItsuro Isokawa\nJahnny Wobble\nJake Muir\nJames Fella\nJasmine Sarp\nJason Adams\nJason Savvy\nJennifer Doyle\nJennifer Moon\nJessica Barrett\nJimena Sarno\nJimmy Tamborello\nJinseok Choi\nJohn Burtle\nJohn Carroll Kirby\nJonathan Silberman\nJonathan Snipes\nJulia Yerger\nKa Baird\nKari Svendsboe\nKarla Ekatherine Canseco\nKathleen Kim\nKelly Coats\nKen Moore\nKenyatta Hinkle\nKevin James Spear\nKid606\nKim Ye\nKinetic Attack\nKyle Motl\nLa Disco Es Qultura\nLA Fog\nLaub\nLiz Eldridge\nLoop Goat\nLucy Bull\nLuke Fischbeck\nMallory Soto\nMaria Maea\nMars Pharoah Ford\nMarvin Astorga\nMaryam Hosseinzadeh\nMaría Montenegro\nMatthew Sullivan\nMedium Judith\nMelba Martinez\nMichael Intriere\nMiguel de Pedro\nMike Meanstreetz\nMing Wong (黃漢明)\nMitchell Brown\nMounir\nMr California and the State Police\nMutant Salon\nNathan Hubbard\nNoah Guevara\nNour Moborak\nOlivia Buntane\nOlivia Leiter\nOrlando Greenhill\nPacoima Techno\nPastel\nPatrick Shirioshi\nPauline Lay\nPenelope Uribe-Abee\nPerwana Nazif\nProject Nongenue\nPsychic Health\nRebeca Hernandez\nRich West\nRiver Lin (林人中)\nRobert William Magill and ensemble\nRob Magill\nRogue Squares\nRoksana Pirouzmand\nRoshanak Kheshti\nRust Worship\nSahba Sazdakhani\nSaint Cecilia\nSalted Circle\nSana Shenai\nSandra de la Loza\nSarah Gail\nSarah Naim\nSara Mameni\nSean McCann\nSerena Aurora Day Himmelfarb\nSeth Kasselman\nSharkiface\nSheKhan\nSho Halajian\nSIDLE\nSister Mantos\nSkyline Electric\nSnatchpower\nSobbing Honey\nSoft Sailors\nSpring Bleeding\nSquirrel Spam\nStefano Funk\nSteve Kado\nTaleen Kali\nTheatre Roscius\nThe Deep Silence\nThe Gift Machine\nThe Goddexx Cori\nThe Uhuruverse\nTim Leanse\nTimonium\nTim Reid\nTom Hall\nToni\nTravisD\nTroyse Robinson\nTyler Matthew Oyer\nTzuan Wu (吳梓安)\nUmbra Vita\nUPEND\nVeronica de Jesus\nVeronique d’Entremont\nVictoria Sin\nVoice on Tape\nWalter Vargas\nWatermelon Sisters\nWhirlynn\nWitches of Malibu\nxTimido\nYek Koo\nYoung Joon Kwak\nYu Cheng-Ta(余政達)\n\n…and others TBD \nMore info for each program to be posted as we go…
URL:https://www.h-r.la/event/2019-q1/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181220T200000
DTEND;TZID=America/Los_Angeles:20181221T170000
DTSTAMP:20260826T054701
CREATED:20181128T025056Z
LAST-MODIFIED:20190126T164257Z
UID:4128-1545336000-1545411600@www.h-r.la
SUMMARY:Kayla Tange: Defining Boundaries
DESCRIPTION:Performance and Opening December 20th 8pm \nGallery Hours December 21st\,  12-5pm \nHuman Resources (HRLA) presents a multimedia installation and performance by Kayla Tange. Defining Boundaries explores the construction of boundaries that protect sacred interiority. Tange’s performance utilizes ritual\, sound\, ephemeral architecture and collected confessions (including her own) in an attempt to establish psychic\, emotional and physical boundaries\, guarding against abuse and trauma; elements heavily circulating in our current political climate. \nIn these times\, it is essential that we practice empathetic listening toward our friends\, family\, and community at large. Yet\, do we even have the resources\, strength\, or methods to protect our own psychic energy? Defining Boundaries is a manifestation of sanctuary; a necessary action for when our vulnerability is exhausted or abused. Retreat and the cultivation of personal sacred space opens dialogue\, and acceptance surrounding communal elevation out of racial and sexual proliferation. \nTange uses her experience as a sonic medium to build an atmosphere rife with sex\, shame\, secrets\, and identity. In Defining Boundaries\, Tange projects into Human Resources the recorded confessions collected in past performances—Confession Box (2015-2016)\, A Bare Witness (2016) and Boundaries (2016-2018)— where public space became an interactive confessional. Unlike previous performances where her own sexual vulnerability was used to allow others to expose theirs\, Tange now paints a filter from the confessions as the audience reflects on their own capacity to build a protected interiority. The physical boundary she designs within\, resembles a white a cube; a space not so different than the interior of white galleries that art critic Brian O’Doherty reflects upon. “The outside world must not come in\, so windows are usually sealed off. Walls are painted white. The ceiling becomes the source of light . . . . The art is free\, as the saying used to go\, ‘to take on its own life.’” \nDefining Boundaries is a call to protect interior worlds\, tight-knit artistic communities and to celebrate the words of Anais Nin: Had I not created my whole world\, I would certainly have died in other people’s. This two day performance and installation urges for self-preservation against confessions representing larger issues\, including addressing the media saturated with sexist representations mirroring the interconnected power of patriarchy and capitalism. Although we are exposed to the intimate disclosures Tange has collected\, we witness her enacted isolation; a process that inspires insulation and protection of our own sacred interior spaces. Once this internal dominion is created\, the self re-connects and re-gathers the deeply buried\, fragmented inner parts and welcomes refuge where stillness and the inner workings of the mind\, heart and spirit expand. \nKayla Tange was born in South Korea in 1982\, and adopted at age six months by a Japanese American family residing in Lemoore\, California. She moved to Los Angeles in 2000 and her love for photography slowly progressed into a conceptual performance practice where boundaries\, sexuality and identity are recurring themes. Tange has had solo performances at Coagula Curatorial\, Miami Art Basel\, Highways Performance Space\, New York Burlesque Festival and Asian Burlesque Extravaganza and performed alongside Ron Athey\, Taylor Mac and Sheree Rose. She is the co-producer of Dear Mother (2017) —a short film about her Korean adoption and relationship to performance. Dear Mother has shown at the the Korean American Film Festival New York\, Asian Pacific Film Festival in Los Angeles\, San Francisco Short Doc Fest and Boston Asian American Film Festival.  \ntext by Ezequiel Olvera \nsound design by Brent Kiser \nphoto by Luka Fisher
URL:https://www.h-r.la/event/kayla-tange-defining-boundaries/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181215T140000
DTEND;TZID=America/Los_Angeles:20181215T160000
DTSTAMP:20260826T054701
CREATED:20181213T054754Z
LAST-MODIFIED:20181213T065440Z
UID:4139-1544882400-1544889600@www.h-r.la
SUMMARY:Views from Here: Los Angeles | A panel discussion about being based in LA
DESCRIPTION:Moderated by Michelle Grabner with Jennifer Bolande\, Neha Choksi\, Courtney Fink\, Galia Linn\, Shana Lutker\, Forrest Olivo\, Paul Pescador\, and Paul Mpagi Sepuya \nJoin us for a conversation about regionality\, locality\, and the myriad of ways in which arts-workers find themselves living and working in Los Angeles. This panel is comprised of artists\, curators\, and art advocates who have spent time in Los Angeles looking out\, and outside of Los Angeles looking in. We come together to take a deeper look at ourselves\, as Angelenos. \nMilwaukee-based artist Michelle Grabner\, an informed “outsider\,” will lead a conversation among panelists and the audience about Los Angeles-ness. A lifelong midwesterner\, Grabner has questions about what’s happening in LA\, and wants to hear about Here. \nThis is the fourth X-TRA Forum\, a series of programs using the 20-year archive of contemporary art quarterly X-TRA as a springboard. Grabner looked back to her first contribution to X-TRA for inspiration for this program. In 1997\, she wrote a review of The Eagle Rock Show\, an exhibition organized by Laura Owens at the Eagle Rock Cultural Community Center printed in X-TRA Volume 1\, number 3. In her text\, Grabner considers the importance of “social skills and generosity” that infused the exhibition\, a group show of artists working in and around Eagle Rock. Now\, 20 years later\, what are the key elements that infuse our art lives in Los Angeles? \nModerator \nMichelle Grabner is an artist\, writer\, and a curator based in Wisconsin. She is the Crown Family Professor of Art at the School of the Art Institute of Chicago where she has taught for twenty-three years. In addition\, Grabner has also held teaching appointments at The University of Wisconsin-Madison\, Cranbrook Academy of Art; Yale Norfolk; Milton Avery Graduate School of Arts\, Bard College; Yale University School of Art; and Skowhegan School of Painting and Sculpture\, Maine. The Indianapolis Museum of Art\, MOCA Cleveland\, Illinois State Galleries\, and INOVA at University of Wisconsin Milwaukee have each hosted survey exhibitions of Grabner’s work. \nGrabner co-curated the 2014 Whitney Biennial and curated the 2016 Portland Biennial. She was the Artistic Director for the inaugural exhibition\, FRONT International\, the 2018 Cleveland Triennial for Contemporary Art. Her reviews are regularly published in X-TRA and Artforum. In 2010\, Mary Jane Jacob and Grabner co-edited THE STUDIO READER\, published by the University of Chicago Press. \nWith her husband Brad Killam\, she founded The Suburban in 1999 in Oak Park\, IL hosting a range of international contemporary art. After 16 years in the Chicago vicinity\, The Suburban began programming exhibitions in Milwaukee’s Walker’s Point neighborhood. In 2009 Grabner and Killam opened The Poor Farm in rural Waupaca County\, Wisconsin. The Poor Farm is dedicated to annual historical and contemporary exhibitions\, lectures\, performances\, publications\, screenings and alternative educational programs. \nPanelists \nJennifer Bolande came of age as part of New York’s Pictures Generation during the 1980s. Rooted in conceptualism\, her work employs various media—primarily sculpture\, photography and film—to explore the quiet affinities between particular sets of objects and images\, and the mercurial meanings they manufacture. Reviewing a show of her work at Metro Pictures\, New York Times’ critic Holland Cotter praised Bolande’s art for it’s “low-key wit\, lively inventiveness\, and subtle eye for metaphor.” Bolande is a professor in the New Genres area of UCLA’s Department of Art. A solo exhibition of her work\, titled The Composition of Decomposition\, is on view at Pio Pico gallery. \nNeha Choksi is a visual artist who works in multiple media\, across disciplines\, and at times collaboratively and in unconventional settings. She was awarded the India Today Best New Media Artist of the Year Award (2017) and the designation of Cultural Trailblazer by the City of Los Angeles DCA (2017/2018). She serves on the editorial board of X-TRA and is currently working with Anuradha Vikram on a series for X-TRA Online called “Views From Here” that will present perspectives on “here” from artists across the globe. Her work was included in Made in LA at the Hammer Museum earlier this year\, and her exhibition and installation\, ELEMENTARY\, is currently on view at 18th Street Arts Center in Santa Monica. \nCourtney Fink is an organizer\, arts advocate\, curator and writer. She is co-founder and founding executive director of Common Field\, a national network of independent visual arts organizations and organizers that connects\, supports\, and advocates for the artist-centered field. From 2002-2015 she was the executive director of Southern Exposure in San Francisco\, a non-profit organization dedicated to supporting visual artists. She serves on the Board of Directors of the Andy Warhol Foundation for the Visual Arts and the Seed Fund. \nForrest Olivo is the founder of Contemporary Art Daily\, a website that publishes high quality documentation of exhibitions from around the world every day. He is executive director of the small non-profit that produces that project as well as Contemporary Art Quarterly\, a set of exhaustive online archives documenting individual art practices. \nGalia Linn a sculptor and site-specific installation artist living and working in Los Angeles. Linn constructs relationships between subject\, object and their environments by creating elemental tensions; a delicate balance between the mediums’ limits and Linn’s exploration with life’s imperfections.  She has shown nationally and internationally\, and is part of numerous private collections in Los Angeles\, Miami\, New York\, Paris\, Brussels and Tel Aviv.  Linn is the founder of Blue Roof Studios is a multidisciplinary art hub located in South Los Angeles. It offers a place for artists to work in an environment that fosters creativity and community. \nShana Lutker is an interdisciplinary artist whose work explores the relationship between language and the unconscious. She has had solo exhibitions at the Hirshhorn Museum and Sculpture Garden in Washington DC\, and the Pérez Art Museum Miami\, and was included in the 2014 Whitney Biennial and Performa 13. Lutker received her MFA from UCLA. She serves as the Executive Director of Project X Foundation for Art & Criticism\, the nonprofit publisher of X-TRA. \nPaul Pescador is an artist\, filmmaker\, performer and writer discussing social interactions and intimacy as they pertain to his own personal identity and history. He graduated with an MFA from University of California\, Irvine and a BA from University of Southern California. Select exhibitions and screenings include: The Main Museum\, Los Angeles; The Pit\, Glendale; 18th Street Art Center\, Santa Monica; 5 Car Garage\, Santa Monica; Coastal/Borders\, Getty Pacific Standard Time: LA/LA at Angels Gate Cultural Center; LAND at The Gamble House\, Pasadena; Vacancy\, Los Angeles; Ashes/Ashes\, Los Angeles; Park View\, Los Angeles; and Human Resources\, Los Angeles. Select performances include: Machine Projects\, Los Angeles; Los Angeles Contemporary Archives; Performa 2015; Colony\, New York; UC Berkeley: Durham Studio Theater; PAM\, Los Angeles; Hammer Museum\, with KCHUNG TV\, Los Angeles; REDCAT\, Los Angeles; Guggenheim Gallery at Chapman University\, Los Angeles; and ForYourArt\, Los Angeles. \nPaul Mpagi Sepuya’s work is rooted in portraiture\, elements of storytelling\, and homoerotic visual culture. By inserting mirrors and collage-like photographs and staging his friends\, partners\, and lovers as his subjects\, Sepuya investigates the role of the studio as a social environment. He received his MFA from the University of California Los Angeles in 2016 and a BFA from New York University Tisch School of the Arts in 2004. Sepuya’s work has been featured in numerous exhibitions including at the Museum of Contemporary Art Los Angeles; The Studio Museum in Harlem; Franklin Art Works\, Minneapolis; and the Artist Institute\, New York. \nX-TRA Forums are made possible with additional support from Pasadena Art Alliance\, Isambard Kingdom Brunel Society of North America\, and The Andy Warhol Foundation for the Visual Arts. The preceding X-TRA Forums were “A Jennifer Moon Songbook” organized by Malik Gaines\, “Clean Needles Now and Now” organized by Patrick Staff\, and “Something About Feet” with Dorit Cypis and Simone Forti in conversation. \nPhoto by Shana Lutker
URL:https://www.h-r.la/event/views-from-here-los-angeles-a-panel-discussion-about-being-based-in-la/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20181208
DTEND;VALUE=DATE:20181218
DTSTAMP:20260826T054701
CREATED:20181205T231541Z
LAST-MODIFIED:20181212T222749Z
UID:4135-1544248800-1545026399@www.h-r.la
SUMMARY:Terror en lo Profundo
DESCRIPTION:Opening Saturday 12/8 7—10pm\nOn view through 12/16\nGallery hours Thursday-Sunday\, noon-6pm \nArtistas / Artists: Rosalee Bernabe\, Wendy Cabrera Rubio\, Juan Caloca\, Christian Camacho\, Paloma Contreras Lomas\, El Pelele\, Elsoldelrac\, Julieta Gil\, Sebastián Gonzales de Gortari\, Abraham Gonzáles Pacheco\, Cristobal Gracia\, Madeline Jimenez\, Enrique López Llamas\, Morgan Mandalay\, Richard Mendtorr\, Irak Morales\, Jazael Olguín Zapata\, Diego Ramírez\, Marisa Raygoza\, SANGREE\, Israel Urmeer\, Lucía Vidales\, Tatyana Zambrano \nEl Popocatépetl solloza: enfurecido explosiona sus hirvientes y humeantes líquidas garras sobre tus largos campos de petróleo\, silicio y maíz. Ruge a tu montañoso rostro exigiendo una respuesta\, pero tus lánguidos labios de barro apenas pueden abandonar el llanto. Su cuerpo\, roto y abnegado\, estalla una última vez para abrir camino hacia lo profundo de tu propio terror colonial. \nDeslave se complace de presentar “Terror en lo Profundo” para Human Resources LA\, una exhibición conformada por el trabajo de 23 artistas que desde el humor\, el horror y la ficción enuncian estrategias que analizan críticamente los estragos de los mecanismos de colonización\, tanto del pasado como actuales\, blandos o violentos\, de sumisión o seducción. \nLa exposición se compone de pinturas y dibujos que dialogan\, o se oponen\, a los legados del arte occidental; objetos escultóricos que transitan entre la simulación y lo documental en relación con eventos prehispánicos o religiosos; trabajos de video que utilizan la puesta en escena para recrear\, reimaginar o deconstruir eventos históricos o mitológicos; y una serie de prácticas conceptuales que analizan la encrucijada política entre tradición cultural y territorialidad. \nDeslave es un proyecto curatorial y espacio para la producción\, exhibición y discusión de arte contemporáneo. Actualmente dirigido por Mauricio Muñoz y Andrew Roberts\, se encuentra ubicado en Tijuana desde la primavera de 2017. \nwww.deslave.art \nThe Popocatépetl mourns: enraged explodes its boiling and smoking liquid claws on your long fields of oil\, silicon and corn. Demanding an answer\, it roars to your mountainous face\, but your languid lips made of mud can scarcely leave your profound weeping. His body\, broken and self- sacrificing\, bursts one last time to open a way to the depths of your own colonial terror. \nDeslave is pleased to present Terror en lo Profundo for Human Resources LA\, an exhibition comprised of the work of 23 artists who\, from humor\, horror and fiction\, formulate strategies that critically analyze the ravages of colonizing mechanisms\, both in the past and in the present\, soft or violent\, of submission or seduction. \nThe exhibition is composed of paintings and drawings that dialogue —or oppose— to the legacies of Western art; sculptural objects that transit between the simulation and the document in relation to pre-Hispanic or religious events; video works that use staging to recreate\, re-imagine or deconstruct historical or mythological events; and a series of conceptual practices that analyze the political crossroads between cultural tradition and territoriality. \nDeslave is a curatorial project and space for the production\, exhibition and discussion of contemporary art. Currently run by Mauricio Muñoz and Andrew Roberts\, it is located in Tijuana since the spring of 2017.
URL:https://www.h-r.la/event/terror-en-lo-profundo/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181202T120000
DTEND;TZID=America/Los_Angeles:20181202T213000
DTSTAMP:20260826T054701
CREATED:20181110T210241Z
LAST-MODIFIED:20181110T210241Z
UID:4096-1543752000-1543786200@www.h-r.la
SUMMARY:Alexander Kluge: "News from Ideological Antiquity"
DESCRIPTION:Alexander Kluge’s film\, News From Ideological Antiquity: Marx-Eisenstein-Capital\, begins with Eisenstein’s ambitious but unrealized plan to combine Capital and Ulysses. For over nine hours\, the film expands in concentric circles as Kluge\, his guests\, interlocutors and monologists make associative links on a range of topics that starts from a filmic discussion of Eisenstein’s notes. Kluge’s film is divided into three parts: I. Marx and Eisenstein in the Same House; II. All Things are Bewitched People; III. Paradoxes of Exchange Society. At several points in the film we get a sense of what Eisenstein had in mind with his project. In one scene\, we see that a “pot of soup has become a water kettle\, boiling away and whistling: the image recurs at several moments in the exposition (Eisenstein’s notes projected in graphics on the intertitles)\, in such a way that this plain object is ‘abstracted’ into the very symbol of energy. It boils impatiently\, vehemently it demands to be used\, to be harnessed\, it is either the whistling signal for work\, for work stoppage\, for strikes\, or else the motor-power of a whole factory\, a machine for future production …” (Frederic Jameson in the New Left Review\, July/August 2009). By insistence and repetition this banal object\, a commodity\, transforms into a larger-than-life symbol\, and we start to get a sense of the full range of cognitive and material links this commodity has to the web of life that surrounds it. (Marty Kirchner) \nGermany\,  2008\, 570 minutes. Documentary/essay anthology film. German with English subtitles\nWriter/Director: Alexander Kluge\, Cinematography: Michael Christ\, Erich Harandt\, Werner Lüring\, Claudia Marcell\, Heribert Kansy\, Thomas Mauch\, Thomas Willke\, Walter Lennertz\, Editor: Kajetan Forstner\, Andreas Kern \nPresented in its entirety as a 9.5 hour “marathon” screening / Installation. Come and go as you like. Bring extra pillows/cushions for comfort. Refreshments will be served throughout the event. \n \npresented in collaboration with Los Angeles Film Forum and Goethe-Institut Los Angeles as part of their MARX NOW project.
URL:https://www.h-r.la/event/alexander-kluge-news-from-ideological-antiquity/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181201T163000
DTEND;TZID=America/Los_Angeles:20181201T220000
DTSTAMP:20260826T054701
CREATED:20181124T213254Z
LAST-MODIFIED:20181125T030152Z
UID:4118-1543681800-1543701600@www.h-r.la
SUMMARY:(de) Color-Es 2018/ Primera Generación Dance Collective
DESCRIPTION:Saturday\, December 1\, 2018 \n5:00pm and 8:30pm doors open 30min before the show \nDiscounted Tix $15 before 11.23.18 with code: “pgdc”; General Tix $20 \nTICKETS: www.brownpapertickets.com/event/3625627 \n(de) Color-Es is an event that questions what color and marginalization is\, how it is constructed by/within art and where it can go/what it can do. The project seeks to cultivate community and networks amongst artists of color and first generation individuals through the coalition of art. This event is made possible through the generosity of HUMAN RESOURCES LA. The overall vision is produced and curated by Primera Generación Dance Collective and their goal to promulgate a community held between the experience of marginalization that seeks visibility and mobility; sociality that includes where they come from\, where they are\, and where they are going. \nFeatured artists: Isis Avalos\, Jonathan Godoy\, Sebastian Hernandez\, Mujeres en Resistencia\, Justin Morris & Steven Rosa\, Tom Tsai\, and Tranze Danza Contemporánea \n(de) Color-Es literally translates to “of color is”\, and moves towards the celebration of bodies of color interested in who they are\, what our community can be\, and what this all is/es. \nAudiences will be encouraged to navigate the multifaceted space at human resources as performances and durational art exhibits take place.
URL:https://www.h-r.la/event/de-color-es-2018-primera-generacion-dance-collective/
CATEGORIES:one-time event at HR
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181127T200000
DTEND;TZID=America/Los_Angeles:20181127T200000
DTSTAMP:20260826T054701
CREATED:20181125T030456Z
LAST-MODIFIED:20181126T221305Z
UID:4121-1543348800-1543348800@www.h-r.la
SUMMARY:Audrey Chen • Nour Mobarak • Conscious Summary
DESCRIPTION:– live in concert – \nsolo performances \nAudrey Chen (Berlin/Baltimore)\nNour Mobarak\nConscious Summary \n8pm-11pm\ndonate eight \n  \nAUDREY CHEN \nArticulate down to a single vocal cord click\, Berlin-based improvisor Audrey Chen hyperextends voice\, mining material in between – and beyond – previous utterance. Finding sound via microtones of larynx squeak\, blowing wind turbulence with lip-flip flutters\, and plumming the corporeal with full throated phonation\, Chen also channels an electric flow of tone and pulse accompanying herself on a Ciat Lonbarde synth. Though clearly diverged from staid forms\, she thankfully maintains the rigor of her Classical training to service ever-new and of-the-moment free expression! Returning to L.A. for this solo scorcher and hopefully more\, Chen has worked with Maria Chavez\, Nate Wooley\, C. Spencer Yeh\, and Martín Escalante among many other players in the field. She also maintains a couple of core duos\, regularly parrying with Phil Minton\, and playing in Beam Splitter with Norwegian trombonist Henrik Munkeby Nørstebø. \nhttp://www.audreychen.com \n  \nNOUR MOBARAK \nScouting a new situation with each outing\, Nour Mobarak is an artist whose performance practice rarely repeats a scene\, though – it could be said\, out loud – her voice itself occupies a core presence in her work. Recently Mobarak has investigated the limits of language via a vexing and hyper-personal mode of inquiry: recording conversations with her father\, who speaks clearly\, but is constrained by a fugue state and a perpetually fleeting memory. Topics progress only so far\, before they cycle back or drift away\, even as the polylingual pair hop from one tongue to another. As she readies a record that draws from these convos\, she also prepares a late 2018 live performance at Human Resources Los Angeles. What it will be\, and how we will remember it\, may differ from one moment to the next. \nhttp://nour.computer \n  \nCONSCIOUS SUMMARY \nRightly associated with the autonomous zone that is (the) Handbag Factory performance venue and the Seahorse Sound recording studio\, Samur Khouja has also long poured the surreal into a solo project called Conscious Summary. This is a sound space where possibilities remain open. As this master of tech patches together an organic array of electronic process\, we can access other existential planes via swelling hums and dream of desert sand blowing. Just as easily\, auditory incursions of the weird and jagged shock us back into place. Conscious Summary’s latest Exhaustions has been issued just this month on Skintrade Recordings. \nhttps://conscioussummary.bandcamp.com
URL:https://www.h-r.la/event/audrey-chen-nour-mobarak-conscious-summary/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181118T190000
DTEND;TZID=America/Los_Angeles:20181118T190000
DTSTAMP:20260826T054701
CREATED:20181110T211230Z
LAST-MODIFIED:20181110T211306Z
UID:4102-1542567600-1542567600@www.h-r.la
SUMMARY:Nikki Darling: "Fade Into You"
DESCRIPTION:Join us for the launch of Nikki Darling’s debut novel Fade Into You With guests Luis J Rodriguez and Raquel Gutierrez. \n(You can read an excerpt here) \n 
URL:https://www.h-r.la/event/nikki-darling-fade-into-you/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/11/download.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181117T190000
DTEND;TZID=America/Los_Angeles:20181118T120000
DTSTAMP:20260826T054701
CREATED:20181029T181840Z
LAST-MODIFIED:20181110T211421Z
UID:4088-1542481200-1542542400@www.h-r.la
SUMMARY:Perpetual Drone
DESCRIPTION:This night is an official benefit for Maps.org to help raise awareness and money for their efforts to help make psychedelic assisted therapy a legal treatment option in America\, this is something they have made great strides towards completing and has garnered lots of support worldwide. All the performers\, Artists and organizers are donating their time and talents. 100% of the proceeds from ticket sales go directly to Maps.org who will have some speakers at the events. \nThe Event will start 7pm Saturday November 17th and will end at noon on Sunday November 18th. \nHuman Resources can offer almost complete isolation from the outside world and it has lots of floor space to accommodate people lying down so it is the ideal venue in Los Angeles for this kind of event. \nThe Theme of the night takes inspiration from Max Richter’s Sleep concerts\, Tibetan sound meditation\, Dublab’s overnight Tonalism events\, Phil Niblock’s Experimental intermedia foundation\, and LaMonte Young’s Dreamhouse. \nWe are creating a comfortable setting that people can feel free and safe to stay as long as they want and bring any cushions\, pillows\, sleeping bags\, blankets\, etc to stay overnight so the overnight musical performances be the soundtrack to the audience’s sleeping and dreaming. \nThe musical sets from midnight onward will be beatless/ ambient/modular synth/drone and as chill as possible so that it is comfortable for people to sleep in and not have any startling awakenings. \nAttendees are free to come and go as they please but we would ideally like to create an atmosphere where people would like to spend the night and have an immersive/deep listening/durational/meditative experience. This is why we won’t be programming any overstimulating performances aka noise/beats/drums/loud singing/extreme volumes or excessive high frequencies. \nAmbient/Soundbath/Drone/Modular/Quadraphonic/Deep listening & AV performances from: \nTelefon Tel Aviv\nSam Gendel\nSecret Circuit\nHeare\nMark Van Hoen / Locust\nElectric Sound Bath\nGeorgia (J. Tripp solo)\nKid606\nOne Child Policy\nCristopher Cichocki-Circular Dimensions\nBrad Laner\nDevin Sarno\nYann Novak\nRobert Crouch\nIzapa\nEllen Phan\nAnna Luisa Petrisko\nLogreybeamMusic\nGeorge Jensen\nGeneva Skeen\nThe Eternal Chord & Zachary Paul\nconscious summary\nAlex the Brown\nRichard Chartier /pinkcourtesyphone\nChristopher Reid Martin (Shelter Death)\nAlex Pelly\nNaomi Mitchell\nLauren Bousfield\nKate Parsons\nMike Dobler\nC1t1zen\nJames Powell\nMitchell Brown\nDerek MonyPeny\nAaron Meyers\n& more TBA \ntickets: https://restlessnites.com/perpetualdronemaps
URL:https://www.h-r.la/event/perpetual-drone/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/10/44878359_732247717141675_6213319730158108672_o.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20181116
DTEND;VALUE=DATE:20181127
DTSTAMP:20260826T054701
CREATED:20181029T180137Z
LAST-MODIFIED:20181113T223100Z
UID:4084-1542348000-1543211999@www.h-r.la
SUMMARY:Seashell Aesthetics
DESCRIPTION:Seashell Aesthetics is an exhibition building upon a 2017 essay of the same name by Martabel Wasserman published in Yes Femmes. It explores catastrophes posed by carbon\, plastic\, oil and other byproducts of capitalism polluting the ocean. The shell becomes a way to think with a material that eventually decomposes into fossil fuel. It is both about materiality and possibilities for metaphor. The photographic work by Wasserman that frames the exhibition explores connections between the structural challenges we face (housing\, scare work opportunities\, high cost of living) with those facing the shelled sea critters at the who share our coast. Seashell Aesthetics takes as its subjects “bottom feeders” or smaller creatures who are less often evoked as spokes creatures in mainstream climate change discourse. The work seeks to create connections between the disintegration of shells caused by ocean acidification and desire for security and structure as the public sphere is attacked. Camp becomes the aesthetic approach\, in an attempt to mobilize humor and melancholy simultaneously as a call for increased interspecies solidarity. While Susan Sontag wrote “nothing in nature can be campy\,” the work is this show insists upon camp as a strategy to look at the ways in which nature and culture co-constitute each other. \nJoshua Thomen will be showing (If I knew how to cry) (2018) which explores his existence that lays between two poles: one where his queer brown body is systemically erased and the reality where his body is hypervisible and easily identifiable. The form shape shifts between an everyday baseball hat (à la Claes Oldenburg) to biological bodily symbols of a protective shell. Joshua Thomen uses softness as a radical idea to push against hegemonic masculinity and speak to labor of the subaltern. He is featured with his oceanic soft sculptural work in Wasserman’s photographs. Additionally\, they will be collaborating on soft sculptures of kelp\, a crucial element of coastal health. A collaborative sculptural centerpiece by Dulce Ibarra Soledad\, Thomen and Wasserman inspired by Botticelli’s Birth of Venus will visually ask how love can be reborn to respond to the multiplying crises of the anthropocene. Viewers can stand on a reinterpreted half shell and channel their desires for a flourishing future beyond sustaining the status quo. \nThe exhibition will feature sculptural installation and a night of performances\, Nature Camp\, on November 25\, in conversation with the idea of seashell aesthetics. Michelle Antonisse and Edgar Fabián Frías\, two of the curators/ performers of Nature Camp will have corresponding installations in the show. Additionally\, in the upstairs gallery Sarah Zucker will be presenting Neon Womb\, an immersive and healing experience. \nopen gallery hours are as follows: \nThurs 11/15: 2-7pm\nFri 11/16: 2-7pm\nSun 11/18: 12-4pm\nWeds 11/21: 2-7pm\nFri 11/23: 2-7pm\nSat 11/24: 12-6pm\nSun 11/25: 4-9 performance and reception \nAdditional hours can be arranged by appointment
URL:https://www.h-r.la/event/martabel-wasserman-seashell-aesthetics/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/10/DSC5293.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181109T130000
DTEND;TZID=America/Los_Angeles:20181111T170000
DTSTAMP:20260826T054701
CREATED:20181030T004734Z
LAST-MODIFIED:20181030T005234Z
UID:4091-1541768400-1541955600@www.h-r.la
SUMMARY:Barry Markowitz: Some Fundamental Changes To Majestic Objects
DESCRIPTION:Barry Markowitz: Some Fundamental Changes To Majestic Objects \nNovember 9 – 11\nReception: Friday November 9\, 7 – 10pm\nGallery hours: Saturday\, November 10 1-6pm\nClosing party: Sunday\, November 11 12-5pm
URL:https://www.h-r.la/event/barry-markowitz-some-fundamental-changes-to-majestic-objects/
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/10/unnamed-1.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181030T180000
DTEND;TZID=America/Los_Angeles:20181030T210000
DTSTAMP:20260826T054701
CREATED:20181008T213306Z
LAST-MODIFIED:20181008T213306Z
UID:4033-1540922400-1540933200@www.h-r.la
SUMMARY:Whale Song: A Workshop
DESCRIPTION:“The greatest amount of change appears when singing is most pervasive and the effort of each singer is most intense.”\n— Katy Payne \nSince they were first recorded by hydrophones in the late 1960s\, the haunting songs of humpback whales have been objects of human inquiry. These “long\, complexly organized patterns of sounds\,” which include\, “the highest and lowest frequencies that humans can hear\,” are shared between whales\, and sung seasonally\, with differences arising as the songs repeat over time. \nWe do not know precisely why the whales sing. But as Katy Payne\, an acoustic biologist and preeminent scholar of humpback whale song\, observed in 1985\, “we have not yet been able to discover any ‘leaders’…. [It is] as though decisions on how the song should change were made democratically.” \nCo-led by vocalist\, composer\, and cantor Daniela Gesundheit and media scholar Sarah Kessler\, this workshop will facilitate an environment within which a primary experience of the compositional techniques and structures at play in humpback whale song can emerge. Together\, we will employ leaderless collaboration and experimentation to examine and illuminate the vocalizations of the world’s largest broadcasting mammals\, and to see what we might discover about group identity\, distance\, competition\, innovation\, and empathy in the process. \nAfter a presentation and discussion of the key insights uncovered by Katy Payne’s groundbreaking research\, we will put our own voices to work\, apprenticing ourselves to the songs of these masterful composers. All voices welcome. \nWhile this event is free to attend\, space is limited: email for RSVP: info@humanresourcesla.com
URL:https://www.h-r.la/event/whale-song-a-workshop/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/10/Whale-Song-w-emoji.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181028T140000
DTEND;TZID=America/Los_Angeles:20181028T160000
DTSTAMP:20260826T054701
CREATED:20181025T053530Z
LAST-MODIFIED:20181025T053530Z
UID:4071-1540735200-1540742400@www.h-r.la
SUMMARY:Conversation between Cauleen Smith and Raquel Gutiérrez
DESCRIPTION:Sunday\, October 28\, 2pm\nOrganized as a part of A grammar built with rocks \nThe event brings together Cauleen Smith’s 2008 video work\, Remote Viewing\, which is currently on view at Human Resources\, and Raquel Gutiérrez’s newly-developed essay on the border wall prototypes\, to discuss intersecting themes of land art\, monumentality\, and the racialized erasure people and place. \n\nCauleen Smith is an interdisciplinary artist based in Los Angeles. Her work reflects upon the everyday possibilities of the imagination. Drawing upon structuralism\, third-world cinema\, and science fiction\, her work deploys activist tactics in service of ecstatic social space and contemplation. She is the recipient of various awards\, including but not limited to: Rockefeller Media Arts Award\, Creative Capital Film/Video\, the Foundation for Contemporary Arts\, United States Artists Award\, and the Ellsworth Kelly Award. She serves on the faculty at California Institute of the Arts. \nBorn and raised in Los Angeles and currently taking the Southwest by surprise\, Raquel Gutiérrez writes and performs about brown ontology\, art\, space and institutionality and publishes chapbooks by queers of color with the tiny press Econo Textual Objects\, established in 2014. Gutiérrez was recently awarded a Creative Capital | Andy Warhol Foundation Arts Writers Grant this year to support a short-form essay series about contemporary artistic practices in Los Angeles (or what does it mean to be a brown artist in the Trump era?). \n 
URL:https://www.h-r.la/event/conversation-between-cauleen-smith-and-raquel-gutierrez/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181027T200000
DTEND;TZID=America/Los_Angeles:20181027T200000
DTSTAMP:20260826T054701
CREATED:20181016T225022Z
LAST-MODIFIED:20181019T051341Z
UID:4052-1540670400-1540670400@www.h-r.la
SUMMARY:Maggi Payne | Maria Chavez | Kaori Suzuki | Joseph Hammer
DESCRIPTION:VOLUME presents legendary composer\, video artist\, recording engineer\, and multi-instrumentalist Maggi Payne (Oakland). Joining the lineup are Maria Chávez (NYC)\, Kaori Suzuki (Oakland)\, and Los Angeles local Joseph Hammer for what will surely be a night of focused and sustained immersive listening. \nPayne will present several works from recent years\, including Heat Shield (2018)\, Black Ice(2014)\, and Quicksilver (2011). Black Ice and Heat Shield will both be presented in four-channel audio. Of the works\, Payne notes\, “At times multiple spaces coexist […] There is always a sense of place\, an atmosphere\, in these acoustic constructs. The sounds are choreographed in an expanded three-dimensional space beyond boundaries\, with no walls\, ceilings\, or floors to constrain them.” Payne’s work in electroacoustic and electronic media spans an historical era in California’s experimental composition. The three compositions she will perform tonight reflect both the technical and conceptual rigours and fascinations of our locale––explorations of land\, light\, and space; highly technical expressions of immersive experiences. \nKaori Suzuki returns to Los Angeles on the heels of her second solo record of the year out on Second Editions (Berlin)\, titled Conduit. This evening she will perform the record live as it was originally composed\, for full\, extended duration and high volume playback. The work is immersive\, physically charging\, and will magnetize listeners in a venue as reverberant as Human Resources. \nChávez’s work in improvised turntablism is also a special treat for listeners in a space as reverberant as Human Resources. Her approach examines the nature of the materials used––turntable\, needle\, vinyl\, time\, choice\, chance\, and accident. These interests in deterioration and generation are also reflected in her scholarly and visual work\, which has been widely celebrated and internationally supported. \nAbout the artists \nMaria Chávez\, born in Lima\, Peru\, and based in NYC\, is best known as an abstract turntablist\, conceptual sound artist and DJ. Her improvised solo turntable performance combines recorded sounds from vinyl records with the electroacoustic sounds of vinyl and needle in various deteriorating phases. Her conceptual sound installation practice tends to be site specific\, allowing each space to highlight its own sonic qualities. Her solo exhibitions are often interactive\, ranging from spatial sound presentations to turning an entire art space into a gigantic string instrument for the audience to perform. \nChávez has been a research fellow of the Sound Practice Research Department\, Goldsmith’s University\, a composer fellow with Civitella Ranieri in Umbertide\, Italy\, and an artist fellow at the Robert Rauschenberg Foundation. Her instructional book of essays and illustrations\, OF TECHNIQUE: Chance Procedures on Turntable\, was published in 2012. She has participated in various artist residencies including the CEC Artslink/Back Apartment residency in St. Petersburg\, Kunstmeile Krems sound artist residency in Austria\, The Kitchen in New York and the Royal Academy of Music in Denmark. Her work has been exhibited internationally\, including at HeK – haus der elektronischen Künste-Basel\, INKONST Art Center\, Sweden\, The Judd Foundation\, Marfa\, Texas\, The Brooklyn Museum of Art\, The Getty Museum\, Black Mountain College Museum and Documenta14 in Kassel. More at www.mariachavez.org \nIn the field of found sound\, Joseph Hammer is the master of survey and delay; with looped tape and a gloved hand\, he taps a magnetic vein\, coaxing fragments of occluded origin into a sonic sui generis. Hammer is longstanding contributor to the undulating Los Angeles experimental music scene. PAN\, which released a record of Hammer’s in 2010\, describe the work as a “journey into playful yet heavily focused idiot-savant infinite psychedelic inertia […] utilising consumer audio technology and 20th century detritus.” He is a member of the trio Solid Eye\, a frequent collaborator and improviser\, and member of LAFMS. \nMaggi Payne is a composer primarily of electronic and electroacoustic music\, a flutist\, and a video and installation artist. She is a recording engineer/editor\, archivist\, and historical remastering engineer. She taught composition\, electronic music\, and recording engineering at Mills College from 1972-2018. \nHer electroacoustic works often incorporate visuals\, including dancers outfitted with electroluminescent wire and videos she creates using images ranging from nature to the abstract. Many works address issues around the environment\, especially noise pollution. She has composed music for dance\, theatre\, and video\, including the music for Jordon Belson’s video Bardo. She collaborated for several years with video artist Ed Tannenbaum in his Technological Feets performance. \nShe received Composer’s Grants and an Interdisciplinary Arts Grant from the National Endowment for the Arts; video grants from the Mellon Foundation and the Western States Regional Media Arts Fellowships Program; and was awarded six honorary mentions from Concours International de Musique et d’Art Sonore Electroacoustiques de Bourges and one from Prix Ars Electronica. Her works appear on Aguirre\, The Lab\, Lovely Music\, Innova\, Starkland\, Music and Arts\, New World Records (CRI)\, Root Strata\, Ubuibi\, Asphodel\, and/OAR\, Centaur\, MMC\, Digital Narcis\, Capstone\, Mills\, and Frog Peak labels. \nKaori Suzuki (b.1984) is a Japanese-born music maker currently based in Oakland\, CA. She has toured and presented her work in various venues across the U.S.\, Japan\, Mexico\, and Canada. Her compositions combine electronics\, bowed percussion and string instruments\, resonating objects\, computer\, and others. Her feedback/synthesizer recordings are found on Newsun (Sounds et al)\, and her recent release of a durational composition for very high frequencies\, Conduit\, is out on Second Editions (Berlin). \nIn addition to her solo music\, she plays drums in the Oakland-based minimalist psych-punk group Night Collectors\, and collaborates with partner\, John Krausbauer\, on voice\, amplified strings\, bells\, and immersive light/sound happenings. Her works have been presented at San Francisco Electronic Music Festival\, Debacle Fest\, Berkeley Art Museum\, CCRMA\, The Lab\, Mills College\, Elastic Arts\, and many others. \n  \nPlease note that as seating for this event is limited\, advance ticket purchase is recommended. For more info\, and to purchase tickets\, please visit https://volume.wedid.it/events/56
URL:https://www.h-r.la/event/maggi-payne-maria-chavez-kaori-suzuki-joseph-hammer/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2018/10/Suzuki-Payne10-27promo.png
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181026T190000
DTEND;TZID=America/Los_Angeles:20181026T220000
DTSTAMP:20260826T054701
CREATED:20181025T052631Z
LAST-MODIFIED:20181026T170132Z
UID:4068-1540580400-1540591200@www.h-r.la
SUMMARY:THE INFORMANTS
DESCRIPTION:Friday\, October 26\, 7pm\nScreening and performance: THE INFORMANTS\nAdam Khalil\, Jackson Polys\, and KITE\nFollowed by a conversation with Adam Khalil\, Jackson Polys\, KITE\, K. Wayne Yang\, and Oscar Gutiérrez\nOrganized as a part of A grammar built with rocks \nThrough video and performance\, THE INFORMANTS will examine the desire for indigeneity in the myths\, dreams\, and political foundations of the so-called Americas. \nDemands for indigeneity have long been entwined with efforts to erase and replace the Indigenous. Channeled through practices of salvage ethnography and “playing Indian\,” subliminal attractions evince yearnings for a spectral indigeneity that is removed from actual Indigenous people. The relegation of Indigenous identities to the past denies the presence of bodies currently living on colonized land. \nIndigenous artists who participate in the art world of settler-colonial states are expected to provide knowledge in a relationship similar to that between informant and anthropologist. In our current period of existential and environmental catastrophe\, desires for Indigenous epistemologies increase and enterprising settlers labor to extract this understanding as a natural resource. From an Indigenous perspective\, this has palpable consequences\, from romanticization and commodification to appropriation and cultural erasure. \nMany non-indigenous people find ways to frame themselves as indigenous\, just as Indigenous people perform indigeneity themselves. If these tendencies are so deeply entrenched in this nation’s self-image to be apparently inescapable\, can they be studied\, manipulated\, or employed by Indigenous people to catalyze an expansion of Indigenous agency\, amplifying the power of the informant? Can desires that push Indigenous people to an ideal and irretrievable past instead be channeled to promote the imagining of Indigenous futures? \nAdam Khalil is a filmmaker and artist from the Ojibway tribe who lives and works in Brooklyn. His practice attempts to subvert traditional forms of ethnography through humor\, relation\, and transgression. Khalil’s work has been exhibited at the Museum of Modern Art\, Sundance Film Festival\, Walker Arts Center\, Lincoln Center\, and Whitney Museum of American Art\, among other institutions. Khalil is the recipient of various fellowships and grants\, including but not limited to: Sundance Art of Nonfiction\, Sundance Institute Indigenous Film Opportunity Fellowship\, UnionDocs Collaborative Fellowship\, and Gates Millennium Scholarship. Khalil received his BA from Bard College. \nJackson Polys is an artist from Tlingit territory\, living and working between what are currently called Alaska and New York\, whose work examines negotiations toward the limits and viability of desires for Indigenous growth. He holds an MFA in Visual Arts from Columbia University (2015)\, and is recipient of a 2017 NACF Mentor Artist Fellowship. His individual and collaborative works have appeared at the Alaska State Museum\, Anchorage Museum\, Artists Space\, Burke Museum\, Images Festival\, Sundance Film Festival\, Union Docs\, and the Whitney Museum of American Art. \nKITE aka Suzanne Kite is an Oglala Lakota performance artist\, visual artist\, and composer raised in Southern California\, with a BFA from CalArts in music composition\, an MFA from Bard College’s Milton Avery Graduate School\, and is a PhD student at Concordia University. Her research is investigates contemporary Lakota philosophy through research-creation\, computational media\, and performance practice. Recently\, KITE has been developing a body interface for movement performances\, carbon fiber sculptures\, immersive video & sound installations\, as well as co-running the experimental electronic imprint\, Unheard Records. \nK. Wayne Yang is involved in urban education and community organizing\, and writes about decolonization and everyday epic organizing\, particularly from underneath ghetto colonialism\, often with his frequent collaborator\, Eve Tuck. He is interested in the complex role of cities as sites of settler colonialism\, as stages for empire\, as places of resettlement and gentrification\, and as always-already on Indigenous lands. He is Associate Professor in Ethnic Studies at UCSD. \nOscar Gutierrez is a community organizer with Communities for a Better Environment (CBE) from Southeast Los Angeles (Tongva Territory) and a PhD student in the Department of Ethnic Studies at UC San Diego.
URL:https://www.h-r.la/event/the-informants/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181023T200000
DTEND;TZID=America/Los_Angeles:20181023T200000
DTSTAMP:20260826T054701
CREATED:20181008T215701Z
LAST-MODIFIED:20181008T220820Z
UID:4036-1540324800-1540324800@www.h-r.la
SUMMARY:Astor | Sean McCann\, Matthew Sullivan & Alex Twomey | Erika Bell
DESCRIPTION:Erika Bell\, Astor\, and a trio performance by Sean McCann\, Alex Twomey\, and Matthew Sullivan. \nErika Bell will be presenting a new\, four-channel work titled Saint-Girons\, which was inspired by a recent field recording she took in a workshop led by Christina Kubisch. The recording captures both the electromagnetic sounds (via Kubisch’s headphones) and the acoustic atmospheric sounds of Saint-Girons\, France in real-time. This field recording will be paired with\, and accompanied by\, a small ensemble. \nOriginally hailing from Australia\, Astor’s music can range from claustrophobic to cosmic while incorporating a wide range of techniques spanning the history of electronic music. Their most recent solo album\, 2018’s Lina in Nida on UK-based Penultimate Press\, featured a spoken word contribution from Estonian artist Kris Lemslau alongside a proposed anthem for Britain during a potential invasion by ISIS and more. This event will be a rare opportunity for fans of field recordings\, musique concrete\, dark ambient\, and fringe electro-acoustic music to experience this artist in a live setting. \nSean McCann\, Alex Twomey\, and Matthew Sullivan will perform as a trio\, bringing together three highly notable LA-based artists involved in sacred and propane music. Their debut live performance\, following the release of their cassette\, The Bird. \n“There is something about this music that reminds me of the great Walter Marchetti\, and I almost never say that. One of my favourite tapes from the last few years that doesn’t have me on it.” – Scott Foust (Idea Fire Company/Swill Radio) \nChristopher Reid Martin will provide music between sets. \nTickets for the event may be purchased for $9.99 in advance or for $12 at the door. \n  \nBios: \nAstor is an Australian publisher\, event curator\, and sound artist who is now residing in London\, United Kingdom. Under this guise\, they deploy a wide variety of techniques including field recording\, musique concrete\, electronics\, and spatialisation. All of these forms are approached with a sense of bypassing the clichés imbedded within in order to coerce a sound world which is simultaneously contemporary\, foreign\, beautiful\, unsettling and engaging. Astor has released 2 acclaimed LPs on Kye (USA) and has a third Lina in Nida on Penultimate Press (UK). \nErika Bell is a Los Angeles-based composer and instrumentalist. Her work comes from a place of intuition\, preference and the personal\, with an emphasis on exploring the timbre of sonic realms. Bell often derives from found text\, objects\, and sounds\, and juxtaposes strict notation with elements of openness in the use of time and material. With her work slowly and methodically unraveling she allows full immersion into the audible phenomenon of beating\, cyclical melodic/harmonic loops\, and washes of texture. Bell’s Sucking Stones (2017) for large-ensemble was performed at the Walt Disney Concert Hall in L.A. Phil’s 2017 Noon to Midnight concert. She has received commissions from the wulf.\, premiered her large-ensemble work < | > (2018) in Dog Star Orchestra’s fourteenth festival and will have a piece performed at the Göteborg Art Sounds festival in Sweden this September. Currently Bell is preparing two album-length audio releases of her music and an installation version of her large-ensemble work Moving Like Icebergs Against Each Other (2018). Erika holds a BFA in music composition from California Institute of the Arts where she studied with Michael Pisaro and Laura Steenberge. \nPresented by VOLUME and Last Visible Dog Records.
URL:https://www.h-r.la/event/astor-sean-mccann-matthew-sullivan-alex-twomey-erika-bell/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/10/showflyer.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20181018T180000
DTEND;TZID=America/Los_Angeles:20181018T200000
DTSTAMP:20260826T054701
CREATED:20181016T183419Z
LAST-MODIFIED:20181016T183738Z
UID:4043-1539885600-1539892800@www.h-r.la
SUMMARY:Una obsesión peligrosa book release
DESCRIPTION:Bikini Wax (Mexico City) and Human Resources (Los Angeles) celebrate the release of  A Dangerous Obsession / Una obsesión peligrosa which features texts written for the exhibition of the same title published by Gato Negro press \nat Ooga Booga\n943 N Broadway #203 (upstairs)\nChinatown Los Angeles\, CA 90012\nFree
URL:https://www.h-r.la/event/una-obsesion-peligrosa/
CATEGORIES:off-site event
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2018/10/unnamed.png
END:VEVENT
END:VCALENDAR