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DTSTART;VALUE=DATE:20220114
DTEND;VALUE=DATE:20220116
DTSTAMP:20260607T212447
CREATED:20211230T021450Z
LAST-MODIFIED:20220114T233425Z
UID:6464-1642140000-1642226399@www.h-r.la
SUMMARY:Sebastian Hernandez [Postponed]
DESCRIPTION:POSTPONED \nMulti disciplinary trans femme artist Sebastian Hernandez presents a new work with a group of femmes to bring forth a happening in the dark.
URL:https://www.h-r.la/event/sebastian-hernandez/
LOCATION:CA
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2021/12/DSC00074-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20211218T180000
DTEND;TZID=America/Los_Angeles:20211218T230000
DTSTAMP:20260607T212447
CREATED:20211215T000516Z
LAST-MODIFIED:20211215T005219Z
UID:6441-1639850400-1639868400@www.h-r.la
SUMMARY:Jasmine Nyende: To keep me warm. While I grieve.
DESCRIPTION:I’m making a quilt. At Human Resources. To keep me warm. While I grieve. If you want. Bring me warm fabrics. Anytime between 6-10pm. While I sew. You can’t actually come inside but bring fabrics/ old clean clothes or other textiles and you can watch while I sew from inside while you are outside. It’s like a drive by funeral for the threads. Come for as long or as short as you like. Because grief is naturally voyeuristic and I’m an performance artist that luckily has the space to do something to feel apart of you during the pandemic. As a metaphor for how it feels to grief. But please bring any clean\, soft\, loving fabrics to sew into a grief map to feel comfort in. I will sleep in it on Christmas Eve and remember your care. \nQuilting as a social practice and all that jazz. \nTo be clear\, I am doing a durational performance art piece about how people are healing post-Covid with the love of our communities. This is an exploratory action into being together. So then making a quilt dependent completely by YOU (and my own fabrics from past donations) to make something to keep me warm. 12/18 at Human Resources\, please leave the fabric outside the door for me to collect and stay outside unless invited in ❤️❤️
URL:https://www.h-r.la/event/jasmine-nyende-to-keep-me-warm-while-i-grieve/
LOCATION:CA
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2021/12/Screen-Shot-2021-12-14-at-3.46.11-PM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20211217T200000
DTEND;TZID=America/Los_Angeles:20211217T223000
DTSTAMP:20260607T212447
CREATED:20211214T210509Z
LAST-MODIFIED:20211214T210820Z
UID:6432-1639771200-1639780200@www.h-r.la
SUMMARY:Leila Bordreuil • Nephila
DESCRIPTION:UPEND presents \nLEILA BORDREUIL \nNEPHILA \n \n“Leila Bordreuil is a Brooklyn-based cellist\, composer and sound-artist from France. She accesses concepts as diverse as Noise\, contemporary classical\, free jazz\, and experimental traditions but adheres to none of them. Her music mixes deep melancholia with harsh noise-walls at ear-bleeding levels\, and was described by the New York Times as ‘steadily scathing music\, favoring long and corrosive atonalities.’ Driven by a fierce interest in pure sound and inherent texture\, Leila challenges conventional cello practice through extreme extended techniques and unorthodox amplification methods\, to the extent she sometimes seems to be playing the P.A system rather than the cello. Her compositions frequently incorporate sound-spatialization by way of site-specific pieces and multichannel installations\, and focus on neurological perception and our physiological relationship to sound and space.” \nFrom delicate play on the thresholds between tonality and atonality to aggressive scrape and scrunch\, Bordreuil’s solo sets on amplified cello – with no effect pedals – are full frequency affairs\, loud and noisy. These excursions not only plum the possibilities of the instrument\, but also the resonances of the architecture in which they are aired. (Her recent “Not An Elegy” release on Boomkat’s Documenting Sound series brilliantly documents a solo sesh on NYC subway station platform\, for example.) This week\, Bordreuil visits L.A. to fill a new room\, the cavernous and famously “live” space of Human Resources. \nAn active force in New York’s most forward improvising and composing scenes\, Bordreuil has also collaborated with a wide gamut of key players including Tamio Shirashi\, Zach Rowden\, Kali Malone\, Bill Nace\, and Kim Gordon. Bordreuil and bassist Luke Stewart recently staged a live version of their ambitious Works for Feedback Ensemble with Chris Corsano\, C. Spencer Yeh\, Nate Wooley\, and Julia Santoli at Roulette Intermedium. \nhttps://www.leilabordreuil.com/ \n \nNephila — the solo project of Los Angeles-based artist and musician Shannon Kennedy — pulls audiences into a surreal zone of precarity\, where resolution itself hangs in the balance. Cooking a stew with electric cello and electronics\, Kennedy oft sets her own scene with  foraged bits of nature and other novel interventions. Past plays have seen scavenged branches strung up to bow and spaces roped up for the tensioning of existential drama. A perennial performer in town – and also notably a vet of the road – she is well known in the underground across the country for her enduring collaboration with Jonathan Borges in Pedestrian Deposit. She has staged Nephila actions at Mata\, Coaxial\, and the Ende Tymes. \nDoors at 8 \nSound at 9 \nDonate $10 \nvax/mask required \nlimited capacity – arrive in timely fashion to ensure entry
URL:https://www.h-r.la/event/leila-bordreuil-nephila/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2021/12/leila_insta.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20211215T183000
DTEND;TZID=America/Los_Angeles:20211215T230000
DTSTAMP:20260607T212447
CREATED:20211213T132404Z
LAST-MODIFIED:20211213T212613Z
UID:6428-1639593000-1639609200@www.h-r.la
SUMMARY:Doubles & Double Duty: corey's winter soiree
DESCRIPTION:https://www.eventbrite.com/e/doubles-double-duty-coreys-winter-soiree-tickets-226753244057\n\n\n𝙖 𝙨𝙥𝙚𝙘𝙞𝙖𝙡 𝙡𝙞𝙩𝙩𝙡𝙚 𝙬𝙞𝙣𝙩𝙚𝙧 𝙨𝙤𝙞𝙧𝙚𝙚 𝙣𝙚𝙭𝙩 𝙒𝙚𝙙𝙣𝙚𝙨𝙙𝙖𝙮\, 𝘿𝙚𝙘 15. 𝙙𝙤𝙪𝙗𝙡𝙚𝙨 𝙖𝙣𝙙 𝙙𝙤𝙪𝙗𝙡𝙚 𝙙𝙪𝙩𝙮:\n\n1.𝙛𝙞𝙡𝙢 𝙗𝙮 𝙈𝙖𝙧𝙩𝙝𝙖 𝘾𝙤𝙡𝙗𝙪𝙧𝙣 & 𝙋𝙖𝙩 𝙊’𝙉𝙚𝙞𝙡𝙡. \n2.𝙩𝙧𝙪𝙢𝙥𝙚𝙩 & 𝙙𝙧𝙪𝙢𝙨 𝙗𝙮 𝘾𝙤𝙧𝙚𝙮 𝙖𝙣𝙙 𝙩𝙧𝙖𝙫𝙚𝙡𝙞𝙣𝙜 𝙨𝙘𝙝𝙤𝙡𝙖𝙧 𝙈𝙧. 𝙂𝙖𝙗𝙧𝙞𝙚𝙡 𝙒𝙤𝙣𝙘𝙠 𝙛𝙧𝙤𝙢 𝙩𝙝𝙚 𝙐𝙆. \n3.𝙩𝙧𝙪𝙢𝙥𝙚𝙩 & 𝙩𝙪𝙗𝙖 𝙗𝙮 𝙡𝙚𝙜𝙚𝙣𝙙𝙨 𝘾𝙪𝙕𝙣𝙨 : 𝘽𝙤𝙗𝙗𝙮 𝘽𝙧𝙖𝙙𝙛𝙤𝙧𝙙 𝙖𝙣𝙙 𝙒𝙞𝙡𝙡𝙞𝙖𝙢 𝙍𝙤𝙥𝙚𝙧. \n4.𝙨𝙪𝙧𝙧𝙚𝙖𝙡𝙞𝙨𝙩 𝙘𝙤𝙡𝙡𝙖𝙜𝙚 𝙬𝙖𝙡𝙡𝙥𝙖𝙥𝙚𝙧 𝙗𝙮 𝙩𝙝𝙚 𝙣𝙚𝙬 𝙈𝙀𝙎𝙃 𝙂𝙧𝙤𝙪𝙥 : 𝙎𝙩𝙚𝙥𝙝𝙖𝙣𝙞𝙚 𝙎𝙢𝙞𝙩𝙝\, 𝘾𝙡𝙖𝙮 𝘾𝙝𝙖𝙥𝙡𝙞𝙣\, 𝙃𝙚𝙖𝙩𝙝𝙚𝙧 𝙇𝙤𝙘𝙠𝙞𝙚\, 𝘼𝙧𝙘𝙝𝙞𝙚 𝘾𝙖𝙧𝙚𝙮\, 𝙖𝙣𝙙\, 𝙢𝙚 𝙖𝙜𝙖𝙞𝙣. \n5.Corey 𝙬𝙞𝙡𝙡 𝙗𝙖𝙠𝙚 𝙥𝙞𝙡𝙚𝙨 𝙤𝙛 𝙥𝙚𝙧𝙨𝙞𝙢𝙢𝙤𝙣 𝙩𝙧𝙚𝙖𝙩𝙨 \n𝙃𝙪𝙢𝙖𝙣 𝙍𝙚𝙨𝙤𝙪𝙧𝙘𝙚𝙨. 𝙖𝙧𝙧𝙞𝙫𝙚 𝙖𝙩 6:30𝙥𝙢 \n$10 𝙨𝙪𝙜𝙜𝙚𝙨𝙩𝙚𝙙 𝙙𝙤𝙣𝙖𝙩𝙞𝙤𝙣 \nVax cards
URL:https://www.h-r.la/event/doubles-double-duty-coreys-winter-soiree/
LOCATION:CA
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2021/12/dec15th-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20211209T200000
DTEND;TZID=America/Los_Angeles:20211211T220000
DTSTAMP:20260607T212447
CREATED:20211116T224748Z
LAST-MODIFIED:20211116T225723Z
UID:6393-1639080000-1639260000@www.h-r.la
SUMMARY:"Dorian Wood: Songs From a Palace Fire"
DESCRIPTION:After two years\, acclaimed artist Dorian Wood returns to Human Resources LA with three unforgettable performances. \n  \n  \nTickets can be purchased here\, to attend  \n  \n  \nNote: Proof of COVID-19 vaccination must be presented at the door the night of the event\, and masks must be worn at all times during the performance.
URL:https://www.h-r.la/event/dorian-wood-songs-from-a-palace-fire/
LOCATION:CA
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2021/11/PALACEFIRE_1-1-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20211130T200000
DTEND;TZID=America/Los_Angeles:20211130T223000
DTSTAMP:20260607T212447
CREATED:20211129T204921Z
LAST-MODIFIED:20211129T213114Z
UID:6420-1638302400-1638311400@www.h-r.la
SUMMARY:Martín Escalante + Weasel Walter\, Tim Dahl
DESCRIPTION:UPEND presents\n\n\nMARTÍN ESCALANTE + WEASEL WALTER\nTIM DAHL\n\n\n\nTuesday November 30 at 8pm\n\n\n\nThe L.A. debut of the lacerating sax and drums free jazz duo of MARTÍN ESCALANTE + WEASEL WALTER plus a solo set from NYC bass wrangler TIM DAHL. \nA gadfly in multiple realms of the underground and extreme musics for three decades\, Weasel Walter (NYC) has upset the course of discourse of free jazz\, no waves\, and metals alike with the Flying Lutenbachers\, and – for the past decade plus –  has continued to destroy all music from behind a drum kit with a revolving coterie of collaborators poking holes through orthodox notions of improv. T’was kismet then that he’d have an affinity for the agitations of wild sax ripper Martín Escalante\, (Lakewood\, CA / Guanajuato\, MX) who himself destroys on so many levels\, blowing bursts of pure fire through a tenor mouthpiece into a neckless alto. A 2018 sesh begat their absolutely unrelenting debut release ‘Lacerate’ on Weasel’s ugEXPLODE imprint. This will only be the duo’s second live action and their first on the West Coast. \nBrooklyn-based bass wrangler Tim Dahl has brought fuzz and slither to several core noise-rock projects – including Lydia Lunch’s Retrovirus alongside an axe-wielding Weasel. After many years\, gigs\, and seshes of improv and collab with players running the gamut (John Zorn\, Mary Halvorson\, and the Ruins’ Tatsuya Yoshida\, to name a few) Dahl has let loose a trio project called GRID\, and – just earlier this Fall – released a solo disc called SOLO\, which also describes the shape of his set here at HR – electric bass and vocals. \nDoors at 8pm\nDonate $10 at the door \nPlease note:\n• Proof of vaccination required for entry to this event\n• Masks required at all times while inside the space\n• This event has a limited capacity; plan to arrive in a timely manner to ensure entry
URL:https://www.h-r.la/event/martin-escalante-weasel-walter-tim-dahl/
LOCATION:CA
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2021/11/martimweasel_insta.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20211120T190000
DTEND;TZID=America/Los_Angeles:20211120T213000
DTSTAMP:20260607T212447
CREATED:20211110T161950Z
LAST-MODIFIED:20211111T170055Z
UID:6386-1637434800-1637443800@www.h-r.la
SUMMARY:M. A. Guevara: Harmonic Oscillation Video Screening
DESCRIPTION:Join us for a screening M. A. Guevera’s collection of expirimental videos in support of his debut solo exhibition Harmonic Oscillation. The video screening will be followed by a conversation between M. A. Guevara and curator Hugo Cervantes of Human Resouces-Los Angeles. \nDoors: 6:30pm \nScreening and Q&A: 7:00pm \nMasks are required to enter the gallery. \nThis is a ticketed and free event. For tickets click here. \n 
URL:https://www.h-r.la/event/m-a-guevara-harmonic-oscillation-video-screening/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2021/11/FilmScreening.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211106
DTEND;VALUE=DATE:20211130
DTSTAMP:20260607T212447
CREATED:20211003T212411Z
LAST-MODIFIED:20211102T014827Z
UID:6321-1636178400-1638165599@www.h-r.la
SUMMARY:Harmonic Oscillation
DESCRIPTION:Harmonic Oscillation\nM.A. Guevara\nNovember 6 – 28\, 2021 \n\n 
URL:https://www.h-r.la/event/harmonic-osculation/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2021/10/Screen-Shot-2021-10-03-at-2.23.03-PM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211028
DTEND;VALUE=DATE:20211102
DTSTAMP:20260607T212447
CREATED:20210928T194133Z
LAST-MODIFIED:20211002T031054Z
UID:6308-1635400800-1635746399@www.h-r.la
SUMMARY:Halloween curated by Jeff Zilla
DESCRIPTION:
URL:https://www.h-r.la/event/halloween-curated-by-jeff-zilla/
LOCATION:CA
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2021/09/InShot_20210927_043335366.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211009
DTEND;VALUE=DATE:20211026
DTSTAMP:20260607T212447
CREATED:20210929T235815Z
LAST-MODIFIED:20211014T215328Z
UID:6314-1633759200-1635141599@www.h-r.la
SUMMARY:Sam Richardson
DESCRIPTION:(What I’ve Realized About Coping and Coalescing) \nSam Richardson \nThe gallery is open Wednesday-Sunday\, 12-6pm \nLife persists\, life keeps moving\, but it doesn’t look\, smell\, feel and sound the same now. The future\, as we understand it\, is unknown; the future feels like a void for many of us\, and for some it has undoubtedly already felt like this. The outstretch of possibilities has faded to a different landscape\, and so has the ability and the nature of making and creating as we knew it. Or so it feels. \nThe work I was making before March 2020 seems to be part of the past\, part of a time “before\,” an attempt at a record. A time before we could not gather\, could not touch each other\, and could not move freely — albeit in a violent society. This too will shift\, it already has to an extent\, and most foundational realities have not changed. “Normal” was never good\, we should not go back to “before\,” back to “normal.” \n  \nThe work displayed does not commit itself to one particular form of the “photograph” or the image\, both in format or style. Moving between different types of cameras and different moments of capture\, I am intending to show the friction that occurs between intent and circumstance. Some images were planned ahead of time\, others are found in a moment guided by shared thought and found circumstance. \n  \nAn exploration of collaboration is at the core of this work\, and in response to that investigation so is self-portraiture. Exposing the body that makes the image I see as an attempt at negotiating the stakes of capturing another’s likeness. The presence of my  body in these images is conceived as a through line\, an attempt to be an aid for context\, functioning as both the figure seen as well as the body making the photographs/videos. The body can’t exist in the world without being politicized\, both in its form and experience\, and in its bodily history. What interests me is the friction between how the lived structures and rules that surround said bodies rub up against those that run parallel to them—family lives\, sex lives\, production\, desire\, violence\, pain\, joy\, etc. \n  \nA foundation that spawned much of the work here was historical research of a dethroned female bearded saint\, St. Wilgefortis. She came to be the patron saint of all those who wished to be liberated from tribulations of abuse\, in particular abusive husbands\, and survivors of assault\, rape and incest\, as well as those imprisoned. Her removal from the church calendar\, and her contentious relationship with the church due to her likeness to Jesus\, represents an erasure of recorded and historical violence against particular bodies—most notably women\, queer\, non-binary and transgender people. \n  \nThe photographs\, like the video\, begin and end with images made since Covid-19 entered the global experience. The bookends serve to intertwine the past with present\, and further along\, the future. The people in my images are friends\, lovers\, family. There is often reference to images being made with love\, using an apparatus riddled with a history and use of the opposite. To image a person with love\, to me\, means to consider and hold space for an individual experience\, while also paying tribute to their surroundings as much as possible. \n  \n  \nNote: The majority of these images were made from June 2019 – March 2021. The uprisings of June 2020 are noted within the work\, but also do not attempt to document or propose that this moment in history has been different from any other. \n  \nLand Acknowledgement: I would like to respectfully acknowledge that the land HR stands on is ancestral and unceded Indigenous lands\, specifically the territory of the Chumash\, Tongva and Kizh people. Beneath the contemporary surface of any site in the United States\, there are histories of belonging that have been erased\, overlooked\, contested\, and forgotten\, as well as contemporary communities that continue to endure\, create and thrive. \nAs an occupier of these territories\, I recognize the continual displacement of Native people by the US and are aware that land acknowledgements are often used as an empty stand-in for actual decolonization work. This is something to bear in mind while continuing to build frameworks to dismantle the ongoing effects of colonial legacy\, both in the art spaces and elsewhere. \n  \nOrganized by Clara López Menéndez with the help of Jane Orr\, Jordie Oetken\, Erin Bagley and Kate Hall \nTHANK YOU: \nClara López Menéndez \nJordie Oetken \nJane Orr \nErin Bagley \nKate Hall \nJacqueline Amezquita \nCatherine Opie \nHeather Rasmussen \nVirgil Taylor \nCarolyn Lazard \nGabby Miller \nV Haddad and Emily \nHea-Mi Kim \nLuis miguel Bobadilla \nArisleyda Dilone \nEd Beller \nAlison Veit \nValeria Tizol Vivas \nAlison Veit \nElias Pack \nKatherine Finkelstein \nRose Mori \nSydney Acosta \nChester Toye \nAmelia Bande \nVishal Jugdeo \nCandice Lin \nMom and Dad \nSofia Robledo Rower \nKennady Schneider \nJane Margarette \nBlake Jacobsen \nJohn Birtle \nHuman Resources
URL:https://www.h-r.la/event/sam-richardson/
LOCATION:CA
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2021/09/hand-glove.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210930
DTEND;VALUE=DATE:20211004
DTSTAMP:20260607T212447
CREATED:20210928T194752Z
LAST-MODIFIED:20210928T194752Z
UID:6311-1632981600-1633240799@www.h-r.la
SUMMARY:Our Envisioned Future
DESCRIPTION:  \nOur Envisioned Future is the third annual community quilt facilitated by Rachel Silver and Laub.  \n  \nAn open call was put out to answer the following questions:  \n* What are our visions of the future? and how do we practice them in the present so they may grow into tomorrow? \n* How do we contend with inevitable changes while adapting and continuing our dreams of the future? \n* How do we use our imaginations to create the changes that we want to see happening around us? \n\n \nDavid L Bell \nJohn Berpel \nGK Bigler \nOhan Breiding \nQuinn Corey \nLaurie deakers \nLaura DeVeber \nnicole dimarco \nAimee Goguen \niris yirei hu \nMary Beth Johnson \nLaub \nMartha Laub \nFinn Paul \nEddie Sierra Pollock \nThe Revolution \nLara Salmon \nRachel Silver \nJennifer Steverson \nCedric Tai \nkayla tange \nFrankie Toan
URL:https://www.h-r.la/event/our-envisioned-future/
LOCATION:CA
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2021/09/HR-photo.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20210910T080000
DTEND;TZID=America/Los_Angeles:20210912T170000
DTSTAMP:20260607T212447
CREATED:20210909T052621Z
LAST-MODIFIED:20210909T052621Z
UID:6302-1631260800-1631466000@www.h-r.la
SUMMARY:ANIMAL ENCYCLOPEDIA
DESCRIPTION:September 10 – 12\, 2021 \nHuman Resources in Chinatown\, Los Angeles\, CA  \n  \nANIMAL ENCYCLOPEDIA \nPresented by Authentic Children Art Association in collaboration with OneHouse Arts \n  \nCome one\, come all! The circus is in town! Marvel at the array of Animal Encyclopedia – grizzly bears\, toucans\, flying fish\, humpback camels\, Spectres of Shadow\, iguanas\, cockatoos\, and many species more! \n  \nAuthentic Children Art Association eagerly presents over 200 animal portraits by OneHouse Arts students from ages 4 to 10. Pencilless\, these artists immediately place paint brush to paper – creating bold and brave lines\, translating perceptions of their favorite creatures into being. Children’s art\, despite losing its original prestigious positioning on cave ceilings and relegated to transgressive expressions on drywall\, has resurged in the past century as the inspiration for modernism! The influence of these innovative young artists can be seen throughout the movements of contemporary art – featured prominently in the work of such adults as Matisse and Picasso. Truly your favorite artists’ favorite artists. \n  \nAnimal Encyclopedia promises entertainment for all ages of art appreciation. Bring the whole family! \n  \n~ \n  \nAuthentic Children Art Association is a non-profit project committed to nurturing genuine expression\, appreciation\, and compassion in children\, parents and educators by presenting authentic children’s art exhibitions in collaboration with schools and galleries across Southern California. \n  \nOneHouse Arts is an experimental art school and philosophy dedicated to helping children discover art on their own by asking questions about their ideas\, introducing them to various methods\, staying open to their artistic inclinations\, providing them with space to create\, and giving their art a place in the world at large. \n  \n(for parents) \nHuman Resources is a non-profit art gallery in Chinatown showcasing non-traditional forms of art and performances to engage communities across Los Angeles. \n  \n——————————————————— \n  \n美国自然本真儿童艺术协会与艺家艺术体验馆联合举办 \n  \n2021年9月8日（周三） 至 2021年9月12日（周日）中午12点 – 晚上 6pm  \n  \nRachel 老师将于9月12日周日，12-6pm， 全天在画廊与大家见面。请邀请亲朋好友前来参观！  \n  \n​​“动物世界” 儿童画展  \n  \n快來 快來！ 我們的“動物世界”來了！ \n这里有各式各樣的動物 – 灰熊、大嘴鸟、飞鱼、骆驼、熊貓、凤头鹦鹉和魔鬼魚……！ \n美国自然本真儿童艺术协会迫切的要为大家展示来自艺家艺术体验馆的200多幅动物特写儿童画，小画家的年龄在4-10岁。我们不打草稿，直接用丙烯在纸上作画，小画家们用生动大胆的线条，让脑中的动物跃然纸上。 \n  \n沉寂了一大段时间的儿艺术在过去的一个世纪里又重新兴起，其影响贯穿于整个当代艺术运动中！马蒂斯和毕加索等成年人的作品深受儿童艺术的影响！儿童艺术家是你们喜欢的知名艺术家们的偶像！ \n“动物世界”展一定会把欢乐带给全家！ \n  \n美国自然本真儿童艺术协会是一个非盈利项目，致力于通过与南加州的学校和画廊合作举办纯朴的儿童艺术展览，帮助孩子，家长和教育者彼此真诚表达，互相欣赏和理解。 \n  \n艺家艺术体验馆是一所艺术与哲学的实验学校，致力于通过提问帮助孩子开发他们的内在艺术性，教授他们不同的方法，发掘他们内在多姿的艺术方向，提供他们无限的空间并且帮助他们找到自己在这世界中的定位。 \n  \n（致家长） \nHuman Resources 是一个在中国城的公益画廊，展示非传统形式的艺术和表演，以吸引整个大洛杉矶地区的观众。 \n 
URL:https://www.h-r.la/event/animal-encyclopedia/
LOCATION:CA
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20210821T130000
DTEND;TZID=America/Los_Angeles:20210821T180000
DTSTAMP:20260607T212447
CREATED:20210816T155840Z
LAST-MODIFIED:20210816T220433Z
UID:6266-1629550800-1629568800@www.h-r.la
SUMMARY:G. Brenner - Brushfire: Album Release Listening Party & Closing Reception
DESCRIPTION:Photo: Amara Higuera \nHuman Resources-Los Angeles is proud to host G. Brenner’s listening party for their debut album Brushfire on August 21st.  \nPlease join us for an afternoon of drinks\, a DJ set by SOLTERA\, and more celebrating the release of G.Brenner’s debut album Brushfire. This will also be the last chance to view our current exhibition Nuestrxs Putxs\, a two-part exhibition curated by Nika Chilewich and Sara Lent Frier with Anita Herrera\, curator of the Sacred Rose Mercado. Nuestrxs Putxs features works by Isabella Albuquerque\, Bárbara Sánchez-Kane\, and Frieda Toranzo Jaeger. \nSpecial thanks to Amara Higuera and Hugo Cervantes for co-organizing this event. \nPlease note that masks will be required for this event. RSVP here. \nLAR Arts: \nNuestrxs Putxs is organized by LAR Arts and curated by Nika Chilewich and Sara Frier. The exhibition is generously hosted by Human Resources Gallery\, Los Angeles. The Nuestrxs Putxs Sacred Rose Mercadito is curated by Anita Herrera. Lorena Vega designed the exhibition’s graphic identity. Jason Tyler Burns is the exhibition designer and Gerardo Delgado is the exhibition coordinator. \nG. Brenner: \nG. Brenner is the project of LA-based visual artist and musician Gabriel Brenner. Drawing on artists such as Arca\, Grouper\, and Julianna Barwick\, he crafted an idiosyncratic style that has fallen gracefully between folk\, gospel\, and experimental electronic music. Formerly known as Pastel\, Brenner released his debut EP\, It Will Be Missed\, via Manimal Vinyl in 2014. In 2015\, he released his second EP\, Bone-Weary\, via rising Houston-based label Very Jazzed. In 2017\, he self-released an EP entitled absent\, just dust\, a 5-song collection exploring language\, loss\, and identity through ambient-noise soundscapes. On Valentine’s Day 2018\, he released a one-off single “Close” to celebrate the holiday. After releasing a string of covers and remixes to close the chapter on his Pastel moniker\, Brenner is releasing “Brushfire\,” his debut single as G. Brenner. His debut album of the same name will be released August 20\, 2021 via Very Jazzed. At its core\, this album is about being immobilized by worlds collapsing at a fast-forward pace and the struggle to find meaning in the remaining ruins. \nhttp://g-brenner.com \nhttp://gdotbrenner.bandcamp.com \nhttp://twitter.com/gdotbrenner \nhttp://instagram.com/gdotbrenner \nhttp://facebook.com/gdotbrenner \nSOLTERA: \nSOLTERA is a performance and music project formed by Colombian/American artist Tania Ordoñez. Raised in the San Fernando Valley\, now based in Los Angeles\, SOLTERA is a performer\, producer\, dj and filmmaker. They make experimental dance music\, paired with Spanish vocals and dreamy synths. \nhttp://soltera.bandcamp.com \nhttp://soundcloud.com/soltera818 \nhttp://www.instagram.com/soltera818 \nhttp://www.facebook.com/soltera818 \nVery Jazzed: \nhttp://veryjazzed.com \nhttp://veryjazzed.bandcamp.com \nhttp://instagram.com/veryjazzed \nhttp://twitter.com/veryjazzed \nhttp://facebook.com/veryjazzedveryjazzed \nLand Acknowledgment Resources: \nWe want to acknowledge that we will be connecting with you all from the unceded territories and waterways of the Chumash\, Tongva and Kizh\, who are the original peoples of the land we live\, work and learn on. We enact this statement not only as an acknowledgement\, but as solidarity with the land back movement\, and recognize that our role in the work of collective liberation begins with explicit knowing of where we are at and our roles as settlers in unceded land. Additionally\, since portions of this event will be shared digitally on the internet\, this acknowledgement extends to the physical imperial presence the internet embodies as a cable network binding this planet along colonial trade routes we have come to know as the Trans Atlantic Slave Trade. To borrow a phrase from artist Tabita Rezaire\, “the virtual is real” and “the architecture of violence” is embedded in the technology we may consider decentralized. We invite you to consider these histories with us as we enter in a space together and acknowledge that our materials\, our means of connection and the land we live on are not apolitical actors for our creative pursuits. We also want to thank the Indigenous labor that has guided organizing bodies to create land acknowledgements and have linked our resources for creating this land acknowledgement below. \nhttp://landback.org/manifesto \nhttp://native-land.ca \nDeep Down Tidal (2017) – Tabita Rezaire: https://www.youtube.com/watch?v=V9EIywuH-LM&t=0s \nhttps://www.nyu.edu/about/news-publications/news/2015/june/nicole-starosielski-undersea-cables.html \nhttps://howlround.com/intersection-digital-technology-and-live-performance \nhttps://www.active-cultures.org \n 
URL:https://www.h-r.la/event/g-brenners-brushfire-album-listening-party-closing-reception/
LOCATION:CA
CATEGORIES:one-time event at HR
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210821
DTEND;VALUE=DATE:20210913
DTSTAMP:20260607T212447
CREATED:20210722T151819Z
LAST-MODIFIED:20210810T234113Z
UID:6248-1629525600-1631426399@www.h-r.la
SUMMARY:Visual Sovereignty: Indigenous Studies for Artists
DESCRIPTION:Saturday August 21\, Sept 4\, Sept 11 noon-2pm (note\, schedule has shifted) \nJoin us for a series of virtual seminars on Indigenous Studies as a paradigm for decolonial/anti-colonial art practices. This seminar will survey different threads of Indigenous Studies as a political\, educational\, and aesthetic movement. By engaging Michelle Raheja’s  “Visual Sovereignty” as a praxis\, we will emphasize the need for trans-Indigenous worldmaking that deploys individual and community assertions of what representation means in art and literature. The works in this seminar also embody what Maile Arvin calls “regenerative refusal” in which Indigenous peoples voice dissent from colonial hierarchies of being and relating to the world and enable transformed and liberatory futures. “Refusal” emphasizes the need for Native understandings of tradition\, relationality\, and alternative worlds and hierarchies of being that are opposite vis-à-vis western epistemologies that stems from histories of colonialism to modern day neocolonialism\, the military-industrial complex\, neoliberalism\, and late-stage capitalism.  \nRegister here for the seminar: we will send people who sign up a syllabus\, information on the zoom seminar\, and access to the readings. \nThe readings are organized in an archipelagic way\, connecting Native American thought with Indigenous theory of Oceania in the Pacific\, with that in the Caribbean\, and networks of Indigenous coalitions of resistance across the globe. By connecting the broad field of Indigenous Studies through what Audra Simpson calls “nested sovereignties” our readings will consist of varied perspectives of Native peoples and critiques of inherent paradigms of colonial power asymmetries. Categorizing these readings through an archipelagic standpoint connects these divergent narratives\, positions\, times\, and spaces. As Manulani Meyer states: \nIndigenous epistemology [is] a wide-open field of knowledge production and exchange with priorities in practice\, relevance\, context\, consciousness\, and shared common sense. It is knowledge through experience\, individual or collective\, and a way of being via site-specific familiarity through years\, generations\, and life-times. In this way patterns emerge collapsing time into space and all unknowns into mystery and story. \nBy putting together in conversation these formative readings in the wide-ranging field of Indigenous studies\, our focus will be concerned with critical Indigenous pedagogies that center cultural reclamation against the violences of the settler state. \nThis seminar will be led by Nicole Ku’uleinapuananiolikoawapuhimelemeleolani Furtado. She is a Ph.D. student at the University of California\, Riverside. Nicole is of Kanaka Maoli heritage and is from Nanakuli\, Hawaii. She received her B.A. in English from the University of Hawaii at Manoa and her M.A. in English at UC Riverside. Her current research interests are in Speculative Fiction\, Indigenous Studies\, Digital Art\, Disability Studies\, Science and Technology Studies\, and Decolonial Futurities. \nThis seminar is partially supported by UC Riverside. Flyer image: Sofia Kaleomalie Furtado.
URL:https://www.h-r.la/event/visual-sovereignty-indigenous-studies-for-artists/
LOCATION:Online
CATEGORIES:online event,seminar/workshop
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2021/07/Nicoles-design.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210724
DTEND;VALUE=DATE:20210809
DTSTAMP:20260607T212447
CREATED:20210703T180250Z
LAST-MODIFIED:20210705T233030Z
UID:6181-1627106400-1628402399@www.h-r.la
SUMMARY:Marxism for Artists\, redux
DESCRIPTION:Join us for two online seminar meetings dedicated to thinking/learning about money\, currency and value. In our first session (Saturday 7/24\, 11am-12:30 PST) we will return to the sections of Capital centered on money. In our second (Saturday 8/7\, 11am-12:30 PST)\, we will work through a handful of readings centered on cryptocurrency\, blockchain and NFTs (like this).   \nTo participate in this reading group\, an extension of “Marxism for Artists\,” please fill out this registration form. We will send registrants a link to a folder containing readings\, links to video lectures as well as information regarding the seminar zoom sessions. This reading group is intended as a welcoming space for people often marginalized\, silenced\, excluded from conversations about Marxist thought and centers Marxist feminist and Black Marxist perspectives on our subjects. It is furthermore intended to nourish the practices of artists and art workers. These sessions are hosted by HRLA member & UCR professor Jennifer Doyle. 
URL:https://www.h-r.la/event/marxism-for-artists-redux/
LOCATION:Online
CATEGORIES:online event
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210717
DTEND;VALUE=DATE:20210823
DTSTAMP:20260607T212447
CREATED:20210625T194419Z
LAST-MODIFIED:20250316T045621Z
UID:6176-1626501600-1629611999@www.h-r.la
SUMMARY:Nuestrxs Putxs
DESCRIPTION:Isabelle Albuquerque \nBárbara Sánchez-Kane \nFrieda Toranzo Jaeger \nThursday-Sunday\, noon-6pm \n \n\nTHIS HOLY DAY will be the first public viewing of these ritual grounds\, a realm both prelapsarian and post-apocalyptic that stands outside of time. All are invited to revel in the power of femininity\, to rejoice in the timelessness of cuir impurity\, and to collect talismans from its borderless pilgrimage route at the Sacred Rose Mercadito. Nuestrxs Putxs proffers icons for those who have so long been denied the graven image that is their due.\n\nNuestrxs Putxs is organized by LAR Arts and curated by Nika Chilewich and Sara Frier. The exhibition is generously hosted by Human Resources Gallery\, Los Angeles. The Nuestrxs Putxs Sacred Rose Mercadito is curated by Anita Herrera. Lorena Vega designed the exhibition’s graphic identity. Jason Tyler Burns is the exhibition designer and Gerardo Delgado is the exhibition coordinator.\n\nThis exhibition is made possible thanks to support from kurimanzutto\, Nicodim Gallery\, and Reena Spaulings Gallery. Generous support has been provided by Botanica Fine Art\, Tracy O’Brien and Thaddeus J. Stauber\, David and Deborah Chilewich\, Ruchika Garga\, and Galerie Barbara Weiss. Additional support has been provided by Barbara and Edward Goldberg\, Hannah Howe\, and Pamela Robinson.\n\nWe would like to extend a special thanks to Karla Aguíñiga\, Maria Guadalupe and Rudolph Aguíñiga\, Hussam Azzam\, Samantha Blake Goodman\, Jacqueline Bao\, Chris Blue\, Connie Butler\, Norma Alicia Castelazo\, Adalberto Charvel\, David and Deborah Chilewich\, Sandy Chilewich\, Chelsea Culprit\, Jim Fetterly\, Alfonso González Jr.\, Benjamin Lee Richie Handler\, Jesse Jaramillo\, Janet Lent and Ethan Lipton\, Joshua Lipton\, Samuel Luterbacher\, Machine\, Lukas Mitchell\, Sally Montes\, Xóchitl Morales\, Mills Morán\, Niki Nakazawa\, Mihai Nicodim\, Adam Peña\, Haley Penn\, Veridiana Pontes\, Dom Prout\, Jason Pugh\, Revolver Galería\, Sam Richardson\, Tan Uranga\, Peter Valenti\, Luna Vicini\, Chloé Wilcox\, and Bennett Tray Williams\, without whom this exhibition would not have been possible.\n\n 
URL:https://www.h-r.la/event/nuestrxs-putxs/
LOCATION:CA
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2021/06/titulonegro.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20210525T190000
DTEND;TZID=America/Los_Angeles:20210525T203000
DTSTAMP:20260607T212447
CREATED:20210517T170310Z
LAST-MODIFIED:20210517T170451Z
UID:6162-1621969200-1621974600@www.h-r.la
SUMMARY:Readings from Best! Letters from Asian Americans in the arts 
DESCRIPTION:Readings from Best! Letters from Asian Americans in the arts  \nTuesday\, May 25th\, 7pm (PST) \n  \nHRLA celebrates the release of the new book Best! Letters from Asian Americans in the arts\, edited by Christopher K. Ho and Daisy Nam. This is an online event with readings from contributors\, including Jesse Chun\, Josh Kline\, Kim Nguyen\, Christine Y. Kim\, John Tain\, C. Spencer Yeh. \n  \nRegister in advance for this meeting \nhttps://ucr.zoom.us/meeting/register/tJYocuqqrDksE9zYjHOJf6M3DfMkowFM_wpL  \nAfter registering\, you will receive a confirmation email containing information about joining the meeting. \n  \n  \nThis collection of seventy-three letters written in 2020 captures an unprecedented moment in politics and society through the experiences of Asian-American artists\, curators\, educators\, art historians\, editors\, writers\, and designers. The form of the letter offers readers intimate insights into the complexities of Asian American experiences\, moving beyond the model-minority myth. Chronicling everyday lives\, dreams\, rage\, family histories\, and cultural politics\, these letters ignite new ways of being\, and modes of creating\, at a moment of racial reckoning. \n  \nWith Contributions By:  \nAily Nash and Sylvia Schedelbauer\, Ajay Kurian\, Alexander Lau\, Anicka Yi\, Anne Anlin Cheng\, Anoka Faruqee\, Aruna D’Souza\, Asad Raza\, Brendan Fernandes\, Brian Kuan Wood\, Byron Kim\, C. Spencer Yeh\, Candice Lin\, Cathy Park Hong\, Celine Wong Katzman\, CFGNY\, Chitra Ganesh and Sung Hwan Kim\, Chris Wu\, Christine Y. Kim\, Dawn Chan\, Furen Dai\, Hera Chan\, Herb Tam\, Holly Shen\, Hồng-Ân Trương\, Howie Chen\, Hyperlink Press\, Iftikhar Dadi\, J Fan\, j.p. mot\, Jean Shin\, Jen Liu\, Jesse Chun\, Jessica Hong\, Jia Tolentino\, John Tain\, John Yau\, Josh Kline\, Ka-Man Tse\, Ken Lum\, Kenneth Tam\, Kim Nguyen\, Luke Luokun Cheng\, Lumi Tan\, Maia Chao\, Marc Handelman\, Marci Kwon\, Margaret Lee\, Martha Tuttle\, Martin Wong\, Mary Lum\, Matthew Shen Goodman\, Megha Ralapati\, Mel Chin\, Michelle Lopez\, Mimi Wong\, Mo Kong\, Naeem Mohaiemen and Yara El-Sherbini\, Pamela M. Lee\, Patrick Jaojoco\, Patty Chang\, Paul Pfeiffer\, Philip Poon\, Prem Krishnamurthy\, Ralph Pugay\, Sarah McCaffery\, Zheng Shengtian\, WangShui\, Sreshta Rit Premnath\, Tausif Noor\, Vinay Hira\, Yayoi Shionoiri\, and Zulfikar Ali Bhutto. \n  \nURL: https://shop.nplusonemag.com/collections/featured/products/best-letters-from-asian-americans-in-the-arts \n  \nReaders Bios \nJesse Chun is an artist working and living in New York\, NY. Chun’s work has been presented internationally at SculptureCenter\, New York\, NY; the Queens Museum\, New York\, NY; the Drawing Center\, New York\, NY; the Brooklyn Academy of Music\, New York\, NY; the Bronx Museum of the Arts\, New York\, NY; the Vera List Center for Art and Politics\, New York\, NY; the Museum of Contemporary Art Toronto\, Toronto\, Canada; Oakville Galleries\, Oakville\, Canada; and the Nam June Paik Art Center\, Seoul\, South Korea\, among others. Her recent digital and print publications include WORKBOOK (New York: Triple Canopy\, 2019); Intangible Heritage (Brooklyn: Wendy’s Subway x BAM\, 2018). Chun’s work is in public collections including the Whitney Museum Library\, New York\, NY; Artist Book Collection\, the School of the Art Institute of Chicago\, Chicago\, IL; Archive of American Art\, the Smithsonian Institution\,Washington\, DC; Yale University Library\, New Haven\, CT; and Asia Art Archive in America\, New York\, NY.  \n  \nChristine Y. Kim is Associate Curator of Contemporary Art at the Los Angeles County Museum of Art in Los Angeles\, CA. Her recent exhibitions include Diana Thater: The Sympathetic Imagination (2015 – 2016); My Barbarian: Double Agency (2015); James Turrell: A Retrospective (2013 – 2014)\, which won first place for the Best Monographic Museum Exhibition in the US by the International Art Critics Association in 2014; and Teresa Margolles\, an outdoor sculpture project in collaboration with the Los Angeles Nomadic Division\, a nonprofit organization for public art which she cofounded in 2009. Prior to her post at LACMA\, Kim was Associate Curator at the Studio Museum in Harlem (2000 – 2008)\, in New York\, NY\, where she organized exhibitions such as Kehinde Wiley\, The World Stage: Africa Lagos-Dakar (2008)\, Flow (2008)\, Philosophy of Time Travel (2007)\, Henry Taylor: Sis and Bra (2007)\, Black Belt (2003)\, and Africaine (2002); and surveys Frequency (2005) and Freestyle (2001) with Thelma Golden. Kim’s recent exhibitions at LACMA include Isaac Julien: Playtime (2019) and Julie Mehretu: A Survey (2019). \n  \nJosh Kline (b. 1979\, Philadelphia\, PA) lives and works in New York. His art has been exhibited internationally\, including in solo exhibitions at Astrup Fearnley Museet\, Oslo\, Norway; Modern Art Oxford\, Oxford\, UK; Fondazione Sandretto Re Rebaudengo\, Turin\, Italy; Portland Art Museum\, Portland\, OR; Modern Art\, London\, UK; and 47 Canal\, New York\, NY. In 2019\, Kline’s work was shown in the 2019 Whitney Biennial in New York\, NY; The Body Electric at the Walker Art Center\, Minneapolis\, MN; and New Order: Art and Technology in the Twenty-First Century at the Museum of Modern Art\, New York\, NY. In 2021\, he will have a solo exhibition at LAXArt\, Los Angeles\, CA. \n  \nKim Nguyen is a writer and curator based in San Francisco\, CA\, where she is Curator and Head of Programs at the CCA Wattis Institute for Contemporary Arts. She has curated exhibitions\, projects\, and programs with a wide range of artists\, including Maia Cruz Palileo\, Jeffrey Gibson\, Hồng-Ân Trương\, Cinthia Marcelle\, Akosua Adoma Owusu\, Abbas Akhavan\, and Ken Lum. Between 2019 and 2020\, Nguyen led the Wattis’s sixth research season\, which was dedicated to the work of Trinh T. Minh-ha. Her writing has appeared in exhibition catalogues and periodicals nationally and internationally. She is a recipient of the Hnatyshyn Foundation Award for Emerging Curator of Contemporary Canadian Art and the Joan Lowndes Award from the Canada Council for the Arts for excellence in critical and curatorial writing. She is currently working on her first collection of writings—a series of texts on alienation\, art\, and the long goodbye. \nSpencer Yehis recognized for interdisciplinary activities as an artist\, improviser\, and composer\, as well as for his music project Burning Star Core. His video works are distributed by Electronic Arts Intermix\, and he is a contributing editor to BOMB Magazine and Triple Canopy. Yeh has also been a longtime programmer and trailer editor for the microcinema Spectacle Theater in Brooklyn\, NY. His exhibitions and presentations include Shocking Asia\, Empty Gallery\, Hong Kong; Two Workaround Works Around Calder\, Whitney Museum of American Art\, New York\, NY Modern Mondays and David Tudor’s Forest Speech\, MoMA\, New York\, NY; Sound Horizon\, the Walker Art Center\, Minneapolis\, MN; Tarek Atoui: Organ Within\, Kurimanzutto and the Solomon R. Guggenheim Museum\, New York\, NY; The World Is Sound\, the Rubin Museum of Art\, New York\, NY; Mei-Jia & Ting-Ting & Chih-fu & Sin-Ji\, MoCA\, Cleveland\,OH\, Closer to the Edge\, Singapore; Crossing Over\, Kuala Lumpur\, Malaysia\, The Moon Represents My Heart: Music Memory and Belonging\, the Museum of Chinese in America\, New York\, NY; and Inner Ear Vision: Sound As Medium\, Bemis Center for Contemporary Arts\, Omaha\, NE. Yeh was a 2019 grant recipient of the Foundation for Contemporary Arts. The RCA Mark II\, a project on vinyl record\, was released by Primary Information in 2017. \n  \nJohn Tain is Head of Research at Asia Art Archive\, where he leads a team based in Hong Kong\, New Delhi\, and Shanghai. He was the curator of Crafting Communities\, an exhibition on the Thai-based Womanifesto initiative\, on view at AAA in the summer and fall 2020. In 2018\, he co-curated an exhibition for the Serendipity Arts Festival in Goa\, India\, and\, with Jasmine Alinder\, the exhibition Yasuhiro Ishimoto: Someday\, Chicago for the DePaul Art Museum in Chicago\, IL\, as part of the Terra Foundation’s Art Design Chicago. Among his other projects\, he co-convened MAHASSA (Modern Art Histories in and across Africa\, and South and Southeast Asia\, 2019–2020)\, a collaboration with the Dhaka Art Summit and the Institute for Comparative Modernities at Cornell University\, and serves as a series editor for Afterall’s Exhibition Histories\, the most recent volume of which is Uncooperative Contemporaries: Art Exhibitions in Shanghai in 2000. His writings have appeared in Artforum\, Flash Art\, Art Review Asia\, and elsewhere. He was previously a curator at the Getty Research Institute in Los Angeles\, CA. \n  \n  \nThis event has been supported by GYOPO\, and UC Riverside 
URL:https://www.h-r.la/event/readings-from-best-letters-from-asian-americans-in-the-arts/
LOCATION:Online
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2021/05/pm_best_m-front_1024x1024.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210503
DTEND;VALUE=DATE:20210616
DTSTAMP:20260607T212447
CREATED:20210518T170648Z
LAST-MODIFIED:20210519T035327Z
UID:6167-1620021600-1623736799@www.h-r.la
SUMMARY:Don't Look Now
DESCRIPTION:  \n“Don’t look now\,” is a demand to defer—and an apt characterization of the mood of the past year. Danie Casino\, Jiyoon Kim\, Hings Lim\, Jose Guadalupe Sanchez III\, Diane Williams\, and Rachel Zaretsky—the USC Roski MFA class of 2021—have spent the past year making work in a suspended state\, in the face of isolation and slow-motion tragedy\, wherein time no longer seemed linear. \nTemporal glitching characterizes Nicolas Roeg’s 1973 film\, Don’t Look Now\, as early as its first sequence\, in which a then-inexplicable red mirage spills across a piece of slide film. Blood\, paint\, chemical; it’s unclear exactly what the substance is\, but it is clear that it is foreboding insofar as it immediately disrupts the logic of time. Slide film should record the past\, but this particular image\, of a church in Venice\, Italy\, is more refraction than reflection. \nThe works included in Don’t Look Now also function as prisms of a sort: reflections\, windows\, ghostly presences\, premonitions\, and portals pervade. Installed and documented at Human Resources in April\, for an audience that would only view it later on screens\, the work is undeniably touched by temporal confusion. Through mirrored narratives\, Don’t Look Now doubles as a retort to and record of limitations imposed upon these six artists\, who all found ways to deepen their practices in spite of the demand to defer. \nOrganized by Hugo Cervantes\, Rachel Zaretsky\, Kate Rouhandeh. \n  \nDanie Cansino \nJiyoon Kim \nJose Guadalupe Sanchez III \nHings Lim \nDiane Williams \nRachel Zaretsky \nTo view Don’t Look Now click here. 
URL:https://www.h-r.la/event/dont-look-now-v2/
LOCATION:CA
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2021/04/USC-ROSKI-HumanResources-Show-Design-FRONT-2.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20201212T130000
DTEND;TZID=America/Los_Angeles:20201212T150000
DTSTAMP:20260607T212448
CREATED:20201205T230033Z
LAST-MODIFIED:20201206T200209Z
UID:5508-1607778000-1607785200@www.h-r.la
SUMMARY:October\, November and MARCH: How Has the Weather Changed?
DESCRIPTION:October\, November and MARCH: How Has the Weather Changed? \nA Roundtable Discussion on Art & Strategy + MARCH 01 Issue Launch\nSaturday\, December 12 @ 1PM PST/4pm EST/9pm GMT\nThis event is free and online: RSVP\n\n“We are in the period of November\, when revolution seems to be over\, and peripheral struggles have become particular\, localist and almost impossible to communicate. In November\, the former heroes become madmen and die in extra-legal executions somewhere on a dirty roadside and information about it is so diffused with predictable propaganda\, that hardly anyone takes a closer look.” \nIn a scene from Hito Steyerl’s November (2004)\, we hear these words distinguish between the revolutionary days of October and “ours” as the artist is seen participating in a protest against the US and allies’ invasion of Iraq. Yet\, that ‘present’ is now sixteen years old and separated from our present by a pandemic which has caused over 1.5 million deaths worldwide\, global uprisings in defense of Black lives\, massive deportations and barring of asylum seekers\, major housing and student debt crises\, drone assassinations and proxy wars\, oil spills and environmental catastrophes – alongside  ever louder calls for the abolition of the institutions of capitalism: the police\, the prison and the military\, among others.  \nIn its inaugural print edition\, MARCH: a journal of art & strategy occupies the first issue of October (itself a direct reference to the 1917 October Revolution) in order to reopen an inquiry into the relationship between revolutionary practice\, theoretical inquiry and artistic innovation in our time. Through this process we ask: Can publication (the act of making public) be an act of protest (public making)? Can publication be thought of spatially and materially as a consequential conspirator? Incendiary insurrection? What strategies do (and can) we employ? Towards what goals? Can an abolitionist framework be applied to the institution of art? Can we avoid the pitfalls of allegorical thinking? \nThe conversation brings together perspectives from Nora N. Khan\, Serubiri Moses\, Zoé Samudzi\, Andrea Steves\, MARCH founders Sarrita Hunn and James McAnally\, and is moderated by Gelare Khoshgozaran with Human Resources for the occasion of MARCH: a journal of art & strategy’s inaugural print edition.  \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. https://www.h-r.la/ \n  \nMARCH: a journal of art & strategy embraces publishing as an act of protest to address the critical social and political issues of our time. MARCH was founded in 2020 by Sarrita Hunn and James McAnally as an expansion of their previous publication\, Temporary Art Review (2011-2019). MARCH features an annual print edition alongside an active online platform commissioning essays\, interviews\, and experimental critical writing with a global perspective. https://march.international/ \n\nSarrita Hunn is an interdisciplinary artist\, editor\, curator and web developer whose often collaborative practice focuses on the culturally\, socially and politically transformative potential of artist-centered activity. She is the co-founder and editor of MARCH\, a journal of art & strategy; artistic coordinator for Saas-Fee Summer Institute of Art; and managing editor of artbrain.org. Additionally\, she is a founding member and co-chair of Liebe Chaos Verein e.V. and founding member of the queer cyberactivist collective Cypher Sex. \n  \nNora N. Khan is a critic\, an educator\, and a curator. She is on the faculty of Rhode Island School of Design\, in Digital + Media\, and has two short books: Seeing\, Naming\, Knowing (The Brooklyn Rail\, 2019)\, on machine vision\, and with Steven Warwick\, Fear Indexing the X-Files (Primary Information\, 2017). Forthcoming this year is The Artificial and the Real\, through Art Metropole. She is currently an editor of Forces of Art: Perspectives From a Changing World\, alongside Serubiri Moses and Carin Kuoni.  \n  \nGelare Khoshgozaran is an undisciplinary artist and writer who\, in 2009 was transplanted from street protests in a city of four seasons to the windowless rooms of the University of Southern California where aesthetics and politics were discussed in endless summers. Gelare is a keyholder at Human Resources. \n  \nJames McAnally is a strategic critic and dependent curator based in St. Louis\, MO. He is the co-founder and editor of MARCH: a journal of art & strategy\, the co-founder and director of The Luminary\, an expansive platform for art\, thought\, and action\, and a founding member of Common Field\, a national network of independent art spaces and organizers. McAnally is a recipient of the Creative Capital | Andy Warhol Foundation Arts Writers Grant for Short-Form Writing. \n  \nSerubiri Moses is a writer\, editor\, and curator\, and currently Adj. Asst. Professor in the Art and Art History Department at Hunter College. He is co-curator of the 5th perennial contemporary art survey\, Greater New York (2021)\, founded in 2000 at MoMA PS1\, Long Island City\, and previously was on the curatorial team of the 10th Berlin Biennale of Contemporary Art (2018). His current research focuses on theories in African visual art and art exhibitions.  \n  \nZoé Samudzi is a writer and doctoral candidate in Medical Sociology at the University of California\, San Francisco. Her writing has appeared in The New Republic\, Art in America\, The New Inquiry\, The Funambulist\, and other places\, and she is a contributing writer at Jewish Currents. Along with William C. Anderson\, she is the co-author of As Black as Resistance: Finding the Conditions for Our Liberation (AK Press\, 2018). She is currently a fellow with Political Research Associates. \n  \nAndrea Steves is an artist\, curator\, researcher\, and organizer currently based in Brooklyn. Her recent projects deal with museums and public history\, monuments and memorials\, and the complex legacies of the Cold War. Andrea also works in the collective FICTILIS and the Center for Hydrosocial Studies\, and is co-founder of the Museum of Capitalism. She is currently a visiting scholar at the Center For Capitalism Studies at The New School. \n\nimage caption: Hito Steyerl. November (still)\, 2004. See: https://vimeo.com/88484604
URL:https://www.h-r.la/event/march/
LOCATION:CA
CATEGORIES:one-time event at HR,online event
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20201127T080000
DTEND;TZID=America/Los_Angeles:20201210T170000
DTSTAMP:20260607T212448
CREATED:20201222T224140Z
LAST-MODIFIED:20210120T195451Z
UID:5624-1606464000-1607619600@www.h-r.la
SUMMARY:Hande Sever: 2 or 3 Things I Know About Her
DESCRIPTION:2 or 3 Things I Know About Her \nHande Sever \n  \nBefore dawn on September 12\, 1980\, a right-wing military junta took power in Turkey. During the nine years that followed\, the Turkish Armed Forces persecuted over three million people from the revolutionary movement. Between 1980 and 1985\, the military government arrested 750\,000 of them; blacklisted 1\,683\,000; tried 230\,000 in 210\,000 lawsuits; sentenced 7\,000 to death; revoked the citizenship of 17\,000; and denied 388\,000 the right to obtain a passport. The government admits that 400 people disappeared (the true number is certainly higher); another 400 died in prison. This coup was leveraged by the Carter administration\, and then supported through military aid by the Reagan Administration. \n2 or 3 Things I Know About Her is an exhibition by artist Hande Sever\, who recalls her mother’s experience of the junta in Turkey through reconstructed memories\, walnut frames\, and oral history. After the coup\, prisons became synonymous with torture centers – the most notorious of which were Metris\, Diyarbakır and Ulucanlar. The artist’s mother was kept in the Metris Military Prison – now known as Metris Closed Penitentiary. Taking up her mother’s memories of being a political prisoner\, the work tackles subjects such as military violence\, censorship\, and mass incarceration. Turning to the past in order to make sense of the present\, 2 or 3 Things I Know About Her unearths the historical processes that led to the extermination of a generation\, and\nreplaces within the scale of bodies the violence perpetrated by US-backed political interests in West Asia\, reminding its audience of the consequences of actions taken by military officials for national domination\, and what the dominated was left to witness. \n  \n \n“They would give me a batch of flyers. The flyers contained anti-facist and anti-imperialist information. My task was to get to a crowded public square\, or preferably to a bus\, then toss the flyers in the air. I would run away as the flyers dropped on the floor. I needed to get out of there before the cops arrived. We aimed to find new allies and supporters through this. They would find us through the flyers.” \n— from a conversation with the artist’s father. \n  \n  \n \n“I was first imprisoned in Selimiye Military Prison in 1980\, then\, in 1981\, I was transported to Metris Military Prison. Selimiye was barracks hurriedly converted into a detention center to accommodate the mass incarceration of political dissidents. You know Ataol Behramoğlu. The poet. I was in the same ward with his partner. She believed that we would be released quickly because they couldn’t find enough evidence to press charges against me. It cost me four years of being detained. At the end of four years I was released.” \n— from a conversation with the artist’s mother. \n  \n  \n \n“Once I read that there are over one million victims of military torture in Turkey. I thought\, what an understatement. The number is definitely higher. After I was detained I was immediately blindfolded and handcuffed by the military. They left me for hours like that. What they called “Palestinian hanging” was the most common torture method the military used againt political dissidents. I couldn’t stop thinking about the torturers. Did they have loved ones? Can someone with such an appetite for cruelty have loved ones?” \n— from a conversation with the artist’s mother. \n  \n  \n     \n  \nThis exhibition was hosted by Actual Size\, as part of HRLA’s TSM Residency program
URL:https://www.h-r.la/event/hande-sever-2-or-3-things-i-know-about-her/
LOCATION:actual size\, 741 New High St.\, Los Angeles\, CA\, CA\, 90012
CATEGORIES:Artist in Residence,off-site event
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20201101
DTEND;VALUE=DATE:20210202
DTSTAMP:20260607T212448
CREATED:20200131T000031Z
LAST-MODIFIED:20211228T050428Z
UID:5317-1604210400-1612159199@www.h-r.la
SUMMARY:Stoking The Flame
DESCRIPTION:Stoking The Flame brings together DJs\, Poets\, Artists\, Musicians whose work invokes new worlds imagined and forged within nightlife.  \nStoking The Flame aligns itself with artists who wield the allure and radicality of nightlife to experiment and amplify new sounds\, moves\, and ways of being with one another amidst the on-going state violence.  \nStoking The Flame will feature one artist per week over the span of the last months of 2020. In a combination of mixes\, videos\, interviews\, and other virtual experiments Stoking The Flame stages a site to add onto nightlife’s constant forging of other worlds\, of more nights\, and ways of being. \nDJ Erika Kayne \nBAE BAE \nGemma Castro \nSebastian Hernandez \nKelman Duran \nJasmine Nyende \nXina Xurner \nElliot Reed \nKaili \n 
URL:https://www.h-r.la/event/stoking-the-flame/
LOCATION:Online
CATEGORIES:exhibition,online event
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20201023
DTEND;VALUE=DATE:20201027
DTSTAMP:20260607T212448
CREATED:20201014T165717Z
LAST-MODIFIED:20201014T170106Z
UID:5350-1603432800-1603691999@www.h-r.la
SUMMARY:Dawn of the New Age
DESCRIPTION:HRLA Time Space Money artist-in-residence Sarah Gail presents their painting\, Dawn of the New Age on Oct 23-25 at 7pm\, at Actual Size Gallery (741 New High St. Los Angeles\, CA 90012). They will be showing their piece with performance art and music to accompany it. This presentation has been created in an effort to inspire all to look within and discover the world that they desire to live in\, to believe that a harmonious world can exist\, and to put forth the effort into making that happen.
URL:https://www.h-r.la/event/dawn-of-the-new-age/
LOCATION:actual size\, 741 New High St.\, Los Angeles\, CA\, CA\, 90012
CATEGORIES:Artist in Residence
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200828
DTEND;VALUE=DATE:20200901
DTSTAMP:20260607T212448
CREATED:20200828T222634Z
LAST-MODIFIED:20200828T223331Z
UID:5296-1598594400-1598853599@www.h-r.la
SUMMARY:Seren Sensei
DESCRIPTION:Friday\, August 28th – Sunday\, August 30th \nHRLA presents 2 videos by Time Space Money artist-in-residence Seren Sensei at Actual Size\, which can been seen from the sidewalk\, any time of day or night: The [Black] Americans EXTRAS: Detroit and Five Years Since Ferguson \n \n \nFrom the artist: ‘I’m Seren Sensei\, and I am a filmmaker\, writer\, cultural critic and artist. My work is dedicated to archiving and exploring the cultural narratives of Black Americans – Descendants of American Chattel Slavery (BA-DACS); my cultural criticism has been printed in such publications as Riot Material and NYLON\, and referenced in Jacobin Mag\, Vulture\, Complex\, Newsweek\, AJ+\, People\, Netflix\, Vice\, and more. I was recently named a 2020 Indie Memphis Black Filmmaker Resident for my screenplay\, ‘KITT.’ As an anti-capitalist and anarchist\, I am also constantly seeking out ways to dismantle the hegemonies of systems of racism\, sexism\, classism\, homophobia\, able-bodiedness\, and the like. Specializing in race\, culture\, and sociopolitical theory\, I also facilitate an active community of over 43\,000 subscribers and 7 million views on my YouTube channel (https://www.youtube.com/c/senseiaishitemasu)\, where I have released two seasons of the documentary web series ‘The [Black] Americans.’ \nThe [Black] Americans EXTRAS: Detroit features a conversation on Black American Detroit culture as well as an example of ‘ballrooming\,’ which is a cultural dance. Five Years Since Ferguson is a short documentary on my return to Ferguson\, MO\, where Mike Brown was murdered and the BLM movement kicked off\, five years after I was last there in 2014 for the protest. Both pieces will be on display at Actual Size. \nFind me on instagram: @sensei_aishitemasu
URL:https://www.h-r.la/event/seren-sensei/
LOCATION:actual size\, 741 New High St.\, Los Angeles\, CA\, CA\, 90012
CATEGORIES:off-site event
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200822
DTEND;VALUE=DATE:20200928
DTSTAMP:20260607T212448
CREATED:20200730T210452Z
LAST-MODIFIED:20200730T225644Z
UID:5248-1598076000-1601186399@www.h-r.la
SUMMARY:Marxism for Artists\, Pt. 2
DESCRIPTION:Participants in HRLA’s online seminar\, Life in the Iron Mills/Marxism for Artists (organized by Jennifer Doyle and concluded in early July)\, expressed a desire to keep going — and so we will! \nOur next session will center on Marxist thinking about kinship\, collectives\, society and social transformation\, and will run from August 22 until the end of September. If you would like to participate\, please sign up here. \nOur readings will move across distinct areas in Marxist critical thought — Friedrich Engels’s The Origins of Family\, Private Property and the State\, Gayle Rubin’s “The Traffic in Women: Notes on the Political Economy of Sex\,” excerpts from Glen Coulthard’s Red Skin\, White Masks: Rejecting the Colonial Politics of Recognition\, Saidiya Hartman’s Wayward Lives\, Beautiful Experiments: Intimate Histories of Social Upheaval\, and Cedric Robinson’s Black Marxism. We will discuss Black cooperatives with Dr. Irvin Hunt (University of Illinois)\, author of the forthcoming Dreams of the Present: Time\, Aesthetics and the Black Cooperative Movement. \nA preoccupation with philosophies of history are defining features of Marxist critical theory — the turn to the past expresses a need to understand change — to push against a sense of the always-already ongoingness and inevitability of oppression. To refuse the way things are\, we grapple with the possibilities of what might have been. In Marxist critical theory\, these lines of inquiry are braided with a turn to cultural anthropology — this is particularly important to Marx’s writing about primitive accumulation\, and to The Origins of the Family\, which was developed from Marx’s notes on 19th-century anthropological writing about Indigenous societies in North America and the Pacific. These writings were really important to Marx and Engels – and to the latter’s ideas about kinship and family structures\, and the relationship between the rise of Capital and the organization of production/consumption around the patriarchal\, monogamous family. Collectively\, this reading explores the origin of Capital and white heteropatriarchy and begins to suggest other ways of living and working together. \nMarxism for Artists is a weekly reading and discussion group intended to support the development of our understanding of key texts in Marxist thought\, especially as they might support artists’ practices. While students/scholars are welcome\, this group is formed as an alternative to the vibe which tends to dominate academic settings. This group is meant to make space for people often pushed out by the turn to “theory” — not because they do not have the competency to contribute\, but because the culture around Marxist critical theory\, in particular\, is often overtly hostile to the perspectives of BIPOC\, women\, queer and trans folks.  The very rich tradition of feminist\, queer\, Indigenous and anti-racist engagement with Marxism has\, historically\, been marginalized within art and art history — the effect is to reinforce a conceptual apartheid which divides work concerned with race\, gender and settler-colonial contexts and work concerned with the status of the art object\, within Capital. This was never OK; today more and more contemporary art contexts are reckoning with that fact. \nThese conversations are meant to be a space for working-through our shared interests in learning more\, and also for\, in a sense\, doing some repair-work. It is a chance for people to read and think together because it feels good. \nIf this sounds to you like it would feel good to you\, please consider joining us. \nThese events are hosted on zoom thanks to Jennifer Doyle’s professional home\, The English Department at UC Riverside.
URL:https://www.h-r.la/event/marxism-for-artists-pt-2/
LOCATION:Online
CATEGORIES:online event
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200821
DTEND;VALUE=DATE:20210402
DTSTAMP:20260607T212448
CREATED:20200821T173345Z
LAST-MODIFIED:20200914T180506Z
UID:5257-1597989600-1617256799@www.h-r.la
SUMMARY:Time Space Money Artists in Residence
DESCRIPTION:HRLA is pleased to announce the list of artists for the Time Space Money artist in residence program! Between August 2020 and March 2021 we are offering 22 residencies at HRLA and at Actual Size. We received over 200 applications\, and wish we could do more to support the large community of artists who have defined HRLA since we opened our doors in May 2010! \nOur physical space will not be open to the public during this period; we will however\, share a range of projects online and some work will be viewable from the sidewalk outside Actual Size. We are deeply grateful to Actual Size for sharing their space with these artists. \nAimee Goguen\n \nAimee Goguen is a video artist who combines analog video with animation elements. Goguen’s video work is often imaginably about bullying and putrefaction. Goguen co-curated Afterglow: Summer Video Series with Harry Dodge. She has been included in such anthologies as Dirty Looks Volume 4 The Pink Place: On Aimee Goguen’s ‘Tongue Job’ by Dodie Bellamy and The Oxford Companion to Queer Cinema reviewed by William J. Simmons. Goguen has participated in several group shows including ec.dy.sis\, CASSTL\, Antwerp\, Accidentally on Purpose\, Panel LA\, Protuberances\, LAXART\, Things: a queer legacy of graphic art and play\, Participant Inc\, and Escape from Witch Mountain\, White Columns\, NY. She earned her BFA in Film/Video and MFA in Fine Arts at California Institute of the Arts. She lives and works in Los Angeles. \nhttps://aimeegoguen.com \nAmelia Bande + Rachel Higgins\nDrift/Do I Live Inside A Miracle?\, 2019\, collaborative performance with Amelia Bande on a raft Higgins built\, August 08\, 2019\, Fire Island. \nAmelia Bande is a writer\, performer\, music maker and language teacher originally from Chile. She uses text and visuals to create live capsules of intimacy and low-fi musicals. Her solo and collaborative work has been shown at Artists Space\, The Poetry Project\, Storm King Arts Center\, Participant Inc.\, BOFFO Performance Festival\, EFA Project Space and more. She has been an artist in residence at WORM Filmwerkplaats\, The Shandaken Project\, FIAR and Yaddo. She was co-editor of Critical Correspondence\, an online publication of Movement Research. Find me @meliosmelios \nRachel Higgins is an artist and builder based in L.A. She creates sculpture and participatory events using construction materials and the language of corporate design to re-imagine social space. Higgins received an MFA from Hunter College in 2010. Her solo and collaborative work has been shown at Kristen Lorello Gallery NY\, Socrates Sculpture Park\, the Hammer Museum\, EFA Project Space\, among many others. She has been awarded residencies at Socrates Sculpture Park\, Lower Manhattan Cultural Council’s Workspace Program\, Real Time & Space in Oakland\, CA\, Fire Island Artist Residency\, and Tinkledy Springs in Abiquiu\, New Mexico. \nhttps://meliosmelios.tumblr.com/\nhttp://rachelhiggins.com/\nAndrea Carrillo Iglesias\n \nAndrea Carrillo Iglesias (Tijuana\, 1986) is a Mexican artist and graphic designer. Her work combines research and production practices in relation to the political and ethical implications in the production of the image\, exploring the relationship between image\, power\, and knowledge\, and its effects on the ways in which our reality is socially and aesthetically produced. Her practice takes on the form of moving image\, immersive installations\, performance\, and alternative narrative forms. \nCarrillo holds a Master in Design Studies in Art\, Design and the Public Domain from the Harvard Graduate School of Design where she also co-directed FortyK gallery. In 2015 she finished a year of Graduate Studies in Visual Arts at Sandberg Instituut\, Amsterdam. Carrillo has exhibited in Mexico\, Netherlands\, and the United States. Her most recent exhibitions have been; Flat Affect at Deslave Galería\, Califas: Art of the US-Mexico Borderlands at the Richmond Art Center\, An Island of Simulation at the Sackler Museum\, and Parkour by Heart at Massachusetts Institute of Technology. She is currently a member of Coopia\, a trans/in-disciplinary cooperative for the transformation of the territory through explorations of direct democracy. \nhttps://acarrillo.info \nAUSTYN RICH\n \nAUSTYN RICH is from Smyrna\, Georgia. He works bi-coastally. He has performed for d. Sabela grimes\, Lula Washington\, Bill T. Jones and William Forsythe. Austyn is currently presenting his work\, STAY SANE\, a drive-in performance under the current conditions of stay at home. His upcoming work\, 021\, will be created while in residence at HRLA. \nhttps://AUSTYNRICH.COM \nTinkel Binkel Corp \n \nFounded in autumn 2019 AD and before they were born\, Tinkel Binkel Corp.® is a registered trademark of the present times. During a two week slow-train journey through China\, the founders\, BK and AK\, developed a 10-point Manifesto born from their experiences of longing\, communication errors\, and the freeing limitations that come from being stuck to the rail. Using this finely-tuned Manifesto as a foundation and springboard for relating to one another and the whirled at large\, Tinkel Binkel Corp. hopes to proliferate their rhetoric in as many spheres as possible. The Corp. works in several mediums of life\, including conversation\, interview\, identity-switch\, film\, novel\, song\, meal-creation and poem. Their primary means of gathering content is via spying — the fly on the wall talks back! \nhttps://flatjournal.com/flat/geshlider-ko \nChristal Pérez and Karla Ekatherine Canseco\n \nThe performances of Karla Canseco and Christal Perez are situated as rhizomatic investigations – at times taking on the position of a deconstruction of language – the signifiers\, symbols\, bastard associations\, the creation and (eventual) destruction of the Anthropocene\, the analysis of their respective cultures that follow lineages that migrate out of the global south into the deceitful embrace of (necro)capitalism\, the (dis)logic of multiculturalism as a quantifier of change – progress – optimism all while in dialogue (even if refuting\, recapitulating\, rupturing) the myths of aesthetics\, (meta)(sub)culture and (post)(anti)modernism. \nhttps://karlachristal.net \nChristina Catherine Martinez\n \nChristina Catherine Martinez is a writer\, actor\, and comedian based in Los Angeles. The Comedy Bureau has described her live act as “a great bridge between many different disciplines\, including performance art\, stand up\, and clowning”. Her writings on art and culture appear regularly in Artforum\, Texte Zur Kunst\, Art Agenda\, and MOMUS. Her television work includes a series of short films for FX titled “Two Pink Doors” and creative consulting for The Eric Andre Show on Adult Swim. Her book of essays on art\, comedy\, and illness\, titled “Aesthetical Relations” was published in 2019 by Hesse Press. She has received the 2013 Georgia Fee Artist/Writer Residency in Paris\, France\, the 2015 Warhol Foundation International Art Critics Association Art Writing Workshop Grant\, a 2018 inaugural Bar-Fund Artist Grant\, and a 2018 Creative Capital / Warhol Foundation Arts Writers Grant for Short-Form Writing. She has been named a Comic to Watch in 2020 by TimeOut LA. Despite the institutional tone of the previous sentences\, joy and stupidity remain cardinal elements of her work (practice?) \nhttps://christinacatherine.info \nCorey Fogel\n \nCorey Fogel (b. 1977) is a drummer and artist living in Los Angeles\, CA. His practice is based around momentary encounters between music and objects\, textiles\, foods\, and other collaborators. Corey engages the viewer to consider sound as a medium on par with paint and cellulose. He challenges us to consider the contexts in which we create\, store\, and understand sound in performance. \nHis works have been presented at Machine Project\, Los Angeles; Los Angeles County Museum of Art\, Human Resources\, Los Angeles; Redling Fine Art\, Los Angeles; The Wulf\, Los Angeles; The Hammer Museum\, Los Angeles; the Museo de Arte Contemporaneo de Oaxaca\, REDCAT; Los Angeles; and New Music for Strings Festival: Reykjavik. His performance work was also included in J. Paul Getty Museum’s Pacific Standard Time Performance and Public Art Festival and West of Rome’s Trespass Parade. Corey was awarded The California Community Foundation 2014 Fellowship in Visual Arts. Fogel also performs and composes in many rock\, jazz\, noise\, folk\, and chamber music capacities. Recent collaborations include: Julia Holter\, Tashi Wada\, Patty Waters\, Abigail Levine\, Simone Forti\, Raven Chacon\, Yoshi Wada\, Michael Winter\, Robert Blatt\, Maya Dunietz\, John Butcher\, John Russell\, Todd Barton\, Misha Marks\, Brian Allen\, Alexander Bruck\, Patrick Shiroishi\, Liz Glynn\, Chris Speed\, Mark Dresser\, Kathleen Kim\, Ezra Buchla\, Tony Malaby\, John Dieterich\, Carlin Wing\, Sam Mickens. He is currently pursuing his Ph.D in the Integrated Composition\, Improvisation\, and Technology program at UC Irvine. \nhttps://coreyfogel.com \nHande Sever\nImage from “2 or 3 Things I Know About Her\, 2020” \nHande Sever is a research-based artist\, writer and educator who was raised in Istanbul\, Turkey. Her work often takes up her family’s history of persecution to explore divergent lines of inquiries\, including issues of exile and postcoloniality. Sever’s works have been presented at Hauser & Wirth Somerset\, UK; CICA Museum\, Gyeonggi-do\, South Korea; the Museum of Contemporary Art Chicago\, IL; Flux Factory and A.I.R. Gallery in New York; Human Resources\, Visitor Welcome Center and BOX Gallery in Los Angeles\, CA. As a writer\, Sever is committed to articulating the histories and conceptual undertakings of artists and cultural producers belonging to the Majority World\, with a focus on contemporary artistic and architectural practices originating from indigenous communities within Turkey. Her writing has been published by the Getty Research Journal\, the Journal of Arts & Communities\, the Stedelijk Studies journal\, and X-TRA Contemporary Art Quarterly\, among others. She currently teaches at the California Institute of the Arts as part of the Photography and Media Program. \nhttps://handesever.org \nHea-Mi Kim\n \nHea-Mi Kim is an artist working in video\, installation\, and sound. Her work informs power structures around systemic racism and gender roles inhibited by Western society. Born in Seattle\, WA in but raised in the suburbs of Detroit\, MI as a second generation Korean-American\, she was early on exposed to the consequences of her intersectional identity. She is currently exploring how her assimilated identity has informed the mundane vis-à-vis colonization and Asian American history. She received her BFA in Studio Art in New York City from Parsons School of Design in 2018\, and she will be graduating in 2020 with an MFA from the University of California Los Angeles specializing in the New Genres department. \nhttps://heamikim.com \nJackie Amézquita\n \nJackie Amézquita (b. 1985) is a bi-national artist/activist. Amézquita was born in Quetzaltenango\, Guatemala\, and migrated to the United States in 2003. She holds a Bachelor’s degree in Fine Arts from ArtCenter College of Design and an Associate degree in Visual Communications from Los Angeles Valley College. She is an MFA Candidate in the New Genres program at the University of California\, Los Angeles (UCLA) 2022. She is currently living and working in Los Angeles\, California. \nAmézquita’s work explores the psycho-socio-geographical and political interactivity of different ethnic groups. She is interested in exploring the impact that two opposing cultures create on their social environment and how socioeconomic differences between cultures affect the social structure. The types of jobs people do\, the amount of money they can earn\, and the quality of land they occupy are factors which play a role in defining racial groups in society\, each with its own concerns\, interests\, values\, and attitudes. \nAs a result of her experiences as an immigrant woman\, her practice has been influenced by her relationship to borders and the interaction with different cultures around the world. The artist has incorporated the use domestics and construction making techniques to explore a visual language that rebalances the power of socio-political relationships. This practice has allowed her to intertwine historical and contemporary references. \nhttps://jackieamezquita.com \nJackie Beckey\, Rachel Blomgren\, Paul Borman\, Evan Burrows\, Tynan Kerr\, and Sophie Weil\n \nJackie Beckey\, Rachel Blomgren\, Paul Borman\, Evan Burrows\, Tynan Kerr\, and Sophie Weil are multidisciplinary artists and musicians who live and work in LA. The group shares an affinity for creating community-engaged music\, and more often than not appear in non-commercial venues- DIY spaces\, public parks\, infoshops\, community theaters. Their residency at Human Resources will enable their first audio-visual collaboration together\, an ad hoc fruition representing more than a decade of creative affiliation and cross-pollination under many guises. \nhttps://dove-cove.com/ \nhttps://florina.bandcamp.com/ \nhttps://tynankerr.com/ \nhttps://olgaa.bandcamp.com/ \nJasmine Orpilla\n \nJASMINE ORPILLA is an Ilocana/x-American\, performance artist and composer of experimental theatrical sound installations\, in which she activates her living traditional practices of music\, dance and family rituals within the contemporary\, yet ever-eroding frame of her own 1st-generation schism from both Imperialist history and the U.S. military culture of her childhood. An awarded international performer who takes space with renown art\, theatre and opera directors on stages worldwide\, her voice continues to disrupt the status-quo institutions of genre\, gender- and racial- stereotypes she encounters in those spaces today. \nhttps://JasmineOrpilla.com \nJi Soo Chung\n \nJisoo Chung is an L.A.-Seoul based artist working primarily through video\, installation and performance. Her work navigates physical and psychological relationships between individual and systems that are reflected on daily based technology. Influenced by the failure in technology such as linguistic mistranslations and cultural misinterpretations\, Chung uses these failures as a blueprint to subvert the occupied linguistic\, sociocultural systems. Born in Seoul\, South Korea\, Chung received MFA from the University of California Los Angeles in the area of New Genres in 2019\, and BFA from Seoul National University\, Seoul\, in the department of Paintings. Chung’s work has been shown in Los Angeles and Seoul including Monte Vista Project\, L.A.; Tiger Strikes Asteroid LA\, L.A.; Durden and Ray\, L.A.; 1748 adams\, L.A.; Seoul National University Museum of Art\, Seoul; CICA Museum\, Seoul; Dongduk Women’s University\, Seoul; and Dong-shi-sangyoung Screening Project\, Seoul. She was nominated as ArtSlant Prize showcase winner in the New-media category in 2017 and commissioned by Los Angeles County Metropolitan Transportation in 2019 for the New Digital CIPs project. Her work will be presented in a group exhibition held at Korean Culture Center Los Angeles art gallery in 2021. \nhttps://chungjisoo.com \nJorge Espinosa\nphoto credit: Ivonne Guzman 2020 \nJorge Espinosa is a Los Angeles based artist\, musician\, educator and designer born in Quito\, Ecuador. He is interested in creating sonic and visual scenarios where he can explore ideas of power\, and the context where such dynamics happens. This is an opportunity for him to reflect on who he is\, and where he stands regarding certain topics. Even though he sometimes uses accurate historical facts as a source\, he is also interested in the fictional side of history. He is not pretending to document a conflict\, but to model a scenario with found elements where a new one can be created. His work is equally informed by radio soap operas and news reports\, and navigates in between music exploration\, the recreation of personal and collective memories through soundscapes and visual scenarios. \nSome of this work is very specific to certain places or audiences since it draws from particular codes and references. Not all pieces should function the same everywhere\, making it interesting to see how they could change depending on who’s the audience and where it’s presented. \nhttps://jorgeespinosam.com \n  \nM. Page Greene \n \nM. Page Greene is a person living in Los Angeles and an interdisciplinary artist. Their drawings and paintings have been exhibited at galleries including Peres Projects\, Stuart Shave/Modern Art and AltCtrlDel as well as institutions including The UCLA Hammer Museum\, The New Museum and Kunsthalle Schirn\, Vienna. Disillusioned by the mechanics of the art market\, they started performing live in alternative venues and producing A/V works under the name Page Person in 2017. \nhttps://www.instagram.com/tv/CDwT27OlttU/?igshid=u4gbxh3rz4x0 \nMar Citlali\, Anthony Robles\, and Frank Gil\n \nMar Citlali\, Anthony Robles\, and Frank Gil are three Mexican-American artists from three different regions of Southern California (The Inland Empire\, Los Angeles\, and Orange County.) Their independent work revolves around vastly different mediums and worlds but they find common ground in collaboration and shared passions for humor and absurdity. \nMar Citlali is an interdisciplinary artist focused primarily on self portraiture and storytelling through writing and different mediums such as food or soundscapes. \nAnthony Robles is a filmmaker and multimedia artist whose work re-imagines both his and his family’s memories of growing up in Wilmington and the surrounding Harbor Area of Los Angeles\, California. He is constant in his reveries that celebrate his family’s legacy. \nFrank Gil is a hairstylist whose practice questions the thresholds of beauty and exaggerates the human form. He is currently a creative director at luxury brand Sassoon but is working toward bringing stylistic freedom outside of the confines of the traditional salon environment. \nvimeo.com/delroble \nMiddle Ear Project\n \nMiddle Ear Project (Los Angeles) was founded by Jennifer Bewerse and Cassia Streb\, a design team who has been performing\, curating\, and producing concerts together since 2014. We are endlessly fascinated by the discourse created when pieces of music are thoughtfully juxtaposed\, and how exploring different artistic answers to the same question can illuminate interesting complexities instead of straightforward solutions. We find real satisfaction in coordinating concerts that are rich and complex\, something that listeners can dig their ears into. \nOver the years\, we’ve gained a tremendous amount of experience working with performing ensembles\, presenting organizations and venues\, often working with many of these within a single project. We launched this concert design project in order to join forces and make our skills available to artists beyond those already involved in our personal ventures. \nWe share a focused work ethic\, a deep dedication to our work and musical communities\, and we recognize that the success of our events is built around a community of artists and presenting organizations. By putting different composers\, compositions\, and performance techniques in conversation with the social structures of a concert\, we help create a sum that is greater than its parts. In short: better concerts. \nhttps://middleearproject.com \nNick Flessa\n \nNick Flessa hails from Cincinnati but has spent the better part of his life in Los Angeles. Nick’s work has shown in places like REDCAT\, Echo Park Film Center\, UCLA and the University of Puget Sound. From late 2016 to mid 2019 he helped guide programming and printing at Los Angeles Contemporary Archive\, where he presented his solo exhibition Death Production: The Archive of Janna Flessa (executed by Nick Flessa) in 2018. His book Case Number: 87-447 can be found in national and international library collections. Flessa is an active musician/performer and the editor of the Wende Museum’s Historical Witness Project. \nhttps://nickflessa.com \nPanteha Abareshi\n \nPanteha Abareshi is a 21-year old artist based in LA. Her work is rooted in her existence as a chronically ill/disabled body existing with multiple medical illnesses\, at the root of which is sickle cell zero beta thalassemia- a genetic blood disorder that causes debilitating pain\, and bodily deterioration that both increase with age. Through her work\, she aims to discuss the complexities of living within a body that is highly monitored\, constantly examined\, and made to feel like a specimen. Taking images that are recognizable as “human” forms\, and reducing them to the gestural is a juxtaposition of her own body’s objectification\, and dissection. Through her performance work\, she pushes her body to\, and often beyond\, the limits of its ability. The radicalized abjectification of her own corporeal form allows for a continued examination of her bodily deterioration\, and its connection to a larger context of universal fragility fear\, pain and mortality. In her video work and installations\, she aims to make the viewer hyper-aware of their own body\, and actively employ accessibility as a tool\, both withholding and over-extending it as a means of casting light onto the ill/disabled experience. With every piece\, her practice traces and documents her body’s malfunction\, and its disintegration. With this deterioration comes implantation of medical devices\, prosthetics\, and the use of mobility aids. Her body is the primary medium in her practice\, and these materials become vital to the visual language of her work. Currently\, she is contemplating the prosthesis\, and simultaneous abstraction. \nhttps://PANTEHA.COM \nSarah Gail Armstrong\n \nMy Inspiration comes from experiencing life\, and the many emotions that come with existing.There is a colorfulness and boldness to my work\, that reflects how I view and relate to the world. Oftentimes\, my art is a representation of a fantasy\, dream\, or vision I’ve had; thus\, giving me permission to further explore my dreams\, and fantasies. General themes in my work include nature\, sexuality\, racism\, romance\, spirituality\, gender\, and self-expression. \nMy existence as a dark-skinned\, Black\, nonbinary\, femme is constantly under attack. Thriving and creating work that stems from a goal of a pro-Black peaceful future actively combats the white cis hetero male patriarchy. Being vulnerable enough to bear myself to the world empowers me\, and others like me to live a life of our choosing. In much of my work\, I take advantage of my privilege and use art to speak out against local and/or global injustices that are occurring. \nSeren Sensei\n \nSeren Sensei is an artist\, cultural critic\, filmmaker\, and writer. Her cultural criticism has been printed in such publications as Riot Material\, The Crisis Mag and NYLON\, and referenced in Jacobin Mag\, Vulture\, Complex\, Newsweek\, AJ+\, People\, Netflix\, Vice\, and more. Specializing in race\, culture\, and sociopolitical theory\, she facilitates an active community with over 7 million views on her YouTube channel\, where she has released two seasons of the docuseries ‘The [Black] Americans\,’ dedicated to archiving and exploring the cultural narratives of Black Americans – Descendants of American Chattel Slavery. In 2015\, she released her first book\, entitled ‘So\, About That… A Year of Contemporary Essays on Race and Pop Culture.’ She is also a panelist\, public speaker\, and lecturer\, speaking on such platforms as ‘For The Record’ podcast at Genius; at George Washington University; and at California State University\, Bakersfield. Seren was a 2016-2017 fellow for at lands edge\, a Los Angeles-based pedagogical program for cultural producers wishing to combine art and activism\, and a 2018-2019 cohort with the Urban Agriculture Beginner Farming Training Program by Future Harvest CASA in Washington\, D.C. She was most recently named a 2020 Indie Memphis Black Filmmaker Resident for her screenplay\, ‘Kitt.’ \nhttps://www.youtube.com/channel/UCzTTM7g6KJ1lFF9wuJCdvTg
URL:https://www.h-r.la/event/residents/
LOCATION:CA
CATEGORIES:Artist in Residence
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20200802T160000
DTEND;TZID=America/Los_Angeles:20200802T193000
DTSTAMP:20260607T212448
CREATED:20200724T191107Z
LAST-MODIFIED:20200724T191107Z
UID:5242-1596384000-1596396600@www.h-r.la
SUMMARY:CONTEXT-CON Book Launch: Alexandro Segade’s The Context 
DESCRIPTION:Please join us for a CONTEXT-CON\, an online book launch (in the form of a Comic Con) event celebrating Alexandro Segade’s new graphic novel The Context\, published by Primary Information in 2020. Register here! \nInterpreting The Context’s superheroes\, special guests include: \nEi Arakawa as Drives \nJennifer Doyle as The Body \nJonah Groeneboer as Form \nMary Kelly as Cathexis \nJennifer Moon as Barelife \nTavia Nyong’o as Objector \nDavid Velasco as Biopower \n  \nFollowed by Alexandro Segade in conversation with scholar andré carrington \nAnd live drawing with graphic novelist Luciano Vecchio \nCo-hosted by Human Resources\, Los Angeles and Participant Inc.\, New York. \n— \nAbout The Context \nThe Context reimagines the superhero comic book as a queer parable of belonging. The story follows six powerful beings from different worlds who find themselves inexplicably adrift together in an otherwise lifeless void: Biopower\, Cathexis\, Barelife\, Objector\, Drives\, and Form. The characters\, each named for a concept drawn from critical theory\, engage one another in skintight fight scenes that often look like sex scenes\, and philosophical debates masked as exposition. \nAs a lifelong fan and a more recent critic of the superhero genre\, artist and performer Alexandro Segade approached his first graphic novel as a solo performance\, acting out all the roles: writer\, penciller\, inker\, colorist and letterer. The Context considers the form of the graphic novel through conceptual\, minimalist\, op art\, and constructivist aesthetics\, while paying homage to the great cosmic comics of the 1970s and ’80s: Silver Surfer\, Legion of Super Heroes\, Green Lantern\, Adam Warlock and X-Men (to name a few). A meditation on group dynamics\, composed of foreshortened figures in flight set against an endless field of stars\, The Context illustrates a vastness that extends past the boundaries of different art forms and ways of being. \nAlexandro Segade is an interdisciplinary artist whose projects span video\, performance\, writing\, drawing\, and comics. Often collaborating with Malik Gaines\, Segade uses genre and theatricality to construct group identities in collectives such as My Barbarian\, A.R.M. and Courtesy the Artists. He is assistant professor of art at Cornell University. alexandrosegade.net \nFor more information\, or to purchase a copy\, visit Primary Information here. You can explore The Context thanks to Artforum. \n— \nBios: \nEi Arakawa is a performance artist based in New York. \nandré carrington is the author of Speculative Blackness: The Future of Race in Science Fiction (Minnesota\, 2016). \nJennifer Doyle is the author of Campus Sex\, Campus Security (2015)\, Hold it Against Me: Difficulty and Emotion in Contemporary Art (2013)\, and Sex Objects: Art and the Dialectics of Desire (2006). \nJonah Groeneboer is an interdisciplinary artist based in New York. \nMary Kelly is an American conceptual artist\, feminist\, educator\, and writer. \nJennifer Moon is an interdisciplinary artist based in Los Angeles. \nTavia Nyong’o is the author of The Amalgamation Waltz: Race\, Performance\, and the Ruses of Memory (Minnesota\, 2009)\, and Afro-Fabulations: The Queer Drama of Black Life (NYU Press\, 2018). \nLuciano Vecchio is based in Argentina. He is the artist of Marvel Comics’ Ironheart\, written by Eve Ewing\, and is the author and artist of Sereno. \nDavid Velasco is a New York-based writer and editor-in-chief of Artforum. \n  \n  \n  \n  \n 
URL:https://www.h-r.la/event/context-con-book-launch-alexandro-segades-the-context/
LOCATION:CA
CATEGORIES:online event
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2020/07/THE_CONTEXT_CON_GROUP_SHOT-smaller-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200516
DTEND;VALUE=DATE:20200630
DTSTAMP:20260607T212448
CREATED:20200502T211526Z
LAST-MODIFIED:20200502T213401Z
UID:5190-1589608800-1593410399@www.h-r.la
SUMMARY:Online Seminar: Life In the Iron Mills\, or\, Marxism for (Anti-racist\, Feminist) Artists
DESCRIPTION:Join Jennifer Doyle for a series of online seminars on Marxist thought\, as it applies to the life of the artist. This seminar will combine the slow\, close reading of Rebecca Harding Davis’s short story\, “Life In the Iron Mills” (1861) with the study of key concepts in Marxist studies\, accessed through David Harvey’s wonderful series of lectures on Marx’s Capital. The only requirements for this seminar are reading (or listening to) Davis’s story\, and watching Harvey’s lectures. \nRebecca Harding Davis was from Wheeling\, in what is now West Virginia. West Virginia is the only state in the country to have formed by seceding from the Confederacy: it was\, previously\, a part of Virginia. Western Virginia\, at the dawn of the Civil War\, was one of the most intensely industrialized regions in the Americas. It was also home to anti-slavery and pro-labor activism: the region has a fascinating history. One might argue that West Virginia has been paying a price for that — it sits in the American imaginary as the very image of all things backwards and yet has a history of fierce opposition to worker exploitation and unchecked greed. (See\, for example\, John Sayles’s stunning film Matewan). \nWe will focus our discussions on Davis’s story\, unpacking details to access key concepts in Marxist thought. You can’t look at this story\, however\, through traditional Marxist frameworks alone. This is a story in which Blackness figures powerfully and yet obliquely — slavery is the background against which the story of the hyper-exploitation of free-labor is told. Furthermore\, almost all of the immigrant workers in this story have what one might call weird gender. The story is narrated by a figure whose gender is never made legible; it centers on a sculpture of an intensely muscular nude woman which\, to characters viewing it\, can barely be described as womanly. Why? \nThe intention is to sit with the really intense contradictions that shape work in the arts\, and to foster a conversation which supports each person’s sense of their intentions\, their labor and their work\, and which creates a deeper understanding of the ways that Marxist\, anti-racist\, feminist and queer political and creative work inform each other. \nRegister to get a provisional syllabus; a meeting time (on Saturday or Sunday mornings) will be established depending on participant schedules. Meetings will be conducted via password-protected zoom. \nRegister HERE.
URL:https://www.h-r.la/event/seminar-life-in-the-iron-mills-or-marxism-for-anti-racist-feminist-artists/
LOCATION:CA
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2020/05/ARTatBerlin-Das-Eisenwalzwerk-Adolph-von-Menzel-1379074446.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20200320T190000
DTEND;TZID=America/Los_Angeles:20200320T230000
DTSTAMP:20260607T212448
CREATED:20200305T064516Z
LAST-MODIFIED:20200327T054128Z
UID:5105-1584730800-1584745200@www.h-r.la
SUMMARY:Khal Launch - Performance + Dinner (cancelled/postponed)
DESCRIPTION:This event is postponed until further notice. \n7pm – Doors (gallery will also be open from 11am – 5pm)\n7:30pm – 8 Pillars – A Free Score performed by Jessika Kenney and Helga Fassonaki\n8-10pm – Dinner \nThe two-day Khal publication launch will conclude on March 20th with a special performance of 8 Pillars – A Free Score and a celebratory feast marking the beginning of spring and the Persian holiday of Nowruz. \n\n\n\n\n \nWorking with the idea of a score as a living force containing the power to shape and reshape what enters our senses\, Helga Fassonaki reinterpreted one of her scores 8 Pillars (originally created for New Zealand artist Rachel Shearer) into a performance composition for seven women. It was filmed on Independence Day 2015 in a forested area in Oldwick\, New Jersey. The women (each representing a pillar) move in a slow and deliberate motion mirroring their meditative wordless humming of the “Star Spangled Banner” as they form a circular shape around the forest trees. The cameraperson is also one of the pillars whose motion and view is revealed through another camera frame that remains still\, documenting the process of a composition being created but never finished. The group voices fade as one voice (the missing eighth pillar) continues chanting the anthem until the song becomes unrecognizable. \nPresented as a kind of paradox\, the 8 Pillars film composition explores two sides of freedom: personal vs. political\, whilst stripping content from song until the sacredness of a singular voice is revealed. A solo voice whether banned by political law or censored by our own fears is a vessel for a powerful recalcitrant freedom\, one that is always vulnerable to attack no matter how “free” a country is. \nThe film will be screened during the launch and features Yasi Alipour\, Julia Santoli\, Gabie Strong\, Nazanin Daneshvar\, Laura Sofia\, Suki Dewey\, Helga Fassonaki\, and Julia Santoli \n \nJulia Santoli and Helga Fassonaki performed the second iteration of the 8 Pillars – A Free Score at Disjecta in Portland\, Oregon in September of 2015.  Santoli humed the “Star Spangled Banner”\, anthem until it became further unrecognizable as the notes were abstracted into solid tones of color while a spool of connected red\, white\, and blue fabric was transferred from Santoli’s body onto Fassonaki’s. \n7:30pm \nJessika Kenney will join Helga Fassonaki for a third iteration of 8 Pillars – A Free Score at Human Resources. \n8 – 10pm \nDinner will be served buffet style and include traditional Persian foods with vegetarian\, vegan\, and meat options.  Refreshments and desert are included with the dinner.
URL:https://www.h-r.la/event/khal-launch-performance-dinner/
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:20200319T190000
DTEND;TZID=America/Los_Angeles:20200319T230000
DTSTAMP:20260607T212448
CREATED:20200305T020006Z
LAST-MODIFIED:20200327T054309Z
UID:5087-1584644400-1584658800@www.h-r.la
SUMMARY:Khal Launch - Performances (cancelled/postponed)
DESCRIPTION:image credit: video still from Angel Chirside’s performance of score “Hypocrisy”\, videotaped by Paula Booker\, 2015\n\nThis event is postponed until further notice. \n7pm – Doors/Launch Preview (gallery will also be open from 11am – 5pm)\n8pm – Performances \nSwing State (Angel Chirnside and Helga Fassonaki) will perform Khal score Hypocrisy\nJessika Kenney will perform Khal score Outside In\nWhite Magic (Mira Billotte) with Kathleen Kim on violin will perform Khal score Hum Hum Hum Hum Hum\nPauline Lay and Ang Frances Wilson will perform Khal score Armour  \n \nSwing State’s brazen punk-jazz intention emerged in the lull of summer 2010\, somewhere between a pink beginning and a meditative ending. Over the past decade the notions have only accumulated. Angel Chirnside\, the original recipient of the Khal score “Hypocrisy”\, presented Swing State with an opportunity to reinterpret the score and rehearse live as duo for the first time. \nJessika Kenney is an award-winning vocalist\, composer\, sound artist\, and teacher\, working for the last 25 years in realms of the subtle melody\, with attention to the physicality of sound\, translation processes\, and perceptions of context. Kenney’s music can be heard on Ideologic Organ\, Black Truffle\, Weyrd Son\, SIGE\, and bandcamp. She has performed her own compositions and those of many colleagues\, as well as music of Annea Lockwood\, Hossein Omoumi\, Morton Feldman\, Simone Forti\, Giacinto Scelsi\,  Jarrad Powell\, Trimpin\, Nartosabhdo\, and many others\, informed by the atmospheres and techniques absorbed through the practice of Javanese sindhenan and Persian radifs. Kenney’s ongoing collaborations with Eyvind Kang have been described as “serious\, refined music” by the New York Times. Her involvements in noise\, metal\, electronic music and minimalism include work with Lori Goldston\, Wolves in the Throne Room\, ASVA\, Alvin Lucier\, and on the Sun City Girls last record. Her 2015 gamelan-based LP “ATRIA” was released by the avant-metal SIGE label\, alongside a large-scale\, site-specific and interactive sound\, calligraphic score\, sculpture\, and video installation filling five rooms at the Frye Art Museum in Seattle. Kenney taught from 2007-2015 at her alma mater Cornish College of the Arts in Seattle. She studied sindhenan with Hajjah Nyi Supadmi in Central Java from 1997-2000\, Tembang Sunda with Hajjah Ibu Euis Komariah in 2009\, and since 2004 studies radifs with Ostad Hossein Omoumi (UC Irvine) \, with whom she recorded ‘Voices of Spring’ 2007. Kenney received the James Ray Distinguished Artist Award in 2014\, as well as the Stranger Genius Award in 2013 and the Korean American Coalition of Washington Artistic Achievement Award with Eyvind Kang in 2014\, and the Lionel Hampton Festival Best Jazz Vocalist Award in 1992. Kenney is a VoiceArts adjunct faculty member at California Institute of the Arts since 2017. \nWhite Magic is artist\, vocalist\, and composer Mira Billotte\, performing with accompaniment or solo\, the sound ranges from psychedelia to meditative\, drifting from traditional to experimental folk\, a soulful\, mystic music.  Billotte’s composition for Hum\, Hum\, Hum\, Hum\, Hum involves a meditative improv to open the textural landscape of cycling sound \nPauline Lay is an instrumentalist\, composer\, and events organizer in Los Angeles. Apart from her solo improvised violin and electronics performances\, she currently performs and collaborates with other musicians in varying iterations and genres from duets to larger ensembles.\nAngela Frances Wilson is a Los Angeles born composer\, with a practice built at the intersection of healing art\, and improvisational music. Using modern digital and analog mediums\, they investigate modes of perception\, and the impact of hybrid space. \nUsing minimal and intentional affecting of violin\, amp\, feedback\, flute\, and synth\, Ang & Pauline investigate modes of perception and the impact of uncertain space. \n 
URL:https://www.h-r.la/event/khal-launch-opening-performances-march-19/
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;VALUE=DATE:20200319
DTEND;VALUE=DATE:20200322
DTSTAMP:20260607T212448
CREATED:20200227T074341Z
LAST-MODIFIED:20200327T054414Z
UID:5070-1584597600-1584770399@www.h-r.la
SUMMARY:Khal Launch - 2 Day Event (cancelled/postponed)
DESCRIPTION:This event is postponed until further notice. \n2 day publication launch and performance event\nThursday March 19\, 7-11pm  (launch / performances)\nFriday March 20\, 7-11pm (launch / performance / dinner) \nHelga Fassonaki began the Khal project in 2014 while living in Tabriz\, Iran for a month. As a visual artist in Iran\, what she was able to share in public was restricted. Furthermore\, as a female performing artist\, the use of her voice in public performance was restricted. \nAfter the establishment of the Islamic Republic of Iran in 1979\, Ayatollah Khomeini “condemned all forms of music\, other than classical and traditional Persian music” as being corrupted and influenced by Western culture\, and therefore\, forbidden. During this time\, Khomeini also forbade women from singing solo in public because of “the seductive quality of the female voice”. \nSince performing as she chose was illegal in Iran\, Fassonaki sent compositions in the form of sculptural scores created in Tabriz to sixteen female artists and musicians living in different cities and parts of the world. The concept being that the scores be interpreted and performed publicly by these artists in lieu of Fassonaki’s ability to do so. \nThese “living scores” were then passed on to other participants to be interpreted and performed\, creating in the process an open book of socio-spatial exchange. Iterations of Khal were exhibited at Glasshouse (Brooklyn\, NY)\, Los Angeles Contemporary Archive (Los Angeles\, CA)\, Disjecta (Portland\, OR)\, the Auricle Sonic Arts Gallery (Christchurch\, NZ)\, the 2015 Audacious Festival of Sonic Arts (Christchurch\, NZ)\, Audio Foundation (Auckland\, NZ)\, Viewfinder (Auckland\, NZ)\, and Nga Taonga Sound & Vision (Auckland\, NZ). As the series unfolds from one event to another\, a cumulative composition of voices and actions will continue to grow until the law inhibiting artistic expression ceases to exist. This ongoing exchange and peaceful protest refers to the derogatory use of the Farsi word “khal\,” coined to describe the passage of Iranian pop music in the form of homemade mixtapes. Once pop music was no longer being produced or sold in Iran after the Islamic Revolution\, the Los Angeles Persian community sent mixtapes to residents in Iran so they could listen to their own country’s pop stars. Fassonaki remembers partaking in this movement when she was a kid residing in Los Angeles.  The steady flow of cassettes soon became state-approved in Iran\, an example that gentle poetic actions can push through governing law. \nAfter years of gathering and communicating with a growing number of participating voices\, Fassonaki is thrilled to present a dedicated publication – a living archive of drawings\, interviews\, compositional notes\, and recordings\, published by Sming Sming Books and  Drawing Room Records. \nHuman Resources is pleased to present a two-day publication launch and exhibition on March 19 and 20\, featuring the publication hot off the press\, an installation of sound\, artifacts and drawings\, a video screening featuring one of Maryam Bagheri Nesami’s interpretations for “One Song Two Sides Bold Breathing – The Missing Score”\, and a video archive featuring public performances of every artist who performed one of the scores. \nPreserving Fassonaki’s original idea where each presentation of Khal is a new iteration as well as an ongoing archive\, the launch will include live performances by new artists who have been chosen by some of the original recipients of the scores. The two-day launch will conclude with a special dinner hosted at Human Resources that will mark the beginning of spring and the Persian holiday of Nowruz.   Details on both events will be announced soon. \nThe original recipients of Fassonaki’s scores include Matana Roberts (New York\, NY)\, Kelly Jayne Jones (Manchester\, UK)\, Kali. Z. Fasteau (New York\, NY)\, Gabie Strong (Los Angeles\, CA)\, Christina Carter (Austin\, Texas)\, Chiara Giovando (Los Angeles\, CA)\, Heather Leigh (Glasgow\, Scotland)\, Rachel Shearer (Auckland\, NZ)\, Jenny Gräf (Copenhagen\, Denmark)\, Purple Pilgrims (Coromandel\, New Zealand)\, Angel Chirnside (Auckland\, NZ)\, Marcia Bassett as Zaïmph (Brooklyn\, NY)\, Ashley Paul (London\, UK)\, Kathleen Kim (Los Angeles\, CA)\, Rachael Melanson as Ro Sen (London\, UK)\, and Shana Palmer (Baltimore\, MD). \nAdditional participating artists include Maryam Bagheri Nesami (Tehran\, Iran / Auckland\, New Zealand)\, Gemma Syme as Instant Fantasy (Christchurch\, New Zealand)\, Fariba Safai (San Francisco\, CA)\, Sarah Kelleher as Misfit Mod (Christchurch\, New Zealand)\, Beth Ducklingmonster (Auckland\, New Zealand)\, Tina Pihema as Piece War (Auckland\, NZ)\, Yasi Alipour (New York\, NY)\, Nazanin Daneshvar (New York\, NY)\, Julia Santoli (New York\, NY)\, Suki Dewey (Califon\, NJ)\, Laura Sofia (New York\, NY)\, Ella Chau Yin Chi as French Concession (Christchurch\, New Zealand)\, Elizabeth Mary Maw (Auckland\, New Zealand)\, Mira Billotte as White Magic (Los Angeles\, CA)\, Hermione Johnson (Auckland\, New Zealand)\, Zahra Killeen Chance (Auckland\, NZ)\, Jo Burzynska as Stanier Black-Five (Christchurch\, New Zealand)\, Helen Greenfield as Mela (Christchurch\, New Zealand)\, Joan Sullivan (Baltimore\, MD)\, twelve anonymous artists (Tabriz\, Iran)\, Jessika Kenney (Los Angeles\, CA)\, Pauline Lay and Ang Frances Wilson (Los Angeles\, CA)\, and more as the series continues. \nThe publication of this project was made possible\, in part\, by a recently awarded Foundation for Contemporary Arts Emergency Grant. \n__________________________ \nHelga Fassonaki is a multi-disciplinary artist and curator of Iranian-Azeri decent\, born and currently residing in Los Angeles. Her work crosses fields of nature\, sound\, video\, performance\, and installation. She performs solo as yek koo\, a project begun in 2006\, exploring the body as a vehicle for the movement of sound and duo in Métal Rouge (with Andrew Scott)\, formed in 2005.  In 2017\, Fassonaki founded untune\, a socio-curatorial project with a series of programming dedicated to the term “Social“. Her work solo and in collaboration\, has been presented at MOCA (Los Angeles)\, LACA (Los Angeles)\, Whitney Museum of American Art (as part of the Whitney Biennial 2014)\, LACE galleries (Los Angeles)\, Human Resources (Los Angeles)\, Audio Foundation (Auckland)\, Blue Oyster gallery (Dunedin)\, Box Gallery (Los Angeles\, CA)\, Disjecta (Portland)\, Zebulon (Los Angeles)\, Café Oto (London)\, Vox Populi (Philadelphia) among many others.  Fassonaki is currently working on an ongoing series called 100’ Circles\, which attempts to address the changes/transitions/cycles (historic\, social\, natural\, environmental) of specific land masses around the world. So far she has created a 100’ Circle in Vanier Park\, Vancouver;  Joshua Tree\, California; and the Berkshires\, Western Massachusetts.
URL:https://www.h-r.la/event/khal/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
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