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X-WR-CALDESC:Events for Human Resources
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DTSTART;TZID=America/Los_Angeles:20260728T200000
DTEND;TZID=America/Los_Angeles:20260728T213000
DTSTAMP:20260824T220600
CREATED:20260717T202251Z
LAST-MODIFIED:20260721T203827Z
UID:9784-1785268800-1785274200@www.h-r.la
SUMMARY:The Beaches of Agnès
DESCRIPTION:Tickets \n\n\n\nThe Beaches of Agnès is a 2008 French documentary film directed by Agnès Varda. \n\n\n\nMade as its auteur approached her 80th birthday\, Agnès Varda’s The Beaches of Agnès is a playful\, elegiac autobiography in cinema by the “grandmother” of the French New Wave. Varda has created a living\, moving collage in which clips from her earlier films are juxtaposed with images from her travels\, projects\, and relationships\, and documentary realism gives way to dreamy montages and surrealist set pieces. Supporting players include Harrison Ford and fellow filmmaker Chris Marker\, appearing in the guise of an orange cartoon cat. The result is a luminous meditation on Varda’s life in film and on the art of film itself.
URL:https://www.h-r.la/event/the-beaches-of-agnes/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260729T200000
DTEND;TZID=America/Los_Angeles:20260729T220000
DTSTAMP:20260824T220601
CREATED:20260714T203956Z
LAST-MODIFIED:20260720T222859Z
UID:9733-1785355200-1785362400@www.h-r.la
SUMMARY:Un-Silent Films
DESCRIPTION:Tickets \n\n\n\nUn-Silent Films is a screening of sound films presented by Middle Ear Project from their Music for Your Inbox archive. In these films\, sound doesn’t just support the visuals — it’s an initiating force\, primary lens\, or conceptual center. Each film is paired with a visual art postcard to take home after the screening.  \n\n\n\nMiddle Ear Project is an artist-run presenter who commissions and supports artists working in hard-to-define\, experimental genres. We present multidisciplinary work in sound\, film\, and visual art that allow audiences to move through their feelings and give them the tools to confront a complicated and rapidly changing world. \n\n\n\nAlias 3 by Eric Lennartson \n\n\n\nUnstuckness Practice by Sharon Chohi Kim \n\n\n\nFilter by Mattie Barbier\, Lewis Keller & Daria Kaufman \n\n\n\nSYN/ACK by Phillip David Stearns \n\n\n\nSound House by Janie Geiser\, John Eagle\, Cassia Streb & Hsuan-Kuang Heish \n\n\n\n#28 by Nailah Hunter & Hsuan-Kuang Heish \n\n\n\nVisual Art by: Emily Zeller\, Hellen Jo\, Amabelle Aguiluz\, Craftwork Collective\, Miguel Ayala\, and Adrian Tenney \n\n\n\nAll screenings have modest sliding scale tickets. Become a member for $13/month to access all HR events including this summer’s Cinema Land screenings!
URL:https://www.h-r.la/event/un-silent-films/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260731T000000
DTEND;TZID=America/Los_Angeles:20260801T235959
DTSTAMP:20260824T220601
CREATED:20260711T005945Z
LAST-MODIFIED:20260720T223102Z
UID:9709-1785456000-1785628799@www.h-r.la
SUMMARY:THE GAYSIAN ARCHIVE: NGUYEN TAN HOANG’S EXPERIMENTAL VIDEOS (1995-2026)
DESCRIPTION:7:00 pm – 8:30 pm \n\n\n\n\n\n\n\nTickets \n\n\n\nJuly 31st at 7pmProgram 1: RISKY BUSINESS \n\n\n\nPost-Screening Discussion with Nguyen Tan Hoang & Eve Oishi \n\n\n\nThe program centers on the intersection of queer Asian identity\, sexual desire\, and the HIV/AIDS crisis. 7 Steps to Sticky Heaven (1995) presents candid interviews with young gay Asian men in San Francisco about the “politics of starch.” Queer & questioning twenty-somethings in Irvine\, California\, confess their lasting longings and missed connections in Maybe Never (but I’m counting the days) (1996). Forever Bottom! (1999) critiques and embraces the ubiquitous figure of the Asian bottom. K.I.P. (2001) remixes 1980s VHS porn decay to highlight a spectral gay male sex community persevering across time. Sad Porn Circa 1994 (2026) links gay pornography with liberation politics and the curtailment of sexual possibility. A Horse\,  A Filipino… (2005) juxtaposes Hollywood’s Filipino sissy houseboy with bare back porn\, highlighting persistent “uninhibited” racial-sexual stereotypes. I Remember Dancing (2019) expands the archive to intergenerational trans and queer “gaysians\,” reflecting on AIDS\, activism\, and collective memory. Together\, these pieces map a three-decade spanning\, self reflexive portrait of the risks\, pleasures\, and cultural negotiations shaping queer Asian American experience.   \n\n\n\n– –  \n\n\n\nAugust 1st at 7pmProgram 2: PIRATED FANTASIES \n\n\n\nPost-Screening Discussion with Nguyen Tan Hoang & Chris E. Vargas \n\n\n\nAcross the nine works in the Pirated Fantasies program\, Nguyen Tan Hoang foregrounds the negotiation of queer Asian identity through experimental collage and archival appropriation. Each piece taps a different facet of that negotiation—whether it’s reclaiming absent “sticky‑homoerotic” images of Hong Kong pop idols in Forever Jimmy! (1995)\, chronicling personal longing and loss in Love Letters 1 & 2 (1996)\, or excavating refugee trauma and its sexual reverberations in PIRATED! (2000). The videos also interrogate media representation: they remix pornographic tropes\, historic film clips\, and found photographs to reveal how race\, gender\, and desire are simultaneously fetishized\, erased\, or embraced (e.g.\, the “no Asians” ban explored in look_im_azn [2011]\, the Oriental Hardon’s [2026] gaysian nude archives\, and the early‑70s gay porn examined in Eavesdropping on Jason Sato’s Brothers [2025]). A third through‑line is the fluidity of gender and desire\, illustrated by the gender‑transition narrative of Crimson (2000)\, the priesthood metaphor in The Calling (2000)\, and the hand‑focused objectification of The Lesbian Hand (2026). The program binds past and present through memory\, longing\, and the act of re‑imagining—the act of looping\, looping\, and looping again to compress history\, trauma\, and pleasure into short\, hyper‑edited kinetic essays that map a continuous\, evolving queer Asian diaspora. \n\n\n\n– – \n\n\n\nNguyen Tan Hoang (b. 1971\, Saigon\, Vietnam) is interested in Asian American visual culture\, Southeast Asian cinema\, race and pornography\, and homo-sex archives. They earned a PhD in Rhetoric from the University of California\, Berkeley\, and an MFA in Studio Art from the University of California\, Irvine. Their publications include the monograph A View from the Bottom: Asian American Masculinity and Sexual Representation (Duke University Press\, 2014) and essays in Camera Obscura\, Visual Anthropology\, Porn Archives\, and The Intellect Handbook of Adult Film and Media. Their short experimental videos have been screened at the Museum of Modern Art (NY)\, The Getty Center (LA)\, the Centre Pompidou (Paris)\, Asian Art Museum (SF)\, and Haus der Kulturen der Welt (Berlin). They live and work between San Jose\, California\, and Ho Chi Minh City\, Vietnam. \n\n\n\nCo-Sponsored by Bad Asians & Center for Race & Gender at UC Berkeley \n\n\n\n \n\n\n\nBecome a member of HR-LA for $13 a month for tickets to all screenings
URL:https://www.h-r.la/event/the-gaysian-archive-nguyen-tan-hoangs-experimental-videos-1995-2026/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260801T210000
DTEND;TZID=America/Los_Angeles:20260801T233000
DTSTAMP:20260824T220601
CREATED:20260717T194714Z
LAST-MODIFIED:20260720T221802Z
UID:9778-1785618000-1785627000@www.h-r.la
SUMMARY:Cruising (At The Movies)
DESCRIPTION:Have you ever wanted to find yourself in a 1970s\, Porno Chic adult theater with a hottie who’s as dirty and desperate as you? \n\n\n\nGet yourself and all your FILTHY FRIENDS to the FAST PUSSYCAT THEATRE at Human Resources Los Angeles to watch our continuous picture show\, programmed by FEMME PERVERTS for people of ALL PERSUASIONS…and maybe make a friend (or more…) in the DARKROOM. \n\n\n\nCONTINUOUS SHOWS OF XXX RATED ADULT CINEMA ON THE BIG SCREEN ALL NITE LONG! \n\n\n\nONE NIGHT ONLY!CRUISING! \n\n\n\nDARKROOM! \n\n\n\n$10 AT THE DOOR \n\n\n\nCruising (At The Movies) is brought to you by the ladies at Fast Cat Productions\, as part of Los Angeles’ first Leather Queer Weekend. All proceeds from this event go to support Leather Queer Weekend and dyke-of-center events in the City of Angels. \n\n\n\nFor more information about Leather Queer Weekend\, check out @leatherqueersla on Instagram. \n\n\n\nSEE YOU IN THE DARK! 💋💋💋
URL:https://www.h-r.la/event/cruising-at-the-movies/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260802T160000
DTEND;TZID=America/Los_Angeles:20260802T180000
DTSTAMP:20260824T220601
CREATED:20260724T222435Z
LAST-MODIFIED:20260727T162836Z
UID:9841-1785686400-1785693600@www.h-r.la
SUMMARY:Heart Aches from Loving You: Two films by Tuni Chatterji
DESCRIPTION:Tickets \n\n\n\n\n\n\n\nTwitterpated – 2002- TRT 25 min \n\n\n\nTwitterpated is an investigation of image\, sound and the sensations of unrequited love through the form of a musical. It is a series of events articulated by thirteen nonprofessional performances\, twelve American pop songs and eleven locations in and around Los Angeles. Each scene is built only on the essential elements of a musical: a person in a place singing a song. However\, the simplicity of the structure often lends itself to peculiar and touching performances. \n\n\n\n\n\n\n\nOkul Nodi- 2014- TRT 52 min \n\n\n\nOkul Nodi is a contemplative documentary film about Bhatiyali\, the river music of Bangladesh. Bhatiyali is the soulful music sung\, as tradition has it\, by the boatmen of Bangladesh. The poignancy of the lyrics often rests on dual meanings wherein boats become bodies\, lovers are also lost gods\, and river banks stand for cycles of life and death. All the while\, the melody\, with its tonal variations\, carries the listener into the natural world by creating the sensation of drifting along the water. \n\n\n\nWe spent months traversing the Brahmaputra-Ganges delta by boats\, buses and rickshaws in search of boatmen\, hoping to trace a history of this musical form and its relationship to the landscape. What we found instead was a passionate group of experts\, the effects of modernization on folk traditions\, and an open dialogue about what it means to be Bengali. Mirroring the complicated yet fleeting relationship between the songs and the landscape and by calling attention to the intrinsic qualities of the cinematic form itself\, Okul Nodi explores a disjunction between expectation and experience. \n\n\n\nTuni Chatterji is an artist\, filmmaker and educator working primarily in archives and museums. Her films engage with phenomenons of the natural world through cinematic process and language. After receiving the Fulbright scholarship to Bangladesh\, Tuni made her first feature length experimental documentary\, Okul Nodi\, exploring Bhatiyali\, the boat songs of Bengal. Her films and installations have shown at film festivals\, universities\, museums\, and art spaces internationally. \n\n\n\nTuni received her BFA in Painting from the University of Tennessee\, Knoxville and her MFA in Filmmaking from CalArts.
URL:https://www.h-r.la/event/heart-aches-from-loving-you-two-films-by-tuni-chatterji/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260804T200000
DTEND;TZID=America/Los_Angeles:20260804T223000
DTSTAMP:20260824T220601
CREATED:20260729T001055Z
LAST-MODIFIED:20260729T001127Z
UID:9859-1785873600-1785882600@www.h-r.la
SUMMARY:Fresh Kill
DESCRIPTION:Tickets \n\n\n\nFresh Kill is a 1994 experimental film directed by Shu Lea Cheang and written by Jessica Hagedorn. \n\n\n\nA disturbingly prescient ecofeminist parable and a brain-wave-scrambling cyberpunk fantasia\, the debut feature from new-media pioneer Shu Lea Cheang merges a bold vision of resistance with an exuberant early-internet aesthetic. In a dystopian-chic New York where sushi joints and toxic-waste sites exist side by side\, a lesbian couple (Sarita Choudhury and Erin McMurtry) turn to the hacker underground to solve their daughter’s disappearance\, in the process exposing a conspiracy involving corporate greenwashing and tainted fish. Swinging between outré satire and agitprop\, Fresh Kill sounds the alarm about a capitalist system that pollutes everything from our waterways to our bodies to our minds.
URL:https://www.h-r.la/event/fresh-kill/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260806T220000
DTEND;TZID=America/Los_Angeles:20260806T233000
DTSTAMP:20260824T220601
CREATED:20260729T002428Z
LAST-MODIFIED:20260729T002747Z
UID:9862-1786053600-1786059000@www.h-r.la
SUMMARY:Arrebato
DESCRIPTION:Tickets \n\n\n\nArrebato ([areˈβato]\, “Rapture”) is a 1979 Spanish horror film written and directed by Ivan Zulueta. \n\n\n\nHorror movie director José is adrift in a sea of doubt and drugs. As his belated second feature nears completion\, his reclusive bubble is popped by two events: a sudden reappearance from an ex-girlfriend and a package from past acquaintance Pedro: a reel of Super-8 film\, an audiotape\, and a door key. From there\, the boundaries of time\, space\, and sexuality are erased as José is once more sucked into Pedro’s vampiric orbit. Together\, they attempt the ultimate hallucinogenic catharsis through a moebius strip of filming and being filmed.
URL:https://www.h-r.la/event/arrebato/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260807T200000
DTEND;TZID=America/Los_Angeles:20260807T220000
DTSTAMP:20260824T220601
CREATED:20260801T233430Z
LAST-MODIFIED:20260805T223202Z
UID:9937-1786132800-1786140000@www.h-r.la
SUMMARY:The Videos of Olivia Mole
DESCRIPTION:tickets \n\n\n\nAn assortment of video and animation works by Olivia Mole followed by a Q&A discussion with Vishal Jugdeo
URL:https://www.h-r.la/event/olivia-mole/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260808T120000
DTEND;TZID=America/Los_Angeles:20260808T140000
DTSTAMP:20260824T220601
CREATED:20260729T235048Z
LAST-MODIFIED:20260729T235056Z
UID:9909-1786190400-1786197600@www.h-r.la
SUMMARY:A Scream Workshop by Jasmine Nyende
DESCRIPTION:Tickets \n\n\n\nWhat sound defines your survival? Learn the art of the perfect cinematic scream and how to locate the rage that leads to liberation. We will outline and define our voices to craft our own iconic horror movie scream scene with breath work exercises\, somatic release prompts and co-witnessing each other in the raw chaotic catharsis of horror fiction. \n\n\n\nJasmine Nyende is a punk vocalist\, educator and visual artist from Los Angeles\, California. She was lead vocalist for the punk band FUCK U PAY US! and has taught vocal workshops for the past 10 years at spaces including Girls Rock Camp\, CalArts and San Francisco Arts Commission Gallery. She frames each exercise around the legacy of Black women in punk music\, punk music as a musical artform that unites people in struggle\, and the ways in which the collective body can process trauma through both witnessing and enacting a “rage in/to radiance” practice. She recently completed her MFA in Studio Art Practice from UC Berkeley and currently writing her first book.
URL:https://www.h-r.la/event/a-scream-workshop-by-jasmine-nyende/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260808T210000
DTEND;TZID=America/Los_Angeles:20260808T223000
DTSTAMP:20260824T220601
CREATED:20260728T235313Z
LAST-MODIFIED:20260729T221443Z
UID:9852-1786222800-1786228200@www.h-r.la
SUMMARY:William E. Jones and Margie Schnibbe
DESCRIPTION:Tickets \n\n\n\nWilliam E. Jones and Margie Schnibbe in conversation and screening videos including “The Fall of Communism as Seen in Gay Pornography” and “Mistress Samantha Diet Doctor” \n\n\n\nVena Virago’s Friday Night (2026) 3 min. Margie Schnibbe
  A visual artist with a corporate day job and a secret history as adult film director Vena Virago\, Margie celebrates the end of a mundane nine-to-five work week. Vena Virago’s Friday Night is a kinetic techno collage comprised of found footage\, online gay porn\, AI animation\, and vintage archival fragments. \n\n\n\nMistress Samantha Diet Doctor (1994) 14 min. Margie Schnibbe
  A West Village dominatrix puts her 400 lb. love slave on an S&M diet. Filmed in NYC when Margie was a sex worker and invited to assist Mistress Samantha in a private session with one of her regular clients.

 \n\n\n\nMore British Sounds (2006) 8 min. William E. Jones
  In More British Sounds images from The British Are Coming (1986) collide with dialogue from See You at Mao (1969) also known as British Sounds\, produced by the Dziga Vertov Group under the direction of Jean-Luc Godard. “Workers have come to expect too much\,” a narrator intones\, as an English lad in a state of undress polishes the boots of a royal guard in full uniform. The soundtrack consists of a speech from British Sounds layered four times in the structure of a round. Gaps in the dialogue—filled by Godard’s heavy breathing in the original—allow certain key phrases to be heard in the chaos. The super-reactionary spouting venom must have seemed horrendous and absurd in the late 1960s\, but his line was practically adopted as policy in early 21st Century America. The fetishistic sports underwear\, skinhead tattoos\, and bad boy snarls have been widely adopted as well. \n\n\n\n\n\n\n\nGregory Übermensch Smoking Hot (2025) 6 min. Margie Schnibbe. Starring Gregory Barnett.
  Margie and Gregory bond over their shared German heritage and passion for perversion in this smoking fetish jerk off fantasy\, a contemporary portrait of Friedrich Nietzsche’s “superman”. Friends and artistic collaborators for over 15 years\, Gregory and Margie film on location in an industrial neighborhood\, urban nature park and travel trailer in the Northeast Los Angeles neighborhood they have both called home. The video includes archival video and audio from the Hindenburg disaster\, a catastrophic fire that occurred when a passenger blimp from Frankfurt\, Germany attempted to land in New Jersey in 1937. Long Beach\, California queer DIY punk band NÜ GØDD provides the music.  \n\n\n\nThe Fall of Communism as Seen in Gay Pornography (1998) 19 min. William E. Jones
   Every image in The Fall of Communism as Seen in Gay Pornography comes from gay adult videos produced in Eastern Europe since the introduction of capitalism. The video provides a glimpse of young men responding to the pressures of an unfamiliar world\, one in which money\, power and sex are now connected.
URL:https://www.h-r.la/event/william-e-jones-and-margie-schnibbe/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260808T234500
DTEND;TZID=America/Los_Angeles:20260809T013000
DTSTAMP:20260824T220601
CREATED:20260730T221618Z
LAST-MODIFIED:20260805T213318Z
UID:9913-1786232700-1786239000@www.h-r.la
SUMMARY:Female Trouble Midnight Screening
DESCRIPTION:Tickets \n\n\n\nA midnight screening of Female Trouble is a 1974 American dark comedy film written\, produced\, and directed by John Waters. \n\n\n\nGlamour has never been more grotesque than in Female Trouble\, which injects the Hollywood melodrama with anarchic decadence. Divine\, director John Waters’ larger-than-life muse\, engulfs the screen with charisma as Dawn Davenport\, the living embodiment of the film’s lurid mantra\, “Crime is beauty\,” who progresses from a teenage nightmare hell-bent on getting cha-cha heels for Christmas to a fame monster whose egomaniacal impulses land her in the electric chair. Shot in Waters’ native Baltimore on 16 mm\, with a cast drawn from his beloved troupe of regulars\, the Dreamlanders (including Mink Stole\, David Lochary\, Mary Vivian Pearce\, Edith Massey\, and Cookie Mueller)\, this film­—the director’s favorite of his work with Divine—comes to life through the tinsel-toned vision of production designer Vincent Peranio and costume designer/makeup artist Van Smith. An endlessly quotable fan favorite\, Female Trouble offers up perverse pleasures that never fail to satisfy.
URL:https://www.h-r.la/event/female-trouble/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260809T190000
DTEND;TZID=America/Los_Angeles:20260809T203000
DTSTAMP:20260824T220601
CREATED:20260722T214803Z
LAST-MODIFIED:20260731T194754Z
UID:9822-1786302000-1786307400@www.h-r.la
SUMMARY:Stick With Me
DESCRIPTION:Tickets \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n@filmsforhorses  \n\n\n\nStick With Me\, an experimental short film program presented by Films For Horses ruminates on the tangibility of unresolved impressions. Gesturing to the sticky stillness of summertime\, this program is guided by disembodied voices\, multi-dimensional sound\, patient landscapes and fragmented brushes through time. As the compression of memory facilitates the act of touch between frames\, the gap between the viewer and the moving image closes too. This touch is surreal and meditative\, asking to be enmeshed in the mind of its spectator\, closing the gap between memory and myth. \n\n\n\nDoors at 7pm. Light snacks and drinks will be available.
URL:https://www.h-r.la/event/stick-with-me/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260810T220000
DTEND;TZID=America/Los_Angeles:20260810T233000
DTSTAMP:20260824T220601
CREATED:20260804T173256Z
LAST-MODIFIED:20260805T230252Z
UID:9949-1786399200-1786404600@www.h-r.la
SUMMARY:Flaming Ears
DESCRIPTION:Tickets \n\n\n\nFlaming Ears is a 1992 Austrian science fiction queer film directed by and starring A. Hans Scheirl\, Ursula Pürrer\, and Dietmar Schipek. \n\n\n\nA pop sci-fi lesbian extravaganza set in the year 2700 in the fictional burned-out city of Asche that follows the tangled lives of three women. This story of obsession and revenge is also an anti-romantic plea for love in all its many forms. A truly underground film shot on Super 8 and newly restored\, FLAMING EARS is original for its playful disruption of narrative conventions\, its witty approach to film genre\, and its punk visual splendor.
URL:https://www.h-r.la/event/flaming-ears/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260811T200000
DTEND;TZID=America/Los_Angeles:20260811T213000
DTSTAMP:20260824T220601
CREATED:20260804T174128Z
LAST-MODIFIED:20260810T164738Z
UID:9954-1786478400-1786483800@www.h-r.la
SUMMARY:Final Girl Infinity Portal
DESCRIPTION:Tickets \n\n\n\nPerformances by:Jasmine NyendeCreighton BaxterXina XurnerVideo from:Marcelline Mandeng NkenLiz LeeYoung Joon Kwak& more \n\n\n\n \n\n\n\n“Final girls are the vessel we keep all our hopes in” – Stephen Graham Jones \n\n\n\nLooking outward and inward\, our landscape is constantly communicating. Tugging messages of grief and neglect acting as sinking pits and cracked sidewalks\, asking to be made apart of the whole again. This screening and performance night ask: What fictions serves as the jumping points of our visions of survival? What vessels of hope will we leave behind that can touch the violence of the ordinary? The final girl is a myth\, witch and spell all within itself. The viewer becomes a messenger like water\, transmuting the fear into wisdom\, demystifying the corn syrup from blood. The artists in this show question what it means to survive “whole” when the cracks appear faster than the repair.  \n\n\n\nMarcelline Mandeng Nken is an interdisciplinary artist working across sculpture\, installation\, new media\, text\, and performance. Her practice investigates how diasporic care and maintenance traditions shape conditions of belonging\, especially within queer and trans lifeworlds\, where home is assembled through chosen kinship.Mandeng Nken was a 2025 Dance Research Fellow at the New York Public Library’s Jerome Robbins Dance Division. She is a grantee of the Foundation for Contemporary Arts\, Leeway Foundation\, and a former resident of Skowhegan\, Goethe Institut Boston\, Whistle Space Summer Institute\, Vermont Studio Center\, and SOMA Summer. Her work has been presented at MoMA PS1\, The Kitchen\, Judson Memorial Church\, Mercer Union\, Karma International\, Cibrian\, FringeArts\, MCA Chicago\, and Córdova. She holds an MFA from Yale School of Art. \n\n\n\nLiz Lee\, hailing from Texas and currently based in Los Angeles\, is a multidisciplinary artist whose practice is informed by critical inquiry into gender dynamics\, identity constructs and media theory. She is an alumn of the California Institute of the Arts (CalArts) MFA program. Lee’s work embodies a rigorous exploration of societal paradigms. \n\n\n\nLee’s video installations subvert traditional power dynamics by positioning herself as both subject and commentator\, challenging viewers to confront their own positionality within the discourse of the male gaze. Her exploration of women as fetishized objects within contemporary culture\, prompts introspection on the commodification of femininity and the self. \n\n\n\nThrough an interdisciplinary practice rooted in drawing and performance\, Creighton Baxter (b. Arizona\, USA) transforms images and gestures through repetition. Through disjunctive strategies\, her iterative bodies of work explore themes of temporality and subject formation. \n\n\n\nBaxter’s performances of swallowing images in front of an audience have been activated at MOCA Los Angeles\, Poetry Project\, and MoMA. She has participated in exhibitions at Andrew Kreps Gallery\, David Castillo\, and Blade Study amongst others. Solo exhibitions include RIDDLE at Ceradon Gallery and hiss the name at Montserrat College of Art. Her works belong to numerous private collections and the Modern & Contemporary collection of the Allen Memorial Art Museum. Recently\, she was an SMFA Travelling Fellow while conducting research on the mechanisms of display for relics of Saint Aloysius Gonzaga\, and an artist-in-residence for BOFFO Fire Island. \n\n\n\nShe has produced exhibition writing for Et al Projects and JB Blunk Estate; and her drawing\, meeting Morgan at the horizon\, was the cover artwork for Feminism Against Cisness from Duke University Press (2024). Her artworks have been published in Contemporary Art Review Los Angeles\, Impulse Magazine\, Art Papers\, The New Yorker\, and Surface Magazine amongst others. \n\n\n\nXina Xurner/ Young Joon Kwak (they/she) is a Los Angeles–based artist whose work moves between sculpture\, performance\, and collective action to explore bodily transformation\, intimacy\, and the politics of visibility. Through materially rich and sensorial approaches\, Kwak challenges dominant modes of representation while imagining alternative ways that trans\, queer\, and other marginalized bodies might be seen and felt.Working with experimental processes such as invert-casting impressions in glitter\, resin\, metals\, iridescent crystals\, and mirrors\, Kwak creates luminous\, shifting forms that respond to light\, movement\, and proximity. These works unsettle perception and invite intimate\, sustained looking\, encouraging viewers to reconsider how bodies are perceived.
URL:https://www.h-r.la/event/final-girl-infinity-portal/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260813T200000
DTEND;TZID=America/Los_Angeles:20260813T220000
DTSTAMP:20260824T220601
CREATED:20260715T211933Z
LAST-MODIFIED:20260810T165301Z
UID:9763-1786651200-1786658400@www.h-r.la
SUMMARY:Eve Fowler's Filles Manquées
DESCRIPTION:Tickets \n\n\n\nThis project’s first phase is Eve Fowler’s 16mm short film\, Florence Derive\, in which the artist recounts being a gender expansive ten-year-old who becomes the object of a school teacher’s “boundless hate.” Sustained abuse causes a profound character shift that triggers illness\, and she is eventually expelled from school. From this root wound\, she finds solace\, community\, and herself in the arts to become the powerful femme with an easy smile and a critical eye that sits gazing directly into Fowler’s camera. \n\n\n\nFilles Manquées is a subsequent film that employs empathic witnessing to tell the many stories of eighty year old French trans artist Florence Derive. She sits before Fowler on the metro\, in her home or moves through the city witnessing one another\, she recounts her arrival to Paris\, her loves\, radical historical moments\, art school\, working life and transition – we listen. We trace together the spaces around Paris that make up her creative and emotional lives. \n\n\n\nIn Filles Manquées\, a queer artist and lifelong artist in her sixties turns her camera and the tenderness of her gaze on the eighty year old French trans artist Florence Derive. This film sees queer trans elders in a culture that would have us have none. It witnesses as a form of care and privileges the trans femme body as a way-maker of resistance to patriarchal violence that would cow us into believing there is only one way to live or be.  \n\n\n\nBecome a member for $13/month to access all HRLA events including this summer’s Cinema Land screenings!
URL:https://www.h-r.la/event/filles-manquees/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260813T220000
DTEND;TZID=America/Los_Angeles:20260813T233000
DTSTAMP:20260824T220601
CREATED:20260804T181440Z
LAST-MODIFIED:20260804T181441Z
UID:9964-1786658400-1786663800@www.h-r.la
SUMMARY:Ganja & Hess
DESCRIPTION:Tickets \n\n\n\nGanja & Hess is a 1973 American black horror film written and directed by Bill Gunn and starring Marlene Clark and Duane Jones.  \n\n\n\nFlirting with the conventions of blaxploitation and the horror cinema\, Bill Gunn’s revolutionary independent film GANJA & HESS is a highly stylized and utterly original treatise on sex\, religion\, and African American identity. \n\n\n\nDuane Jones (Night of the Living Dead) stars as anthropologist Hess Green\, who is stabbed with an ancient ceremonial dagger by his unstable assistant\, endowing him with the blessing of immortality\, and the curse of an unquenchable thirst for blood. When the assistant’s beautiful and outspoken wife Ganja (Marlene Clark) comes searching for her vanished husband\, she and Hess form an unexpected partnership. Together\, they explore just how much power there is in the blood.
URL:https://www.h-r.la/event/ganja-hess/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260814T190000
DTEND;TZID=America/Los_Angeles:20260814T203000
DTSTAMP:20260824T220601
CREATED:20260804T175712Z
LAST-MODIFIED:20260814T221459Z
UID:9958-1786734000-1786739400@www.h-r.la
SUMMARY:Tony Cokes' The Book Of Love
DESCRIPTION:Tickets \n\n\n\nWrites Cokes: “In 1984 I conceived of the idea of producing a documentary that framed its own devices. I was interested in how a woman\, specifically a Black woman\, would speak in a television context.” In The Book of Love\, Cokes’ mother recounts her life through interview\, stories\, and song\, effectively re-presenting history through the personal. Through intimate subjectivity\, Cokes attempts to understand his own present and history by tracing/retracing the life of his mother. \n\n\n\nCourtesy of Electronic Arts Intermix (EAI)\, New York.
URL:https://www.h-r.la/event/tony-cokes-the-book-of-love/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260814T210000
DTEND;TZID=America/Los_Angeles:20260814T223000
DTSTAMP:20260824T220601
CREATED:20260804T183417Z
LAST-MODIFIED:20260814T221431Z
UID:9970-1786741200-1786746600@www.h-r.la
SUMMARY:Hail The New Puritan
DESCRIPTION:Tickets \n\n\n\nHail the New Puritan is a 1986 British fictionalized documentary about the Scottish dancer and choreographer Michael Clark\, directed by Charles Atlas. \n\n\n\nExuberant and witty\, Hail the New Puritan is a simulated day-in-the-life “docufantasy” starring the British dance celebrity Michael Clark. Atlas’ fictive portrait of the charismatic choreographer serves as a vivid invocation of the studied decadence of the 1980s post-punk London subculture. Contriving a faux cinéma-vérité format in which to stage his stylized fiction\, Atlas seamlessly integrates Clark’s extraordinary dance performances into the docu-narrative flow. Focusing on Clark’s flamboyantly postured eroticism and the artifice of his provocative balletic performances\, Atlas posits the dance as a physical manifestation of Clark’s psychology. From the surreal opening dream sequence to the final solo dance\, Clark’s milieu of fashion\, clubs and music signifies for Atlas “a time capsule of a certain period and context in London that’s now gone.” \n\n\n\nDirector/Editor: Charles Atlas. Choreography: Michael Clark. Dancers: Gaby Agis\, Leslie Bryant (Les Child)\, Michael Clark\, Matthew Hawkins\, Julie Hood\, Ellen van Schuylenburch. With: Leigh Bowery\, Nicola Bowery\, Michael Clark\, Anthony Doughty\, Mark E. Smith\, Brix Smith\, Sue Tilley. Music: Glenn Branca\, The Fall\, Bruce Gilbert\, Jeffrey Hinton. Camera: John Simmons. Producer: Jolyon Wimhurst. Special Thanks: Dave Baby\, Chisenhale Dance Space\, The Clarendon\, R.K. Studios\, Henry Stein. \n\n\n\nCourtesy of Electronic Arts Intermix (EAI)\, New York.
URL:https://www.h-r.la/event/hail-the-new-puritan/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260815T190000
DTEND;TZID=America/Los_Angeles:20260815T203000
DTSTAMP:20260824T220601
CREATED:20260729T202343Z
LAST-MODIFIED:20260806T204553Z
UID:9885-1786820400-1786825800@www.h-r.la
SUMMARY:Play It As It Lays
DESCRIPTION:Tickets \n\n\n\nEast Of Borneo presents Play It As It Lays \n\n\n\nBurned-out B-movie actress Maria\, depressed and frustrated with her loveless marriage to an ambitious film director\, Carter Lang\, who would rather work on his career than on his relationship with her\, numbs herself with drugs and sex with strangers. Only her friendship with a sensitive gay movie producer\, B.Z.\, offers a semblance of solace. But even that relationship proves to be fleeting amidst the empty decadence of Hollywood.
URL:https://www.h-r.la/event/play-it-as-it-lays/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260815T220000
DTEND;TZID=America/Los_Angeles:20260815T233000
DTSTAMP:20260824T220601
CREATED:20260717T211829Z
LAST-MODIFIED:20260810T163445Z
UID:9796-1786831200-1786836600@www.h-r.la
SUMMARY:Portrait of Jason
DESCRIPTION:Tickets \n\n\n\n\n\n\n\nOn the night of December 2\, 1966\, Shirley Clarke and a tiny crew convened in her apartment at the Hotel Chelsea to make a film. For twelve straight hours\, they filmed the one-and-only Jason Holliday as he spun tales\, sang\, donned costumes\, and reminisced about good times and bad behavior as a gay hustler and aspiring cabaret performer. The result is a mesmerizing portrait of a remarkable\, charming\, and tortured man who is by turns hilarious and heartbreaking.
URL:https://www.h-r.la/event/portrait-of-jason/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260816T160000
DTEND;TZID=America/Los_Angeles:20260816T173000
DTSTAMP:20260824T220601
CREATED:20260810T064859Z
LAST-MODIFIED:20260810T065854Z
UID:10032-1786896000-1786901400@www.h-r.la
SUMMARY:Songs to Quell the Monster: Program 2 of 4—The People's Chorus
DESCRIPTION:Tickets \n\n\n\nPresented by Nehal Vyas and Advik Beni \n\n\n\nIf the first songs we hear are sung to us\, what happens when we begin to sing together? A chorus is made not from a single voice\, but from the many voices that gather\, interrupt\, contradict\, and strengthen one another. In this second program\, The People’s Chorus\, we turn towards that collective voice\, one that refuses to be silenced.  \n\n\n\nIn Vinay Shukla’s While We Watched\, the primetime Indian TV journalist\, Ravish Kumar\, is famous for his takedowns of the ruling establishment during his long-running primetime news hour. He has become a regular fixture beaming from TV sets\, but his nerves have begun to fray from carrying the torch of good journalism for too long.Songs to Quell the Monster is a four-part programming series that gathers films and live performances that channel the defiant spirit of songs across histories and borders. Moving between the intimate and the collective\, these works confront authoritarianism\, colonial violence and and erasure–transforming memory\, voice and image into acts of refusal. A reminder that while the monster is vast\, so too are our songs.
URL:https://www.h-r.la/event/songs-to-quell-the-monster-program-2-of-4-the-peoples-chorus/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260816T180000
DTEND;TZID=America/Los_Angeles:20260816T200000
DTSTAMP:20260824T220601
CREATED:20260806T001923Z
LAST-MODIFIED:20260815T002857Z
UID:10002-1786903200-1786910400@www.h-r.la
SUMMARY:Suddenly\, Last Summer
DESCRIPTION:Tickets \n\n\n\nSuddenly\, Last Summer is a 1959 Southern Gothic psychological drama mystery film based on the 1958 play by Tennessee Williams. The film stars Elizabeth Taylor\, Katharine Hepburn\, and Montgomery Clift\, with Albert Dekker\, Mercedes McCambridge\, and Gary Raymond. It was directed by Joseph L. Mankiewicz and produced by Sam Spiegel from a screenplay by Gore Vidal and Williams\, with cinematography by Jack Hildyard and production design by Oliver Messel. The musical score was composed by Buxton Orr\, using themes by Malcolm Arnold. \n\n\n\nOnce the only constant companion of her son Sebastian\, Mrs. Violet Venable is distraught by his mysterious death abroad. Sebastian had spurned his mother’s companionship on his last trip\, choosing instead to travel with his beautiful cousin Catharine. Since returning to New Orleans\, Catharine’s rants about the trip have begun to tarnish Sebastian’s pristine reputation. In part jealous of her dismissal by her son for a younger woman\, Violet is ruthlessly determined to protect his memory at any cost. She entreats the aid of Dr. Cukrowicz\, a young surgeon specializing in the new field of lobotomy\, promising generous funding for his research provided he perform one on Catharine. As the Doctor and Violet hear Catharine’s tale first hand\, a mother’s illusion clashes with a grisly tale of sex and exploitation that may just be closer to the truth.
URL:https://www.h-r.la/event/suddenly-last-summer/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260816T180000
DTEND;TZID=America/Los_Angeles:20260816T220000
DTSTAMP:20260824T220601
CREATED:20260801T012400Z
LAST-MODIFIED:20260816T152908Z
UID:9932-1786903200-1786917600@www.h-r.la
SUMMARY:Suddenly\, Last Summer Double Feature: Presented by Dirty Looks
DESCRIPTION:tickets \n\n\n\nThe gayest movie ever made! \n\n\n\nElizabeth Taylor is locked up in a mental hospital. Katherine Hepburn is Violet\, the New Orleans aristocrat willing to sign any check to silence her. Montgomery Clift is Dr. Sugar\, a surgeon popularizing the lobotomy. The heart of this sick triangle is deceased poet and sex tourist\, Sebastian. Every fevered monologue was put to page by Tennessee Williams. Oh\, and throw in Mercedes McCambridge\, the lesbian antagonist of Johnny Guitar and voice of Regan in The Exorcist\, just for good measure. \n\n\n\nFifty years in the heat of this wily romp\, John Aes-Nihil directed a video remake\, starring Vaginal Davis\, Jade Gordon\, Bibbe Hanson\, Jason Majik\, Lance Loud and Goddess Bunny. \n\n\n\nDirtylooks.org
URL:https://www.h-r.la/event/suddenly-last-summer-double-feature-presented-by-dirty-looks/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260816T220000
DTEND;TZID=America/Los_Angeles:20260816T233000
DTSTAMP:20260824T220601
CREATED:20260806T003337Z
LAST-MODIFIED:20260814T221311Z
UID:10006-1786917600-1786923000@www.h-r.la
SUMMARY:The Legend of Leigh Bowery
DESCRIPTION:Tickets \n\n\n\nIn this documentary feature\, Charles Atlas examines the legend and the life of his friend and collaborator – artist\, performer\, fashion designer\, model\, and club promoter and icon Leigh Bowery. In a remarkable and brief period before his early death from AIDS-related illness in 1994\, Bowery made an indelible mark on nightlife\, fashion\, and artmaking in London\, New York\, and beyond. Through a wealth of archival footage and frank and uncensored interviews with friends\, family\, and fellow artists\, Atlas traces the extraordinary impact Bowery had on culture\, recalling his infamous nightclub Taboo\, his collaborations with dancer and choreographer Michael Clark\, his time as a muse to Lucien Freud\, and his notorious\, innovative\, and influential fashions and performances. The result is a complex\, candid portrait of a singular talent – and a legend. \n\n\n\nWith: Rachel Auburn\, Bronwyn Bowery\, Nicola Bowery\, Tom Bowery\, Michael Bracewell\, Les Child\, Michael Clark\, Cerith Wyn Evans\, Sophie Fiennes\, Bella Freud\, Boy George\, Damien Hirst\, David Holah\, Lorcan O’Neill\, Rifat Ozbek\, Norman Rosenthal\, Sue Tilley\, Richard Torry\, Donald Urquhart. \n\n\n\nCourtesy of Electronic Arts Intermix (EAI)\, New York.
URL:https://www.h-r.la/event/the-legend-of-leigh-bowery/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260817T220000
DTEND;TZID=America/Los_Angeles:20260817T233000
DTSTAMP:20260824T220601
CREATED:20260717T195651Z
LAST-MODIFIED:20260807T201835Z
UID:9781-1787004000-1787009400@www.h-r.la
SUMMARY:The Lure
DESCRIPTION:Tickets \n\n\n\nThe Lure is a 2015 Polish musical horror film directed by Agnieszka Smoczyńska and written by Robert Bolesto. \n\n\n\nThis genre-defying horror-musical mash-up—the bold debut of Polish director Agnieszka Smoczyńska—follows a pair of carnivorous mermaid sisters drawn ashore to explore life on land in an alternate 1980s Poland. Their tantalizing siren songs and otherworldly auras make them overnight sensations as nightclub singers in the half-glam\, half-decrepit world of Smoczyńska’s imagining. The director gives fierce teeth to her viscerally sensual\, darkly feminist twist on Hans Christian Andersen’s “The Little Mermaid\,” in which the girls’ bond is tested and their survival threatened after one sister falls for a human. A coming-of-age fairy tale with a catchy synth-fueled soundtrack\, outrageous song-and-dance numbers\, and lavishly grimy sets\, The Lure explores its themes of emerging female sexuality\, exploitation\, and the compromises of adulthood with savage energy and originality.
URL:https://www.h-r.la/event/the-lure/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260818T200000
DTEND;TZID=America/Los_Angeles:20260818T213000
DTSTAMP:20260824T220601
CREATED:20260729T200926Z
LAST-MODIFIED:20260813T034644Z
UID:9882-1787083200-1787088600@www.h-r.la
SUMMARY:Haruko Tanaka + Reader Chorus documentary
DESCRIPTION:Tickets \n\n\n\nHaruko Tanaka (b. Queens\, NY\, 1974; d. October 2019) was a Los Angeles–based artist\, photographer\, graphic designer\, and filmmaker engaged in social practice. Born in the United States\, she was raised in England and Japan. Tanaka earned a B.A. in Fine Art from the University of Southern California in 1997 and an M.F.A. in Photography and Media Art from the California Institute of the Arts in 2003. \n\n\n\nHer visual work was exhibited widely at venues such as the Library Foundation of Los Angeles\, the Japanese American National Museum\, the Museum of Modern Art\, CUE Art Foundation\, the Torrance Art Museum\, and the Armory Center for the Arts. She also screened her films internationally\, including at the Rotterdam International Film Festival and the Asian American International Film Festival. Tanaka received several prestigious fellowships and residencies\, notably at the Japanese American National Museum and the Echo Park Film Center\, which awarded her an L.A. Artist Residency in 2014. She was also a MacDowell Fellow in 2018. \n\n\n\nFor 12 years\, Tanaka collaborated with Asher Hartman under the name Krystal Krunch\, presenting work often in conjunction with Machine Project. Their projects were exhibited at the Walker Art Center\, the Miller Gallery at Carnegie Mellon University\, the Hayward Gallery at Southbank Centre in London\, and Extrapool in the Netherlands. In addition\, Krystal Krunch led workshops that encouraged participants to develop their intuitive capacities to experience “seeing” in deeper\, more meaningful ways. \n\n\n\nTanaka was a core member of The Readers Chorus\, an experimental performance group organized by artist Jordan Biren and former CalArts faculty Sara Roberts. She remained an influential figure in Los Angeles’s creative community until her passing in October 2019. \n\n\n\nI Love You – 2002- TRT 2 min 13 sec \n\n\n\nI LOVE YOU is a two-minute film where six people tell their friend\, in earnest\, that they love her. \n\n\n\n“What if all the invisible barriers fell down and true feelings gushed full and free onto the mysteriously smiling Face of Pure Exalted Joy?” – New York Underground Film Festival \n\n\n\nSoroban and the Present– (work in progress) 2015- TRT 20 min 51 sec \n\n\n\nA 20 minute\, 16mm film\, The Soroban and the Present is part abacus (soroban) tutorial\, part historical account\, part freeway numerology meditation\, and part guerrilla ringing and field recordings of 2 forgotten L.A. bells. It is all love for the city of Los Angeles which\, according to the Pythgorean system of numerology\, is a “1” – the primal force and number of creation and the most difficult of all lovers. \n\n\n\nThe soroban: At one point in their lives\, most kids in Japan learned to use the soroban in school. Some even went to cram school for additional soroban training. Skilled soroban practitioners (adults and children alike) can perform complex calculations by ‘air soroban’ – ing. The body is the calculator. The film follows the hands of a soroban novice as they begin their training. \n\n\n\nThe math: After learning basic addition and subtraction on the soroban\, the novice will turn their beads towards deciphering the numerological significance of LA freeways; perhaps some of the most frequently uttered numbers in LA lingo. By calculating the “number” of each freeway (405= 4+5=9) a new story emerges\, revealing the underlying hidden nature of such familiar terrain. \n\n\n\nThe present(s): In 1978 a replica of the iconic symbol of Mexican independence\, ‘The Bell of Dolores\,’ was given as a gift to the United States by the government of Mexico. President Jimmy Carter attended the dedication ceremony at El Pueblo de Los Angeles Historical Monument by Olvera Street in Downtown Los Angeles. ‘The Bell of Dolores’ replica was installed in the middle of a large fountain\, in the center of a plaza bearing the same name. 34 years later the large bell was quietly moved over to an adjacent flowerbed\, making way for a statue of the late Mexican born mariachi singer and actor Antonio Aguilar on horseback. Another ‘Bell of Dolores’ replica was also installed the same year in El Parque de México\, 10 minutes away in Lincoln Park. Internet and library records\, however\, do not differentiate between the 2 bells. \n\n\n\nUnlike their California bell counterparts that line the historic route of El Camino Real\, The Bell of Dolores are installed in both locations with their clappers intact. \n\n\n\nLos Angeles is a “1”: Ever had the feeling of a big weight being lifted off your soul as you flew out of LAX? That might have something to do with Los Angeles being a numerological 1. As a “1” Los Angeles is the most difficult of all lovers- demanding\, confrontational\, impatient\, and working you all hours of the day. Ever look onto the sandy grid that is Los Angeles from your airplane window and think “eek\, how do I keep living here?” but a month later you are right back in it? That’s also probably because L.A.\, as a “1” is a dedicated partner. \n\n\n\nThe Soroban and the Present explores unseen forces that possibly inform a love/hate/confused relationship to our land and displaced acts of good will and pride. All the while trying to be a more self reliant and sustaining force of analog embodiment. \n\n\n\nReaders Chorus Documentary – 2019\, TRT 20 min \n\n\n\nA document/ary of the Readers Chorus preparing and performing a selection of works at Automata in 2015.  \n\n\n\nAbout the Reader’s Chorus \n\n\n\nFounded in 2013 by artists Sara Roberts and Jordan Biren in Los Angeles\, The Reader’s Chorus is a group of people who love to read aloud together. People come from varied backgrounds: musicians\, filmmakers\, poets\, visual artists\, teachers\, etc. For a stretch of about 5 years\, the chorus gathered every week to experiment with the possibilities of the speaking voices\, combining the timbres of differing voice\, trying strange speech rhythms and common ones\, figuring out way to have the text move from voice to voice across the room. Members of the chorus brought in a text\, something they wrote or found\, and the group\, through experimentation\, orchestrated it. What they did involved aspects of experimental music practice\, poetry\, chant and theater. The focus though was on performing the sound of reading. This documentary captures some of the process\, people and performances of the Readers Chorus.
URL:https://www.h-r.la/event/haruko-tanaka-reader-chorous/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260819T200000
DTEND;TZID=America/Los_Angeles:20260819T213000
DTSTAMP:20260824T220601
CREATED:20260812T000049Z
LAST-MODIFIED:20260817T165533Z
UID:10094-1787169600-1787175000@www.h-r.la
SUMMARY:Unwrinkled Ear
DESCRIPTION:Tickets \n\n\n\nThe Unwrinkled Ear presents three sets of improvised music on Wednesday\, August 19\, where improvisation is less a musical genre than a way of testing what can happen when people\, instruments and bodies meet without a predetermined map. \n\n\n\nJacob Wick (trumpet)/ Marc Riordan (keys) \n\n\n\nAine Nakamura (movement and voice)/ Georgia E. Bell (doublebass)/ Wilson Shook (woodwinds) \n\n\n\nClementine Wink (electronics)/ Kelby Clark (banjo)/ Adam Lion (vibraphone) \n\n\n\nJacob Wick and Marc Riordan began collaborating in 2006\, after first meeting at the Harold Arts Residency in Chesterhill\, Ohio. Their twenty-year collaboration explores the recessed corners of musical possibility\, often landing in some contradictory space between earnest collective insight and impish agitation. Over the years\, they have come together from faraway cities to appear numerous times as a duo\, while also sharing the bandstand for several formative years in Jason Ajemian’s traveling freak-jazz jam band\, The Highlife. Their long-running improvisation outfit Tres Hongos\, a trio with Amsterdam-based drummer Frank Rosaly\, recently released their third album\, More Chips\, on Relative Pitch Records. \n\n\n\nAine Nakamura and Wilson Shook have collaborated since 2023 in improvising duo\, trio\, and quartet settings with Kevin Corcoran and Fred Lonberg-Holm. Georgia Bell and Wilson Shook have collaborated since 2025 in a regular trio setting with Sam Rowell. Tonight’s performance is a first meeting between Aine and Georgia. \n\n\n\nOld time folk\, noise and classical. Drone\, rhythm and texture. The Trio of Kelby Clark\, Clementine Wink and Adam Lion combine far-ranging backgrounds through improvisation\, a musical experiment which confronts risks of artistic enmeshment. In this performance\, performers witness this process alongside the audience for the first time.  \n\n\n\n~~~~~~~ \n\n\n\nJacob Wick (1985\, Evanston\, IL) is an internationally-aclaimed genre-defying trumpet player\, composier and improviser. His work is dedicated to and informed by queer feelings and queer politics. \n\n\n\nWick studied at SUNY Purchase under Jon Faddis (trumpet) and Liz Phillips (sound art). He later pursued a Master of Fine Arts in the Social Practice Workshop of the California College of the Arts\, studying with Ted Purves and Kristina Lee Podesva. His compositions and sound installations have been presented at Issue Project Room\, Tonic\, the Museum of Contemporary Art (Chicago)\, and the Poesía en Voz Alta Festival in Mexico City. He appears on recordings by a wide variety of artists including claire rousay\, Mabe Fratti\, Helado Negro\, and Federico Sánchez. \n\n\n\nHe currently directs two groups. The Jacob Wick Quartet performs original jazz compositions that embrace queer time\, a nonlinear and sentimental approach to composition and improvisation. The Jacob Wick Ensemble\, meanwhile\, performs graphic compositions and structured improvisations that reference folk\, jazz\, and pop songs. Both groups perform regularly in Mexico City\, where Wick has lived since 2014. \n\n\n\nMulti-instrumentalist and composer Marc Riordan learned a pliable musical tradecraft in basements\, attics\, bars\, classrooms\, storage units\, observatories\, sidewalks\, museums\, chicken coops\, garages\, concert halls and bedrooms during a westward migration through Boston\, Chicago\, and Los Angeles. Venturing repeatedly into the public square\, he has slow-cooked a philosophy through extensive collaboration as a drummer and pianist\, learning from peers with any number of musical and ideological backgrounds. Through it all\, he has maintained a broad\, personal commitment to creative experimentation.Marc is an active member of Sun Araw Band XV\, The Red Krayola\, Ragger (an electric ragtime duo devoted to the works of Scott Joplin)\, and the internationally dispersed Tres Hongos\, a totally improvised music trio with Jacob Wick and Frank Rosaly. His recordings can be heard on Hausu Mountain\, Sophomore Lounge\, Relative Pitch\, and Drag City. He also works as a film composer in the horror genre.  \n\n\n\nAine Nakamura is a performer\, artist\, poet and improviser. She focuses on the sensibility and sensitivity in listening to hidden stories and performs using sung and spoken voice and movement across multiple cultural/transcultural sites\, that are her interventions in traditional power structures. She seeks the potentialities of an injured voice and on the listening and sensing bodies. She writes words\, some of which become scores\, and considers shapes as if her throat itself is a membrane and body or inner is a changing shape or phenomenon among worldly phenomena\, in relations. Through her practice\, while aiming to be a vessel\, she understands about herself and pursues meanings of lines\, seeing\, and connecting. In her recent transdisciplinary works and research\, she explores the presence of wounds and repair\, and the concepts of fragile kindness and love to access pathways to vulnerability. Engaging with sites\, memory\, and transborder soul work\, she works in sounding/voicing\, movement\, storytelling/poetry\, object-making/installation\, and site-specific composition/improvisation. \n\n\n\nGeorgia E. Bell is a double bassist\, improviser\, and composer making music about friendship\, solitude\, dreams\, and science fiction. Current projects include noise ensemble Gneiss\, improvisatory trio Tall Tales\, and psych pop group The Forgetmenots. \n\n\n\nWilson Shook is an improvising saxophonist and manual therapist living in Pasadena\, CA. A self-taught musician\, Wilson approaches improvisation\, study\, collaboration\, and performance as sites of radical experimentation with modes of being\, relating\, and perceiving. Wilson’s practice cultivates an awareness of human vulnerability and technological fallibility; embraces excess\, fragmentation\, and incompleteness; and pursues the chaotic\, queer\, and interdependent imperatives of an aleatory existence amidst a crumbling\, toxic culture. \n\n\n\nClementine Wink was Raised in Berwyn and inoculated with a DIY work ethic in the Chicago punk scene(s) of the 2010s\, she draws inspiration from sources as disparate as musique concrète\, surrealism\, disco\, Catholicism\, hip hop\, psychiatry\, and the Youth International Party.Kelby Clark is a composer\, improviser and banjo player from South Georgia.Offering “a tone so pure it is almost a sine-wave” (The Wire)\, Adam Lion is a percussionist concerned with enabling constraint\, perception\, surprise\, and coincidence. His performances blur acoustic space\, creating opportunities for sonic frameworks to naturally emerge. Within this process new realities are imagined\, encouraging listeners to investigate the hidden potential of reimagined sound.  
URL:https://www.h-r.la/event/unwrinkled-ear/
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DTSTART;TZID=America/Los_Angeles:20260820T190000
DTEND;TZID=America/Los_Angeles:20260829T210000
DTSTAMP:20260824T220601
CREATED:20260813T224301Z
LAST-MODIFIED:20260817T193451Z
UID:10108-1787252400-1788037200@www.h-r.la
SUMMARY:Cauleen Smith: Possible Worlds\, A Film Survey\, 1998–2024
DESCRIPTION:Tickets \n\n\n\nCauleen Smith makes films that treat imagination as a daily practice. Across three decades\, she has returned again and again to speculative history and confabulation as ways of imagining Black ontologies—possible worlds that could exist alongside our ordinary reality. Moving between the everyday and the cosmic\, her films draw on radical histories\, experimental cinema\, music\, and science fiction to ask how images might not only reflect the world we inhabit\, but help us imagine other ways of living within it. \n\n\n\nThis four-night survey opens with Drylongso (1998)\, Smith’s historic debut feature about a young woman photographing every Black man in Oakland as a form of protection and witness. From there\, the program moves into Smith’s essayistic and archival work of the 2000s and 2010s\, including The Fullness of Time and H-E-L-L-O\, before arriving at a run of shorts that reimagine collective liberation through sound\, procession\, and myth: Space Is the Place (A March for Sun Ra)\, Crow Requiem\, Pilgrim\, Three Songs About Liberation\, and Sojourner. The program closes with Smith’s most recent trio of works\, The Volcano Manifesto: My Caldera\, Mines to Caves\, and The Deep West Assembly\, which turn to geology and social landscapes as sites of conjectural history\, extraction\, and creation. \n\n\n\nThis survey offers a rare chance to watch the full range of devices Smith has developed out of her structuralist and Third Cinema roots. No two films alike. Her work stays grounded throughout in a belief in utopian potentiality and a deep trust in the audience’s own ability to dream. \n\n\n\n \n\n\n\n\n\n\n\nThursday\, August 20th – 7 pm: Drylongso (1998) \n\n\n\nCauleen Smith’s Drylongso embeds an incisive look at racial injustice within a lovingly handmade buddy movie/murder mystery/romance. Alarmed by the rate at which the young Black men around her are dying\, brash Oakland\, California\, art student Pica (Toby Smith) attempts to preserve their existence in Polaroid snapshots\, along the way forging a friendship with a woman in an abusive relationship (April Barnett) and experiencing love\, heartbreak\, and the everyday threat of violence. Capturing the vibrant community spirit of Oakland in the nineties\, Smith crafts both a rare cinematic celebration of Black female creativity and a moving elegy for a generation of lost African American men. \n\n\n\n \n\n\n\n\n\n\n\nFriday\, August 21st – 7 pm: The Fullness of Time (2008) + H-E-L-L-O (2014) \n\n\n\nBoth films were shot in New Orleans in the years after Hurricane Katrina\, and together they form a kind of before-and-after portrait of a city relearning how to speak to itself. In The Fullness of Time\, Smith repurposes the languages of physicists and astronomers to decode the rage\, grief\, elation\, and hope of post-Katrina New Orleans\, following a “sister from another planet” who wanders the ruined city trying to make sense of loss and time. Six years later\, Smith returned to New Orleans for H-E-L-L-O\, which observes a single musician’s improvisations on the instantly recognizable five-note theme from Close Encounters of the Third Kind\, music connecting the past and present\, body and spirit\, Earth and the cosmos. The two works trace a city\, and an artist\, moving from disorientation toward reconnection \n\n\n\n\n\n\n\nFriday\, August 28th – 7 pm: Space Is the Place (A March for Sun Ra) (2011) + Crow Requiem (2015) + Pilgrim (2016) + Three Songs About Liberation (2017) + Sojourner (2018)This program gathers five of Smith’s shorts from a decade in which procession\, song\, and pilgrimage became her primary tools for imagining collective liberation. Space Is the Place records the spontaneous\, rain-soaked performance of a Chicago high school marching band playing Sun Ra’s 1972 composition among the bronze zodiac statues of Chinatown Square\, while Crow Requiem forms links between the migratory patterns of crows\, the Underground Railroad\, and innovations in early stereoscopic photography shot on location in upstate New York. In Pilgrim\, a live recording of an Alice Coltrane piano performance accompanies a visual track documenting a pilgrimage across the U.S. to historic sites of creativity and generosity\, a theme Smith deepens in Sojourner\, where women reimagine Noah Purifoy’s Outdoor Desert Art Museum in Joshua Tree as a radical feminist utopia. Three Songs About Liberation closes the group with three monologues drawn from Gerda Lerner’s Black Women in White America\, linking the American civil rights struggle to a longer history of liberation movements. Taken together\, the five works move between music\, myth\, and migration\, circling the question that shadows the whole of Smith’s practice: not whether utopia is attainable\, but what it costs to keep reaching for it anyway. \n\n\n\n\n\n\n\nSaturday\, August 29th – 7 pm: The Volcano Manifesto: My Caldera (2022) + Mines to Caves (2023) + The Deep West Assembly (2024) \n\n\n\nThe Volcano Manifesto film trilogy is comprised of three recent short films by Smith: My Caldera\, Mines to Caves\, and The Deep West Assembly. The works unfold complex\, non-linear meditations on geological and cinematic time. Through magma eruptions\, geological excavations\, and a survey of the American West that foregrounds its legacies of imperialism and extraction\, Smith mines social and environmental history to sift for what might still form after the collapse of empire. \n\n\n\n—Cauleen Smith (b. Riverside\, California\, 1967) lives and works in Los Angeles. She received her BFA from San Francisco State University\, San Francisco\, CA\, and her MFA from the University of California\, Los Angeles. Smith is the recipient of several grants and awards\, including the 2022 Heinz Award; a Guggenheim Fellowship; the Joyce Alexander Wein Artist Prize; the Ellsworth Kelly Award; the Herb Alpert Award in the Arts; and a Rauschenberg Residency. Smith’s works have been featured in solo exhibitions at institutions such as the Los Angeles County Museum of Art\, Los Angeles; Whitney Museum of American Art\, New York; Institute of Contemporary Art\, Philadelphia; San Francisco Museum of Modern Art\, San Francisco;; Museum of Contemporary Art Chicago\, Chicago; Art Institute of Chicago\, Chicago; Massachusetts Museum of Contemporary Art\, North Adams; Contemporary Arts Museum Houston\, Houston; and Carnegie Museum of Art\, Pittsburgh.. Her work is included in numerous public collections\, such as the Art Institute of Chicago; Los Angeles County Museum of Art; Museum of Contemporary Art\, Los Angeles; San Francisco Museum of Modern Art; Studio Museum in Harlem; Smithsonian American Art Museum; and Whitney Museum of American Art. Smith is a faculty member in the UCLA Department of Art. \n\n\n\nCauleen Smith: A Survey of Films is organized by HR’s executive director\, John Burple.
URL:https://www.h-r.la/event/cauleen-smith-possible-worlds-a-film-survey-1998-2024/
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DTSTART;TZID=America/Los_Angeles:20260820T220000
DTEND;TZID=America/Los_Angeles:20260820T233000
DTSTAMP:20260824T220601
CREATED:20260804T182257Z
LAST-MODIFIED:20260804T182259Z
UID:9967-1787263200-1787268600@www.h-r.la
SUMMARY:EGG
DESCRIPTION:Tickets \n\n\n\nEgg (2005\, 1hr 13min) Directed by Yukihiko Tsutsumi. \n\n\n\nTsukiko closes her eyes and sees a mysterious giant egg in her mind’s eye\, growing and evolving with every blink. When it hatches\, its horrors spill into the real world\, growing ever more terrifying.
URL:https://www.h-r.la/event/egg/
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DTSTART;TZID=America/Los_Angeles:20260821T210000
DTEND;TZID=America/Los_Angeles:20260821T220000
DTSTAMP:20260824T220601
CREATED:20260814T235629Z
LAST-MODIFIED:20260821T182844Z
UID:10166-1787346000-1787349600@www.h-r.la
SUMMARY:Does Your House Have Lions - Vishal Jugdeo & vqueeram
DESCRIPTION:tickets \n\n\n\nDoes Your House Have Lions (2021) is a 49 minute film by Delhi-based poet vqueeram and Los Angeles based artist Vishal Jugdeo. Shot like cinéma-vérité\, the film is excerpted from an informal archive the collaborators have gathered over their decade-long friendship. Intimate glimpses of vqueeram’s community of artists and activists reveal\, in the near distance\, an intensification of the Indian ethnonationalist state which bears upon characters in uneven ways. As the camera changes hands between the film’s participants\, a shifting\, prismatic lens intimates varying degrees of closeness to and remove from crisis.  \n\n\n\n \n\n\n\nOne day in the late sixties\, I was on the phone with Rahsaan and mentioned to him that just that day I had bought a house. He responded by asking\, “Does your house have lions?” I said\, “What?” He said\, “Lions. You know\, like in front of a museum or the post office. You know\, concrete lions. My house has lions. Get a house with lions.” \n\n\n\n–Joel Dorn\, May 1993\, Rahsaan Roland Kirk Anthology \n\n\n\n \n\n\n\nSonia Sanchez’s book of poems for the many sisters who lost their brothers to HIV/AIDS\, Does Your House Have Lions?\, begins with this excerpt\, first published in the liner notes of The Rahsaan Kirk Anthology\, which shares this title. Here\, Sanchez blurs friendship and family\, tosses humor into grief\, and troubles history with memory. Titling her book after a found quote—at once a theft and a gift—Sanchez offers a practice of being without property and of naming without debt. A discipline to abolish in the ordinary.Borrowing our film’s title from Sanchez\, we share in the happenstance of words and how we meet each other in living and dying. All the while\, we grasp\, regard and dream.Filmed over four years\, this video document is an archive of friendship – near\, far and displaced; interrupted by sex\, politics\, and abandonment. These scenes hold unlikely alliances and wayward relations in the middle of fear and hesitant futures. As love manifests its totalitarian tendencies and loss is capacious\, we imagine a practice of freedom. \n\n\n\n–vqueeram and Vishal February 26\, 2021\, Delhi and LA \n\n\n\n \n\n\n\nvqueeram is Assistant Professor at Jindal Global Law School\, and a poet and writer. Previously visiting faculty appointments include the School of Culture and Creative Expressions and the Department of Gender Studies at Ambedkar University\, Delhi. They have taught courses on intersectionality and abolition at NLSUI\, Bengaluru\, NUJS\, Kolkata and other law schools across India. vqueeram has written about law\, sexuality\, culture\, and abolition in diverse media like essays\, editorials\, film and poetry in forums such as Frieze\, The Wire\, MOMA’s journal post\, The Shoreline Review\, and The White Review. They recently wrote the entry on ‘Gender’ for The Art Institute of Chicago Field Guide to Photography and Media (2022). vqueeram is a postgraduate in political science from University of Delhi. They are currently interested in studying feeling\, imagination and the stuff of living beside the law\, sex and the tender knots of sociality. \n\n\n\nVishal Jugdeo is a multidisciplinary artist working across video\, installation\, performance\, sculpture and text to experiment with narrative\, blurring fiction and truth. Recent screenings and exhibitions have occurred at the Museum of Modern Art\, New York\, Institute of Contemporary Art\, Los Angeles\, CCA Berlin\, Cinema Akil\, Dubai\, and Commonwealth and Council Gallery in LA. Jugdeo is a 2015 Guggenheim Foundation Fellow and a 2025 Creative Capital recipient. He teaches at UCLA\, where he serves as New Genres Area Head in the Department of Art. 
URL:https://www.h-r.la/event/does-your-house-have-lions-vishal-jugdeo-vqueeram/
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