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DTSTART;VALUE=DATE:20170804
DTEND;VALUE=DATE:20170806
DTSTAMP:20181026T194534Z
CREATED:20170722T003053Z
LAST-MODIFIED:20181026T194534Z
UID:2825-1501826400-1501912799@www.h-r.la
SUMMARY:Sarah Gail - Straight Chillin
DESCRIPTION:Dear World\, \nI am Sarah Gail. I have arrived and I mean business. My heart overflows with love for humanity and the beauties of this world. This love is so precious\, so deep\, so strong that I invite you to get lost in my vision for the world. A world that can be transformed and ascend through art\, through dance\, through revelry and through love. Open yourself up to my love. \nLove\, \nSarah Gail \nPerformances by:\nDonna J\nCam Cameron\nCrasslos\nSenay\nGaylord Fiend\nTrap Girl\nMarvina-7\nL.A. Drones \nFood provided by:\nRoyce Burke \nBar:\nSteph Russ \nGALLERY HOURS: 3pm – 7pm\nPERFORMANCES: 8pm – 12am \n$5 suggested donation
URL:https://www.h-r.la/event/sarah-gail-straight-chillin/
CATEGORIES:exhibition,one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/07/19702988_1692031280824458_7406340093243887403_o.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170803T193000
DTEND;TZID=America/Los_Angeles:20170803T193000
DTSTAMP:20170801T090228Z
CREATED:20170801T085713Z
LAST-MODIFIED:20170801T090228Z
UID:2832-1501788600-1501788600@www.h-r.la
SUMMARY:Looking at Performance: Guts\, Lust and Kinks
DESCRIPTION:A screening and discussion of the work of Johanna Went and Michael Turinsky\, \nwith Doran George\, Johanna Went\, Christine Wertheim\, and Mark Wheaton. \nIn celebration of X-TRA’s summer issue\, a discussion and screening about looking at performance through the work of Johanna Went and Michael Turinsky. \nJoin us for this special program with the artist Johanna Went\, her collaborator Mark Wheaton\, and issue contributors Christine Wertheim and Doran George. \nBoth Wertheim and George take up positions of enamored spectatorship\, presenting carefully crafted responses to the exuberant performance work of their subjects (Johanna Went and Michael Turinsky\, respectively). Bodies figure prominently—sexy\, messy and alluring. \nWertheim ends : “Johanna Went is a Dionysian genius\, a Siren whose irresistible song cannot help but lure us into the temptations of ecstatic\, participatory\, and brave self-annihilation.” Went was a fixture on the 80s punk scene in LA\, performing over 200 times between 1978 and 1988. \nGeorge begins his letter to Michael Turinsky\, the Artist’s Project in this issue: “Dear Michael\, You are hot and I want to have sex with you…” This letter thus consciously opens up pleasure\, sensation\, and desire as strategies for thinking—or should I say feeling—about dance\, disability\, sexual culture\, and social power.” The letter is in reaction to a performance by Michael Turinsky\, My body\, your pleasure (2014) that George saw in Germany. \nDon’t miss this foray into 80s punk\, desire\, disability\, fake blood\, and beats. \nAbout the participants: \nDoran George PhD is a cultural historian writing on sexual culture\, avant-garde dance\, and performance. They are also a performance artist and choreographer who deconstructs socio-political identity categories\, stages work that builds micro-communities\, and cultivates radical practices of intimacy. George’s artwork and scholarship is represented in art books\, Oxford University Press anthologies\, and journals. George currently lectures in Disability Studies and LGBTQ Studies at University of California\, Los Angeles\, and teaches erotic work in both art and sex-positive contexts. \nJohanna Went is an American performance artist who primarily works in the Los Angeles area. She started her career in the late 1970s as musician in the punk scene. Music is still an important element of her shows. She has often worked with musician Mark Wheaton\, whose fast\, rhythmic music beats provide the background noise in several of her performances. Further predominant elements of Went’s shows are the use of elaborate costumes\, which Went herself creates from various found objects\, and the use of artificial blood. The latter played an especially important role in her early work. Went’s performances are not strictly text-based. She typically works based on a sketch that determines the rough sequence of actions\, but leaves much room for improvisation. Went rarely uses language in her shows as means of communication. She rather sings\, screams\, whines and murmurs\, thus rendering large parts of the spoken words incomprehensible. (From wikipedia) \nChristine Wertheim’s books include three poetic suites\, the book of ME\, mUtter-bAbel\, and +|’me’S-pace; three edited literary anthologies\, Feminaissance\, The n/Oulipean Analects\, and Séance\, the last two with Matias Viegener; and Crochet Coral Reef\, with Margaret Wertheim\, about their decade-long art-science-feminist-community project. She has received grants from the Annenberg and Orphiflamme Foundations\, and teaches at the California Institute of the Arts. \nMark Wheaton has been composing music since he began collaborating with performance artist Johanna Went in the early 1980’s. In addition to composing for performance art projects\, Mark spends most of his time as the recording engineer for the studio Catasonic located in Echo Park\, California. \nPresented by X-TRA \nimage: Johanna Went performing at the Hong Kong Café\, Los Angeles\, 1979. Courtesy of the artist. Photo: Scott Lindgren.
URL:https://www.h-r.la/event/looking-at-performance-guts-lust-and-kinks/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/08/unnamed.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170722T140000
DTEND;TZID=America/Los_Angeles:20170722T140000
DTSTAMP:20170801T095545Z
CREATED:20170801T095545Z
LAST-MODIFIED:20170801T095545Z
UID:2869-1500732000-1500732000@www.h-r.la
SUMMARY:Samuel R. Delany Book Club: Session I
DESCRIPTION:Would you like to read and discuss the work of polymathic and prolific genius Samuel R. Delany in an informal book club setting? This summer Human Resources Los Angeles [HRLA] is hosting up a free book club. Our first meeting will be at Pho 87 in Chinatown [1019 N Broadway\, LA CA 90012]\, next door to HRLA gallery.  \nAnyone interested in reading about race\, speculation\, sex\, post-structuralism\, memoir\, fantasy\, S&M\, feminism\, writing\, queerness\, class\, slave rebellion\, science fiction\, myth\, and/or fabulation is welcome to join. \nOur first meeting we will discuss an excerpt from Delany’s book Times Square Red\, Times Square Blue (1999)\, the book that launched the Sexual Cultures book series from NYU press (founding editors José Esteban Muñoz and Ann Pellegrini). You can download the PDF here. The book discusses the effects of gentrification on the queer interzones of cruising in Manhattan.  \nRead the writer’s preface\, 1-19\, 57-88\, and 111-119. Come with thoughts and questions for each other — any and all questions welcome.  \nYes\, this is last minute — but we thought it’d be extra special to kick this project off during the exhibition of Tyler Matthew Oyer’s installation Conquest of the University or When Queens Collide. Tyler’s project celebrates Charles Ludlum’s Ludlum’s Ridiculous Theatrical Company — this kind of experimental work is part of Delany’s universe!  \nExtra credit reading: Junot Diaz interview with Samuel Delany in the Boston Review\, “Radicalism Begins in the Body.”
URL:https://www.h-r.la/event/samuel-r-delany-book-club-session-i/
LOCATION:Pho 87\, 1019 N Broadway\, Los Angeles\, CA\, 90012\, United States
CATEGORIES:off-site event
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/08/delany.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170715
DTEND;VALUE=DATE:20170801
DTSTAMP:20180725T225412Z
CREATED:20170801T100035Z
LAST-MODIFIED:20180725T225412Z
UID:2873-1500098400-1501480799@www.h-r.la
SUMMARY:Tyler Matthew Oyer - Conquest of the Universe or When Queens Collide
DESCRIPTION:opening reception July 15\, 6-10PM\ngallery hours Wednesday – Sunday\, 12-6PM \nConquest of the Universe or When Queens Collide is the premiere feature film by Los Angeles-based artist Tyler Matthew Oyer. Originally a stage production by Charles Ludlam’s Ridiculous Theatrical Company from 1967\, Conquest marks the first adaptation of Ludlam’s plays into moving image. \nThe narrative\, which is based off Christopher Marlowe’s play Tamburlaine the Great\, is interwoven with lines of Shakespeare\, Bible verses\, quotations from other plays such as Oscar Wilde’s Salome\, the speeches of dictators\, and help wanted ads. The story depicts homoerotics\, incestuous lust\, nonsensical domination and satirical downfall of a corrupt\, confused Trump-like imperialist “President of Earth”. \nThe film features an eclectic cast of west coast performers including Justin Streichman as Tamberlaine\, Gracie DeVito as Alice\, Harry Dodge as Gravedigger\, Julie Tolentino as the Witch of Ensor\, EJ Hill as Bajazeth\, Young Joon Kwak as Natolia\, and Lex Brown as Venus\, alongside Kelly Cline\, Johanna Breiding\, Audra Wist\, Marc Bendavid\, Anna Rose Hopkins\, Mireya Lucio\, Sean Grattan\, Fred Schmidt-Arenales\, Audrey Wollen\, and Thibault Lac\, with full score by Daniel Eaton. \nPresented as a sculptural installation\, the movie will begin every hour\, on the hour. \nOn the occasion of this exhibition a Conquest of the Universe reader\, with essay by Kelly Aliano\, will be available. \nCalled an “interdisciplinary gospel immortalist” by Kembra Pfahler of the Voluptuous Horror of Karen Black\, Tyler Matthew Oyer (b. 1987) is an artist\, writer\, organizer\, and educator based in Los Angeles. He has performed at MoMA PS1\, REDCAT\, dOCUMENTA (13)\, Hammer Museum\, Kunstnernes Hus Oslo\, Art Basel Miami Beach\, Bergen Kunstall\, Rogaland Kunstsenter\, The Royal Vauxhall Tavern\, High Desert Test Sites\, Highways Performance Space\, and the Orange County Museum of Art. He has written works of performance including GONE FOR GOLD\, Shimmy Shake Earthquake\, and 100 Years of Noise: Beyoncé is ready to receive you now. Oyer is the founder of tir journal\, an online platform for queer\, feminist\, and underrepresented voices. He received an MFA from the California Institute of the Arts in 2012. His debut album\, RELEASE\, is available on Practical Records. \nCharles Ludlam (1943-1987) founded the Ridiculous Theatrical Company in 1967. He wrote and produced 29 plays\, won 6 Obie Awards and the Rosamund Gilder Award for distinguished achievement in the theater in 1986. His most popular play is The Mystery of Irma Vep\, in which two actors manage\, through a variety of quick-change techniques\, to play seven roles in a send-up of gothic horror novels. In 2009\, Ludlam was inducted posthumously into the American Theater Hall of Fame. \n          \n  \n 
URL:https://www.h-r.la/event/tyler-matthew-oyer/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/08/conquest.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170625T170000
DTEND;TZID=America/Los_Angeles:20170625T190000
DTSTAMP:20170801T101449Z
CREATED:20170801T101449Z
LAST-MODIFIED:20170801T101449Z
UID:2886-1498410000-1498417200@www.h-r.la
SUMMARY:The Prison In Twelve Landscapes
DESCRIPTION:Please join us for a Screening + Pop Up Panel presented by critical resistance: \nMore people are imprisoned in the United States at this moment than in any other time or place in history\, yet the prison itself has never felt further away or more out of sight. The Prison in Twelve Landscapes is a film about the prison in which we never see a penitentiary. Instead\, the film unfolds as a cinematic journey through a series of landscapes across the USA where prisons affect lives\, from a California mountainside where female prisoners fight raging wildfires\, to a Bronx warehouse full of goods destined for the state correctional system\, to an Appalachian coal town betting its future on the promise of prison jobs.  \nCritical Resistance Los Angeles is hosting a screening of the film followed by a pop-up panel of local organizers who are fighting for a Los Angeles free of policing\, imprisonment and displacement: Pete White (Los Angeles Community Action Network)\, Laura Pulido (Chicana Studies Author and Professor)\, a member of Defend Boyle Heights\, Amber-Rose Howard (Californians United for a Responsible Budget)\, Xela de la X (Cihuatl CE of Ovarian Psycos Bicycle Brigade; Founders of autonomous community organizing space in BH – La Conxa and active members of the coalition DBH) \n$5 – $15 suggested donation\nNo one will be turned away for lack of funds \nPlease RSVP to crla@criticalresistance.org
URL:https://www.h-r.la/event/the-prison-in-twelve-landscapes/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/08/cr.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170623T190000
DTEND;TZID=America/Los_Angeles:20170623T220000
DTSTAMP:20170601T070209Z
CREATED:20170521T073025Z
LAST-MODIFIED:20170601T070209Z
UID:2694-1498244400-1498255200@www.h-r.la
SUMMARY:Dialectics of Isolation
DESCRIPTION:Dialectics of Isolation \nCrystal Sepúlveda\nAngie Jennings\nRebeca Hernandez\nArtemisa Clark \nIn 1980\, Ana Mendieta curated Dialectics of Isolation: An Exhibition of Third World Women Artists of the United States at New York’s A.I.R. Gallery. The catalogue’s introduction describes the show as pointing “not necessarily to the injustice or incapacity of a society that has not been willing to include us\, but more towards a personal will to continue being ‘other.’” Dancers Rebeca Hernandez and Crystal Sepúlveda and performance artists Angie Jennings and Artemisa Clark will perform works that take as their starting point this “personal will to continue being ‘other\,’” via themes found in Mendieta’s work more generally – land\, ritual\, national (un)belonging. \nThis night was organized by Artemisa Clark and is part of ¡Mendieta Vive!\, an initiative facilitating Ana Mendieta-related events in and around Los Angeles. \nImage: Crystal Sepúlveda\, strands\, film still from the river knows
URL:https://www.h-r.la/event/dialectics-of-isolation/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2017/05/Event-Webpage-Image.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170618T190000
DTEND;TZID=America/Los_Angeles:20170618T190000
DTSTAMP:20170801T100725Z
CREATED:20170801T100725Z
LAST-MODIFIED:20170801T100725Z
UID:2880-1497812400-1497812400@www.h-r.la
SUMMARY:EMOtional
DESCRIPTION:EMOtional \nstand-up by\,\nMICAHjames \nsongs by\nSARAHgail\nTYLERholmes\nEDDINGTONagain \nhosted along with\na recital by\,\nBDH \nHeehee haha boohoo giggle giggle gaggle gaggle LOL OH LORD WHY US WHY US GD OMFG LMFAO OOOOO00000ooooh WEE Oh Me! Ha! HA! Bwahahaha…\nWe laugh to keep from cryin and we cryin cause we can’t keep from dyin and we laugh from all our tryin even though the tears they a keep on lyin cause you see our smiles and think we buyin into your bullshit. \n*laughs out loud while dying on the inside* \nLast night to experience EJ Hill’s installation “A Subsequent Offering“
URL:https://www.h-r.la/event/emotional/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/08/emotional.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170617T200000
DTEND;TZID=America/Los_Angeles:20170617T200000
DTSTAMP:20170801T100404Z
CREATED:20170801T100353Z
LAST-MODIFIED:20170801T100404Z
UID:2876-1497729600-1497729600@www.h-r.la
SUMMARY:Dog Star 13: Tail of the Dog
DESCRIPTION:George Brecht: water: coming from\, staying\, going to\nUlrich Krieger: Connect\nDaniel Corral: DISLIKE \nperformed by: The Dog Star Orchestra \nThis event is part of the Dog Start 13 annual festival of experimental music\, which runs from June 3-17th 2017. For details on other events in this year’s festival\, please visit: www.dogstarorchestra.com
URL:https://www.h-r.la/event/dog-star-13-tail-of-the-dog/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/08/dogstar.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170616T200000
DTEND;TZID=America/Los_Angeles:20170616T200000
DTSTAMP:20170801T100955Z
CREATED:20170801T100955Z
LAST-MODIFIED:20170801T100955Z
UID:2883-1497643200-1497643200@www.h-r.la
SUMMARY:White and Wrong
DESCRIPTION:Over the past few years\, I’ve written short essays in response to artworks produced by white artists\, works exhibited and distributed through major art-world projects (the LA Art Book Fair\, the Whitney Biennial\, and the Walker’s sculpture garden). Each of these artworks were meant\, by the artists\, to be\, in some way\, “about racism.” Here\, I’ll share this writing with an eye towards developing it into something more formal — perhaps teachable. The question — the hesitation — for me is: how to stage a conversation like this without centering discussion of anti-racist art practices on the work of white artists — and\, too\, how to confront racism in work about racism.  \nFraming this conversation with E.J. Hill’s work should support a different kind of conversation — one which takes shape in the space opened up by the act of calling out — calling out\, dialing in — pushing through — imagining art\, embodiment and abstraction so differently that\, perhaps\, what we have been taught to think of as art falls apart — collapses into a wood pile. \n— Jennifer Doyle
URL:https://www.h-r.la/event/white-and-wrong/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/08/whiteandwrong.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170615T203000
DTEND;TZID=America/Los_Angeles:20170615T203000
DTSTAMP:20170801T101803Z
CREATED:20170801T101803Z
LAST-MODIFIED:20170801T101803Z
UID:2889-1497558600-1497558600@www.h-r.la
SUMMARY:Nick Malkin\, SheKhan\, Julius Smack\, Corey Fogel
DESCRIPTION:Corey Fogel :::\nhttp://coreyfogel.com/ \nJulilus Smack ::::::::::\nhttp://www.juliussmack.com/ \nSheKhan ::::::::::::::::::::::::::::\nhttps://shekhan.bandcamp.com/ \nNick Malkin ::::::::::::::::::::::::::::::::::::\nhttps://nickmalkin.bandcamp.com/ \nperformances will take place in EJ Hill’s exhibition “A Subsequent Offering”
URL:https://www.h-r.la/event/nick-malkin-shekhan-julius-smack-corey-fogel/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/08/ej.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170611T193000
DTEND;TZID=America/Los_Angeles:20170611T220000
DTSTAMP:20170801T084334Z
CREATED:20170601T183026Z
LAST-MODIFIED:20170801T084334Z
UID:2801-1497209400-1497218400@www.h-r.la
SUMMARY:Steve Roden\, Yann Novak + Special Guest
DESCRIPTION:VOLUME partners with LINE and Dragon’s Eye Recordings to celebrate the release of Steve Roden’s new double LP ‘small songs for kack jirby’. The evening will feature sound performances by Steve Roden\, Yann Novak and a very special international guest. The artists will perform alongside EJ Hill’s installation ‘A Subsequent Offering’. \nYann Novak is an artist\, composer\, and curator based in Los Angeles. His work is guided by his interests in perception\, context\, movement\, and the felt presence of direct experience. Through the use of sound and light\, Novak explores how these intangible materials can act as catalysts to focus our awareness on our present location in space and time. Novak’s diverse body of works – audiovisual installations\, performances\, architectural interventions\, sound diffusions\, recording\, and prints – ask participants to reclaim the present moment as a political act. \nNovak’s work has been experienced through exhibitions and performance at the Armory Center for the Arts\, Pasadena; The Broad\, Los Angeles; California Museum of Photography\, Riverside; Commonwealth & Council\, Los Angeles; de Young Museum\, San Francisco; Getty Villa\, Pacific Palisades; Hammer Museum\, Los Angeles; The Henry Art Gallery\, Seattle; Human Resources\, Los Angeles; Los Angeles County Museum of Art\, Los Angeles; Mutek Festival\, Montreal; Norton Simon Museum\, Pasadena; San Francisco Museum of Modern Art\, San Francisco; Soundfjord\, London; Susanne Vielmetter LA Projects\, Los Angeles; Tanya Bonakdar Gallery\, New York; and The Stone\, New York\, among others. His recorded sound works have been published by Crónica\, Porto; Dronarivm\, Moscow; Farmacia901\, Berlin; Hibernate\, Leeds; Home Normal\, London; LINE Imprint\, Los Angeles; Tigerbeat6\, Los Angeles; and Touch\, London\, among others. \nSteve Roden is a visual and sound artist from Los Angeles\, living in Pasadena. His work includes painting\, drawing\, sculpture\, film/video\, sound installation\, text and performance. \nRoden’s working process uses various forms of specific notation (words\, musical scores\, maps\, etc.) and translates them through self invented systems into scores\, which then influence the process of painting\, drawing\, sculpture\, and composition. These scores\, rigid in terms of their parameters and rules\, are also full of holes for intuitive decisions\, failures and left turns. The inspirational source material becomes a kind of formal skeleton that the abstract finished works are built upon. \nIn the visual works\, translations of information such as text and maps\, become rules and systems for generating visual actions such as color choices\, number of elements\, amounts of time and form building. \nIn the sound works\, singular source materials such as objects\, architectural spaces\, and field recordings\, are abstracted through humble electronic processes to create new audio spaces\, or possible landscapes. The sound works present themselves with an aesthetic Roden has described as lower case – sound concerned with subtlety and the quiet activity of listening. \nRoden has been exhibiting his visual and sound works since the mid 1980’s\, and has had numerous solo and group exhibitions internationally\, including: Mercosur Biennial Porto Alegre Brazil\, Centre Georges Pompidou Paris\, San Diego Museum of Contemporary Art\, UCLA Hammer Museum Los Angeles\, Museum of Contemporary Art EMST Athens Greece\, Singuhr-Horgalerie in Parochial Berlin\, Center for Book Arts New York\, The Kitchen New York\, Pomona College Museum of Art\, La Casa Encendida Madrid\, Susanne Vielmetter LA and Berlin Projects\, Studio la Citta Verona Italy\, and others. In 2010\, curator Howard Fox organized the exhibition “steve roden / in between: a 20 year survey”\, which opened at the Armory Center for the Arts in Pasadena\, and was accompanied by a full color catalog. \nRoden has performed his soundworks at various arts spaces and experimental music festivals worldwide including: Serpentine Gallery London\, San Francisco Museum of Modern Art\, Walker Art Center\, Minneapolis\, DCA Dundee Scotland\, Redcat Los Angeles\, Crawford Gallery Cork Ireland\, as well as performance tours of Brazil and Japan. Recent performances include John Cage’s Cartridge Music with composer Mark Trayle at the Norton Simon Museum in Pasadena\, and a tribute to Rolf Julius at the Hamburger Banhof Berlin. Since 1993\, Roden has released numerous CDs under his own name as well as under the moniker “in be tween noise” on various record labels internationally.
URL:https://www.h-r.la/event/steve-roden-yann-novak-special-guest/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/06/18920604_10156417889295620_6732159500537456976_n.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170609T210000
DTEND;TZID=America/Los_Angeles:20170609T230000
DTSTAMP:20170602T020735Z
CREATED:20170602T012634Z
LAST-MODIFIED:20170602T020735Z
UID:2804-1497042000-1497049200@www.h-r.la
SUMMARY:Subsequent Performances
DESCRIPTION:An eclectic night of performances from \nAirChina \nMaria Maea \nBitter Party \nElliot Reed \nLaub \n  \n  \nPerformances will take place\, on EJ Hill’s A Subsequent Offering. \nMonetary donations for the artist will be excepted\, but are not required
URL:https://www.h-r.la/event/subsequent-performances/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/06/IMG_2506.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170608T193000
DTEND;TZID=America/Los_Angeles:20170608T213000
DTSTAMP:20170801T084342Z
CREATED:20170604T210654Z
LAST-MODIFIED:20170801T084342Z
UID:2820-1496950200-1496957400@www.h-r.la
SUMMARY:Performing "Deep Listening Chorus" by Pauline Oliveros
DESCRIPTION:We are gathering at Human Resources to perform this piece for relaxing and energizing our community. This can also be performed remotely by anyone\, anywhere\, at the same time: \nDeep Listening Chorus: A form to activate community creative sound making\nBy Pauline Oliveros \n1. Lying on the floor\, heads or feet toward center and touching\, listen/sound. Listen while sounding—listen while silent. \n2. Listen to the whole field of sound. Let any sound heard whether inwardly or outwardly be a cue for relaxation or energizing as needed. This implies a global form of listening\, which includes everything from the softest\, loudest\, nearest\, most distant sounds possible to hear. Keep expanding to include more sound without assigning importance to any particular sound\, except to cue relaxation or energizing. This form of auto-suggestion can also be used to accomplish goals. Is can be done as a separate daily practice. \n3. As a group\, practice relaxation by scanning the body and releasing whatever tension is not needed. Send sound either mentally or vocally to the parts of the body that need releasing. Then bring consciousness to a pre-selected metaphor such as ice breaking up in the spring\, the fullness or summer\, the flow of electricity\, etc. Each person helps to state the metaphor together simultaneously in an overlapping sound web using words\, phrases and sentences at first\, and then leading to a primarily nonverbal sounding. Words may weave in and out of the sounding\, or not. \n4. Anything goes if and only if you are listening. \nA period of silence after the sounding is beneficial to help absorb the sensations\, feelings and to assimilate the musical experience. After that\, some people like to share their experiences\, or not. \n  \n  \nthis event will be hosted by Elana Mann and take place in EJ Hill’s exhibition “A Subsequent Offering”
URL:https://www.h-r.la/event/performing-deep-listening-chorus-by-pauline-oliveros/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/06/18839448_10213470969073897_7518514606374820946_o.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170607T070000
DTEND;TZID=America/Los_Angeles:20170607T220000
DTSTAMP:20170801T084349Z
CREATED:20170602T163200Z
LAST-MODIFIED:20170801T084349Z
UID:2813-1496818800-1496872800@www.h-r.la
SUMMARY:FUPU Reparations Tour Fundraiser Birthday Celebration
DESCRIPTION:FUCK U PAY US WOULD LIKE TO INVITE THE ENTIRE CITY TO CELEBRATE THE BIRTH OF OUR LEAD VOCALIST JASMINE NYENDE! \nWE WOULD ALSO LIKE TO INVITE YOU TO OUR BENEFIT PARTY (A FUNDRAISER FOR OUR DIY TOUR IN EUROPE!!!) \nWE WILL FOR THE FIRST TIME PRESENT TO YOU ALL RECORDED MUSIC FOR SALE! \nA BOOTLEG CD FROM OUR LIVE PERFORMANCE AT THE “MELANIN UNITY” SHOW AT CIELO GALLERY IN SOUTH CENTRAL RECORDED BY Really Not Radio!!! \nWE WILL ALSO HAVE ZINES AND SHIRTS FOR SALE AND WILL PERFORM LIVE. \nWE HAVE THE HONOR OF SHARING THE SPACE WITH A BLACK SOUTH CENTRAL ARTIST WHO IS DOING AN INSTALLATION THAT WILL LEAVE YOU FEELING LIKE YOU JUST LEFT AN AMUSEMENT PARK!!! YOU DON’T WANNA MISS THIS SHOW!!!\n\nTELL EVERY FEMME YOU KNOW WHO NEEDS TO HEAR THE SCREAMS OF LIBERATION!\n \nMAGIC FLYER ART by BINX
URL:https://www.h-r.la/event/fupu-reparations-tour-fundraiser-birthday-celebration/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/06/18838477_10154695281075658_1967837027_o.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170603
DTEND;VALUE=DATE:20170620
DTSTAMP:20180726T223448Z
CREATED:20170425T195346Z
LAST-MODIFIED:20180726T223448Z
UID:2602-1496469600-1497851999@www.h-r.la
SUMMARY:A Subsequent Offering: EJ Hill
DESCRIPTION:A Subsequent Offering \, 2017. Human Resources\, Los Angeles. Courtesy the artist and Commonwealth & Council photo: Michael Piña \nA Subsequent Offering: EJ Hill\nHuman Resources\, Los Angeles\nExhibition: June 3 – June 18\, 2017\nExhibition will be open Thursday – Sunday\, 12-6pm \nEJ Hill in conversation with Amanda Hunt\, Director of Education and Public Programs\, MOCA Los Angeles\nSaturday\, June 3\, 2017\n7pm \n*A reception will immediately follow the talk. \nHuman Resources presents the Los Angeles debut of EJ Hill’s A Subsequent Offering\, an adaptation of his work\, A Monumental Offering of Potential Energy\, first exhibited at The Studio Museum in Harlem\, New York. From July 14 to October 30\, 2016\, Hill lied atop a wooden platform within an installation resembling a classic wooden roller coaster. Throughout the run of the exhibition\, visitors could find the artist performing silently and near-motionless during all open hours of the Museum\, totaling just over 500 hours. \nThe 41-feet long sculpture will be recontextualized for exhibition during a new moment with the same pressing cultural concerns. This iteration of the work is part of Hill’s continued commitment to authoring spaces for marginalized bodies to position and view themselves in places of elevation. \nFuck U Pay Us  performing on  A Subsequent Offering June 7\, 2017photo: Arlene Mejorado\nFuck U Pay Us  performing on  A Subsequent Offering June 7\, 2017photo: Arlene Mejorado\nEJ Hill in conversation with Amanda Hunt\, Director of Education and Public Programs\, MOCA Los Angeles. Saturday\, June 3\, 2017
URL:https://www.h-r.la/event/a-subsequent-offering-ej-hill/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/04/SubsequentOffering01.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170528T190000
DTEND;TZID=America/Los_Angeles:20170528T210000
DTSTAMP:20180726T224845Z
CREATED:20170511T161953Z
LAST-MODIFIED:20180726T224845Z
UID:2649-1495998000-1496005200@www.h-r.la
SUMMARY:Ritual for Mutual Black Care: Melanie Griffin
DESCRIPTION:SUNDAY\, MAY 28\, 2017\n7pm – 9pm **\nRitual for Mutual Black Care\nMelanie Griffin\npresented by at land’s edge \nBlack people expend precious physical\, emotional and psychic energy responding to racial injustice and fighting that injustice in ways that serve all of humanity. So often these responses drain us and impact our mental\, physical\, and spiritual health and deplete us as we constantly pour energy outward.\nThis gathering will be an opportunity to build love\, care\,  and resilience amongst each other. It will provide a space to refill the emotional/ spiritual well\, that living in an anti-Black society drains daily. We will call in ancestors\, speak out our fears\, joys and affirmations for one another. We will interact in a ritualistic way with plant medicine\, smoke\, and a sewn garment with images inspired by Black diasporic myths and abstract patterns meditating on the (one of) Black experience. \n**This event is only for all Black identified people\n____________________ \nA wheelchair accessible entrance (via portable ramp) and a wheelchair accessible bathroom will be provided.  \nPublic transit via the Chinatown Gold Line Station. Street parking available. \nat land’s edge is an autonomous pedagogical platform based in East and South Los Angeles that nurtures the voices of cultural producers who are committed to social transformation. We understand pedagogy as not only a method of education\, but as a critical space where the processes of teaching and learning\, knowledge and action\, and self and community are reflexive\, interwoven\, and oriented toward the liberatory possibilities of a just and democratic world. \nDecolonizeLA is an autonomous group made up of Los Angeles-based artists\, educators\, Indigenous Peoples and activists\, and members of HRLA’s Programming Committees. This group recognizes the word decolonize as a process and action word that must center Native/Indigenous people’s autonomy\, and the liberation of all oppressed peoples as its goal. Steps toward decolonization include acknowledging the effects of colonial oppressive structures\, and demanding an end to the legacy of environmental\, physical\, psychological\, cultural and artistic violence\, and opposing the perpetual structure of inequity forced upon us by colonialism and white male hetero-normative supremacy. This group recognizes that many communities are working towards decolonization. We embrace and celebrate this opportunity to honor their work and transform our city.
URL:https://www.h-r.la/event/ritual-for-mutual-black-care-melanie-griffin/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/05/melanie-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170528T160000
DTEND;TZID=America/Los_Angeles:20170528T173000
DTSTAMP:20170801T084414Z
CREATED:20170511T161655Z
LAST-MODIFIED:20170801T084414Z
UID:2646-1495987200-1495992600@www.h-r.la
SUMMARY:Accidents of Birth: seren sensei
DESCRIPTION:SUNDAY\, MAY 28\, 2017\n4pm – 5:30pm\nAccidents of Birth\nseren sensei\npresented by at land’s edge \nWe are not all the same\, due to what I call “accidents of birth” that more often than not involve race\, gender\, class\, able-bodiedness\, and sexual orientation. We would be exploring this theme through a writing workshop wherein we discuss various ways to deal with accidents of birth. They can range from the fantastic to the mundane\, addressing the concept that you are born into a body\, and with it can come many expectations. How do you free yourself from ideas placed upon your body due to race\, gender\, sexual orientation\, ability/disability\, and/or class? \n____________________ \nA wheelchair accessible entrance (via portable ramp) and a wheelchair accessible bathroom will be provided.  \nPublic transit via the Chinatown Gold Line Station. Street parking available. \nat land’s edge is an autonomous pedagogical platform based in East and South Los Angeles that nurtures the voices of cultural producers who are committed to social transformation. We understand pedagogy as not only a method of education\, but as a critical space where the processes of teaching and learning\, knowledge and action\, and self and community are reflexive\, interwoven\, and oriented toward the liberatory possibilities of a just and democratic world. \nDecolonizeLA is an autonomous group made up of Los Angeles-based artists\, educators\, Indigenous Peoples and activists\, and members of HRLA’s Programming Committees. This group recognizes the word decolonize as a process and action word that must center Native/Indigenous people’s autonomy\, and the liberation of all oppressed peoples as its goal. Steps toward decolonization include acknowledging the effects of colonial oppressive structures\, and demanding an end to the legacy of environmental\, physical\, psychological\, cultural and artistic violence\, and opposing the perpetual structure of inequity forced upon us by colonialism and white male hetero-normative supremacy. This group recognizes that many communities are working towards decolonization. We embrace and celebrate this opportunity to honor their work and transform our city.
URL:https://www.h-r.la/event/2646/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/05/seren-2.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170527T190000
DTEND;TZID=America/Los_Angeles:20170527T210000
DTSTAMP:20170801T084409Z
CREATED:20170511T161450Z
LAST-MODIFIED:20170801T084409Z
UID:2644-1495911600-1495918800@www.h-r.la
SUMMARY:Divine Creators!!! : Intro to Divination Practices for Creatives
DESCRIPTION:SATURDAY\, MAY 27\, 2017\n7pm – 9pm *\nDivine Creators!!! : Intro to Divination Practices for Creatives\nEdgar Fabián Frías\npresented by at land’s edge \nDivine Creators!!! : Intro to Divination Practices for Creatives is an ad-hoc\, site-specific\, and adaptive workshop meant to help support the initiation\, development\, and flourishing of ancestral divination techniques within contemporary creative communities. Attendees will learn about divination from a trans-historical perspective and will find ways to weave in (a) personal divination practice(s) into their creative\, organizing\, educational\, and cultural work. Attendees will leave the workshop with a zine on divination techniques and all of the psychic tools needed to initiate and sustain a scrying (hydromancy) practice.  \n*The workshop has a maximum of 11 participants. It takes place in the evening. Please wear comfortable clothing. This workshop is FREE BUT requires sign up and approval by moderator.  \n*Optional: Please bring protective amulets\, charms\, plants\, essences\, crystals\, etc. Bring something to cover your head (a hat\, a scarf\, a hoodie). Please contact seeingyouseeingmeseeingyou@gmail.com or go to https://goo.gl/forms/SRc4YMPLDoFoT7T53 to register.  \n*Queer\, trans\, gender nonconforming\, low-income\, people of color\, indigenous people\, immigrants\, and folks at other intersections will be given priority. \n____________________ \nA wheelchair accessible entrance (via portable ramp) and a wheelchair accessible bathroom will be provided.  \nPublic transit via the Chinatown Gold Line Station. Street parking available. \nat land’s edge is an autonomous pedagogical platform based in East and South Los Angeles that nurtures the voices of cultural producers who are committed to social transformation. We understand pedagogy as not only a method of education\, but as a critical space where the processes of teaching and learning\, knowledge and action\, and self and community are reflexive\, interwoven\, and oriented toward the liberatory possibilities of a just and democratic world. \nDecolonizeLA is an autonomous group made up of Los Angeles-based artists\, educators\, Indigenous Peoples and activists\, and members of HRLA’s Programming Committees. This group recognizes the word decolonize as a process and action word that must center Native/Indigenous people’s autonomy\, and the liberation of all oppressed peoples as its goal. Steps toward decolonization include acknowledging the effects of colonial oppressive structures\, and demanding an end to the legacy of environmental\, physical\, psychological\, cultural and artistic violence\, and opposing the perpetual structure of inequity forced upon us by colonialism and white male hetero-normative supremacy. This group recognizes that many communities are working towards decolonization. We embrace and celebrate this opportunity to honor their work and transform our city.
URL:https://www.h-r.la/event/divine-creators-intro-to-divination-practices-for-creatives/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2017/05/edgar-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170527T120000
DTEND;TZID=America/Los_Angeles:20170527T130000
DTSTAMP:20170801T084443Z
CREATED:20170511T161308Z
LAST-MODIFIED:20170801T084443Z
UID:2642-1495886400-1495890000@www.h-r.la
SUMMARY:Wendy Red Star: What does intergenerational collaboration look like?
DESCRIPTION:SATURDAY\, MAY 27\, 2017\n1pm – 2pm\nWhat does intergenerational collaboration look like?\nForging Pathways for Future Apsáalooke Feminists\nWendy Red Star\na skype/virtual lecture presented by Decolonize LA \nAs a mother / daughter artist collaborative duo working in the realm of Native history\, identity politics\, cultural subversion\, and reclamation\, Wendy Red Star and her nine-year-old daughter Beatrice Red Star Fletcher probe the colonial thought bubble with intergenerational collaboration and institutional critique. Working with museums like the Denver Art Museum\, Portland Art Museum\, and Seattle Art Museum Beatrice and Wendy engage the public to decolonize thinking around Native American art and collections through performative tours\, interactive activities\, and interventionist installations. Intergenerational collaborative work is integral and a means to creating a forum for the expression of Native women’s voices in contemporary art. \nhttp://www.wendyredstar.com/ \n____________________ \nA wheelchair accessible entrance (via portable ramp) and a wheelchair accessible bathroom will be provided.  \nPublic transit via the Chinatown Gold Line Station. Street parking available. \nat land’s edge is an autonomous pedagogical platform based in East and South Los Angeles that nurtures the voices of cultural producers who are committed to social transformation. We understand pedagogy as not only a method of education\, but as a critical space where the processes of teaching and learning\, knowledge and action\, and self and community are reflexive\, interwoven\, and oriented toward the liberatory possibilities of a just and democratic world. \nDecolonizeLA is an autonomous group made up of Los Angeles-based artists\, educators\, Indigenous Peoples and activists\, and members of HRLA’s Programming Committees. This group recognizes the word decolonize as a process and action word that must center Native/Indigenous people’s autonomy\, and the liberation of all oppressed peoples as its goal. Steps toward decolonization include acknowledging the effects of colonial oppressive structures\, and demanding an end to the legacy of environmental\, physical\, psychological\, cultural and artistic violence\, and opposing the perpetual structure of inequity forced upon us by colonialism and white male hetero-normative supremacy. This group recognizes that many communities are working towards decolonization. We embrace and celebrate this opportunity to honor their work and transform our city.
URL:https://www.h-r.la/event/what-does-intergenerational-collaboration-look-like/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/05/Wendy_Red_Star.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170527T110000
DTEND;TZID=America/Los_Angeles:20170527T120000
DTSTAMP:20170801T084443Z
CREATED:20170511T160928Z
LAST-MODIFIED:20170801T084443Z
UID:2637-1495882800-1495886400@www.h-r.la
SUMMARY:Elisa Harkins: Adoption\, Electronic Music\, and Enrollment
DESCRIPTION:SATURDAY\, MAY 27\, 2017\n11am – 12pm\nAdoption\, Electronic Music\, and Enrollment.\nElisa Harkins\na skype/virtual lecture presented by Decolonize LA \nArtist and Composer Elisa Harkins will be showing her work\, which examines the politics of the 1990 Indian Arts and Crafts Act\, enrollment and adoption\, as well as sharing some of her music with us. \nElisa Harkins | Artist and Composer \n \n____________________ \nA wheelchair accessible entrance (via portable ramp) and a wheelchair accessible bathroom will be provided.  \nPublic transit via the Chinatown Gold Line Station. Street parking available. \nat land’s edge is an autonomous pedagogical platform based in East and South Los Angeles that nurtures the voices of cultural producers who are committed to social transformation. We understand pedagogy as not only a method of education\, but as a critical space where the processes of teaching and learning\, knowledge and action\, and self and community are reflexive\, interwoven\, and oriented toward the liberatory possibilities of a just and democratic world. \nDecolonizeLA is an autonomous group made up of Los Angeles-based artists\, educators\, Indigenous Peoples and activists\, and members of HRLA’s Programming Committees. This group recognizes the word decolonize as a process and action word that must center Native/Indigenous people’s autonomy\, and the liberation of all oppressed peoples as its goal. Steps toward decolonization include acknowledging the effects of colonial oppressive structures\, and demanding an end to the legacy of environmental\, physical\, psychological\, cultural and artistic violence\, and opposing the perpetual structure of inequity forced upon us by colonialism and white male hetero-normative supremacy. This group recognizes that many communities are working towards decolonization. We embrace and celebrate this opportunity to honor their work and transform our city.
URL:https://www.h-r.la/event/elisa-harkins-adoption-electronic-music-and-enrollment/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/05/Elisa_Harkins_The-Plains-Indian-Sign-Language-Still_1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170526T190000
DTEND;TZID=America/Los_Angeles:20170526T220000
DTSTAMP:20170801T084443Z
CREATED:20170511T194032Z
LAST-MODIFIED:20170801T084443Z
UID:2660-1495825200-1495836000@www.h-r.la
SUMMARY:on the other / side reception
DESCRIPTION:FRIDAY\, MAY 26TH\, 2017\n7pm – 10 pm\non the other / side Reception\nhosted by at land’s edge 2017 Fellows\nLight refreshments will be served. \nat land’s edge\, an autonomous ontological platform for creatives to co-learn\, presents its culminating reception. This exhibit\, “on the other / side\,” showcases works by the twelve 2017 at land’s edge fellows. It is an exploration\, via writing\, installation\, video\, 2D and 3D works\, of race\, disability\, resistance\, history\, power\, violence\, healing\, and survival. All artists and program coordinators will be present to discuss their works\, host readings\, and lead other activities during the reception.  \n**Free and open to the public** \n____________________ \nA wheelchair accessible entrance (via portable ramp) and a wheelchair accessible bathroom will be provided.  \nPublic transit via the Chinatown Gold Line Station. Street parking available. \nat land’s edge is an autonomous pedagogical platform based in East and South Los Angeles that nurtures the voices of cultural producers who are committed to social transformation. We understand pedagogy as not only a method of education\, but as a critical space where the processes of teaching and learning\, knowledge and action\, and self and community are reflexive\, interwoven\, and oriented toward the liberatory possibilities of a just and democratic world. \nDecolonizeLA is an autonomous group made up of Los Angeles-based artists\, educators\, Indigenous Peoples and activists\, and members of HRLA’s Programming Committees. This group recognizes the word decolonize as a process and action word that must center Native/Indigenous people’s autonomy\, and the liberation of all oppressed peoples as its goal. Steps toward decolonization include acknowledging the effects of colonial oppressive structures\, and demanding an end to the legacy of environmental\, physical\, psychological\, cultural and artistic violence\, and opposing the perpetual structure of inequity forced upon us by colonialism and white male hetero-normative supremacy. This group recognizes that many communities are working towards decolonization. We embrace and celebrate this opportunity to honor their work and transform our city.
URL:https://www.h-r.la/event/2660/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/04/17990302_1084062881725779_310358000878732968_o.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170524T193000
DTEND;TZID=America/Los_Angeles:20170524T203000
DTSTAMP:20170801T084443Z
CREATED:20170511T160558Z
LAST-MODIFIED:20170801T084443Z
UID:2626-1495654200-1495657800@www.h-r.la
SUMMARY:Everything I Say Is True: Suzanne Kite
DESCRIPTION:WEDNESDAY MAY 24\, 2017\n7:30pm – 8:30pm\nEverything I Say Is True\nSuzanne Kite\na live sound/video performance presented by Decolonize LA \nEverything I Say Is True is a lecture performance by Southern California-based\, Oglala Lakota artist Kite. In the lecture Kite constructs a complex narrative through the use of her own family’s ephemera and historical documents as well as through a new body of work in various mediums\, including video\, sound and sculpture. Everything I Say Is True considers concepts of truth in relation to Oglala Lakota knowledge systems. \nhttp://kitekitekitekite.com/ \n____________________ \nA wheelchair accessible entrance (via portable ramp) and a wheelchair accessible bathroom will be provided.  \nPublic transit via the Chinatown Gold Line Station. Street parking available. \nat land’s edge is an autonomous pedagogical platform based in East and South Los Angeles that nurtures the voices of cultural producers who are committed to social transformation. We understand pedagogy as not only a method of education\, but as a critical space where the processes of teaching and learning\, knowledge and action\, and self and community are reflexive\, interwoven\, and oriented toward the liberatory possibilities of a just and democratic world. \nDecolonizeLA is an autonomous group made up of Los Angeles-based artists\, educators\, Indigenous Peoples and activists\, and members of HRLA’s Programming Committees. This group recognizes the word decolonize as a process and action word that must center Native/Indigenous people’s autonomy\, and the liberation of all oppressed peoples as its goal. Steps toward decolonization include acknowledging the effects of colonial oppressive structures\, and demanding an end to the legacy of environmental\, physical\, psychological\, cultural and artistic violence\, and opposing the perpetual structure of inequity forced upon us by colonialism and white male hetero-normative supremacy. This group recognizes that many communities are working towards decolonization. We embrace and celebrate this opportunity to honor their work and transform our city.
URL:https://www.h-r.la/event/everything-i-say-is-true-suzanne-kite/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/05/Suzanne_Kite_photo_by_Amanda_Farmer.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170524T100000
DTEND;TZID=America/Los_Angeles:20170528T210000
DTSTAMP:20170801T084454Z
CREATED:20170425T200944Z
LAST-MODIFIED:20170801T084454Z
UID:2605-1495620000-1496005200@www.h-r.la
SUMMARY:On The Other Side: 2017 at land’s edge fellows
DESCRIPTION:at land’s edge\, in conjunction with Decolonize LA and Human Resources Los Angeles\, proudly presents\, “on the other / side.” This week-long\, culminating exhibition showcases the projects of the 2017 at land’s edge fellowship cohort\, exploring issues of race\, disability\, resistance\, history\, power\, violence\, survival\, and healing.  \nWednesday\, May 24th – Sunday\, May 28th \nGallery Hours:\n3pm – 9pm\, Wed – Thurs\n11am – 7pm\, Sat\n1pm – 7pm\, Sun \nSpecial Reception: 7pm – 9pm. Friday\, May 26th\nworkshops and performances throughout the week presented by\nDecolonize LA & at land’s edge \n \nAll events are free and open to the public\, made possible with funding from the Los Angeles Department of Cultural Affairs.  \nVisit the at lands edge website for more information. \n_____________________ \nWEDNESDAY MAY 24\, 2017\n \n7:30pm – 8:30pm\nEverything I Say Is True\nSuzanne Kite\na live sound/video performance presented by Decolonize LA \nEverything I Say Is True is a lecture performance by Southern California-based\, Oglala Lakota artist Kite. In the lecture Kite constructs a complex narrative through the use of her own family’s ephemera and historical documents as well as through a new body of work in various mediums\, including video\, sound and sculpture. Everything I Say Is True considers concepts of truth in relation to Oglala Lakota knowledge systems. \nhttp://kitekitekitekite.com/ \n_____________________ \nFRIDAY\, MAY 26TH\, 2017 \n\n\n7pm – 9 pm\non the other / side Reception\nhosted by at land’s edge 2017 Fellows\nLight refreshments will be served. \nat land’s edge\, an autonomous ontological platform for creatives to co-learn\, presents its culminating reception. This exhibit\, “on the other / side\,” showcases works by the twelve 2017 at land’s edge fellows. It is an exploration\, via writing\, installation\, video\, 2D and 3D works\, of race\, disability\, resistance\, history\, power\, violence\, healing\, and survival. All artists and program coordinators will be present to discuss their works\, host readings\, and lead other activities during the reception.  \n**Free and open to the public** \n_____________________ \nSATURDAY\, MAY 27\, 2017\n\n\n11am – 12pm\nAdoption\, Electronic Music\, and Enrollment.\nElisa Harkins\na skype/virtual lecture presented by Decolonize LA \nArtist and Composer Elisa Harkins will be showing her work\, which examines the politics of the 1990 Indian Arts and Crafts Act\, enrollment and adoption\, as well as sharing some of her music with us. \nhttp://www.elisaharkins.org/ \n\n\n1pm – 2pm\nWhat does intergenerational collaboration look like?\nForging Pathways for Future Apsáalooke Feminists\nWendy Red Star\na skype/virtual lecture presented by Decolonize LA \nAs a mother / daughter artist collaborative duo working in the realm of Native history\, identity politics\, cultural subversion\, and reclamation\, Wendy Red Star and her nine-year-old daughter Beatrice Red Star Fletcher probe the colonial thought bubble with intergenerational collaboration and institutional critique. Working with museums like the Denver Art Museum\, Portland Art Museum\, and Seattle Art Museum Beatrice and Wendy engage the public to decolonize thinking around Native American art and collections through performative tours\, interactive activities\, and interventionist installations. Intergenerational collaborative work is integral and a means to creating a forum for the expression of Native women’s voices in contemporary art. \nhttp://www.wendyredstar.com/ \n\n7pm – 9pm *\nDivine Creators!!! : Intro to Divination Practices for Creatives\nEdgar Fabián Frías\npresented by at land’s edge \nDivine Creators!!! : Intro to Divination Practices for Creatives is an ad-hoc\, site-specific\, and adaptive workshop meant to help support the initiation\, development\, and flourishing of ancestral divination techniques within contemporary creative communities. Attendees will learn about divination from a trans-historical perspective and will find ways to weave in (a) personal divination practice(s) into their creative\, organizing\, educational\, and cultural work. Attendees will leave the workshop with a zine on divination techniques and all of the psychic tools needed to initiate and sustain a scrying (hydromancy) practice.  \n*The workshop has a maximum of 11 participants. It takes place in the evening. Please wear comfortable clothing. This workshop is FREE BUT requires sign up and approval by moderator.  \n*Optional: Please bring protective amulets\, charms\, plants\, essences\, crystals\, etc. Bring something to cover your head (a hat\, a scarf\, a hoodie). Please contact seeingyouseeingmeseeingyou@gmail.com or go to https://goo.gl/forms/SRc4YMPLDoFoT7T53 to register.  \n*Queer\, trans\, gender nonconforming\, low-income\, people of color\, indigenous people\, immigrants\, and folks at other intersections will be given priority. \n_____________________ \nSUNDAY\, MAY 28\, 2017 \n\n\n4pm – 5:30pm\nAccidents of Birth\nseren sensei \npresented by at land’s edge \nWe are not all the same\, due to what I call “accidents of birth” that more often than not involve race\, gender\, class\, able-bodiedness\, and sexual orientation. We would be exploring this theme through a writing workshop wherein we discuss various ways to deal with accidents of birth. They can range from the fantastic to the mundane\, addressing the concept that you are born into a body\, and with it can come many expectations. How do you free yourself from ideas placed upon your body due to race\, gender\, sexual orientation\, ability/disability\, and/or class? \n\n7pm – 9pm **\nRitual for Mutual Black Care\nMelanie Griffin \npresented by at land’s edge \nBlack people expend precious physical\, emotional and psychic energy responding to racial injustice and fighting that injustice in ways that serve all of humanity. So often these responses drain us and impact our mental\, physical\, and spiritual health and deplete us as we constantly pour energy outward.\nThis gathering will be an opportunity to build love\, care\,  and resilience amongst each other. It will provide a space to refill the emotional/ spiritual well\, that living in an anti-Black society drains daily. We will call in ancestors\, speak out our fears\, joys and affirmations for one another. We will interact in a ritualistic way with plant medicine\, smoke\, and a sewn garment with images inspired by Black diasporic myths and abstract patterns meditating on the (one of) Black experience. \n**This event is only for all Black identified people\n____________________ \nA wheelchair accessible entrance (via portable ramp) and a wheelchair accessible bathroom will be provided.  \nPublic transit via the Chinatown Gold Line Station. Street parking available. \nat land’s edge is an autonomous pedagogical platform based in East and South Los Angeles that nurtures the voices of cultural producers who are committed to social transformation. We understand pedagogy as not only a method of education\, but as a critical space where the processes of teaching and learning\, knowledge and action\, and self and community are reflexive\, interwoven\, and oriented toward the liberatory possibilities of a just and democratic world. \nDecolonizeLA is an autonomous group made up of Los Angeles-based artists\, educators\, Indigenous Peoples and activists\, and members of HRLA’s Programming Committees. This group recognizes the word decolonize as a process and action word that must center Native/Indigenous people’s autonomy\, and the liberation of all oppressed peoples as its goal. Steps toward decolonization include acknowledging the effects of colonial oppressive structures\, and demanding an end to the legacy of environmental\, physical\, psychological\, cultural and artistic violence\, and opposing the perpetual structure of inequity forced upon us by colonialism and white male hetero-normative supremacy. This group recognizes that many communities are working towards decolonization. We embrace and celebrate this opportunity to honor their work and transform our city. \nHuman Resources Los Angeles\n410 Cottage Home St\, Los Angeles\, CA 90012\nnear Broadway and Cottage Home in Chinatown
URL:https://www.h-r.la/event/on-the-other-side-2017-at-lands-edge-fellows/
CATEGORIES:exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170518T200000
DTEND;TZID=America/Los_Angeles:20170518T220000
DTSTAMP:20170801T084443Z
CREATED:20170512T170953Z
LAST-MODIFIED:20170801T084443Z
UID:2670-1495137600-1495144800@www.h-r.la
SUMMARY:Yes Femmes 4 Lez Gulls
DESCRIPTION:Readings and screenings by: \nMegan Auster-Rosen\nMuriel Leung\nAdrienne Walser\nVanessa Angélica Villarreal \nYES FEMMES is a reading series and online experiment that publishes writing and digital projects working toward a femme aesthetic. We’re interested in writing that explores the limits of the body\,that’s campy or fannish\, that engages with witchcraft or the occult\, that has an excess of feeling\, that looks to animals and plants as models or collaborators\, that considers how digitality might be femme\, and that moves toward the horizon of queerness. \nThis set of readings will accompany Human Resources’ current show Lesbian Gulls\, Dead Zones\, Sweat\, and T. by Candice Lin and Patrick Staff. \nHosted by Sam Cohen & Amanda-Faye Jimenez
URL:https://www.h-r.la/event/yes-femmes-4-lez-gulls/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2017/05/YES-FEMMES.png
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170514T120000
DTEND;TZID=America/Los_Angeles:20170514T180000
DTSTAMP:20170521T082338Z
CREATED:20170515T220554Z
LAST-MODIFIED:20170521T082338Z
UID:2676-1494763200-1494784800@www.h-r.la
SUMMARY:Project Q - 'We Don't Have Mothers Day'
DESCRIPTION:ProjectQ is using hair as a form of social justice. This is the second ‘We Don’t Have Mothers Day’ where we introduce the ‘Didn’t your mother teach you’ program. Starting with poetry and creating choreography\, and transforming the movement into comic books. ‘Didn’t your mother Teach you’ is focusing on the expression of self care through haircuts.\nBurrito Coalition is feeding the youth nourishment of heart and soul.\nPoetry by an. Choreography by Loic Noisette and comic leadership by Krystal Babich.\nAnd as always\, haircuts by ProjectQ \nAbout Project Q:\nhttps://www.projectq.me/\nUsing hair as a form of social justice. \nCreating a safe space For LGBTQIA youth to find their identity\,\nand raise the awareness of self confidence.\n \nProjectQ is a non-profit organization founded by Madin Lopez to help LGBTQIA and homeless youth combat bullying\, develop self esteem and find an identity for themselves through hair styling. For the past five years\, they have been working with different organizations to help realize this goal.
URL:https://www.h-r.la/event/project-q-we-dont-have-mothers-day/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/05/1.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170504T190000
DTEND;TZID=America/Los_Angeles:20170521T180000
DTSTAMP:20180811T174822Z
CREATED:20170421T193517Z
LAST-MODIFIED:20180811T174822Z
UID:2592-1493924400-1495389600@www.h-r.la
SUMMARY:LESBIAN GULLS\, DEAD ZONES\, SWEAT AND T.
DESCRIPTION:LESBIAN GULLS\, DEAD ZONES\, SWEAT AND T. \nOpening Reception: Thursday May 5th\, 7-10pm \nExhibition Dates: May 5-21\, 2017 \nExhibition hours: Wednesday – Sunday\, 12-6pm \n*Gallery will be closed on Sunday\, May 14th \nFree and open to the public. \nAn exhibition of new work by Los Angeles based collaborators Candice Lin and Patrick Staff. \nLESBIAN GULLS\, DEAD ZONES\, SWEAT AND T. is a new site-specific project for Human Resources\, taking the form of a foggy installation within a roughly framed wooden structure. Reminiscent of construction sites\, the space contains various squatted objects— ceramics\, hacked electronics\, herbs\, erotic texts\, hormonal joints and greasy stains. The installation is organized in a loose hexagonal layout\, referencing the chemical compound of benzene\, part of a phyto-hormonal change that occurs during the aromatization of certain plants. \nFilling the space\, the artists have hacked commercial fog machines to vaporize homemade herbal tinctures into hormonal smoke. The common botanical ingredients used – such as licorice and black cohosh – are natural anti-androgens\, a class of drug typically known for suppressing testosterone production in the human body. The installation of these fog-machine sculptures creates a slow forming cloud\, enacting a potential intrusion of disruptive botanical knowledge\, and proposing a cross-pollination and infection between bodies\, ecosystems\, and institutions. \nLin and Staff’s research and queer re-readings of botanical texts inform the foundation of the project\, beginning with a consideration of how herbal treatments were historically associated with female social roles of healer\, herbalist\, and witch; and the transplantation and exploitation of plant knowledge through colonialism; its suppression\, renaming and regulation. Within this lineage\, the artists propose a non-binary queer exploration of hormone therapy and toxic sex\, both seeking to pervert pollution and queer the possibilities of endocrine disruption. \nConstructed from simple household and hardware materials such as fans\, funnels\, hot plates and aluminum roasting pans\, the sculptural machines reference an unassuming auto-didacticism\, wherein grassroots knowledge of both DIY construction and herbal medicine can be utilized. The smoke that rises from them points to the ways in which inanimate matter\, and specifically ephemeral\, shifting\, and permeable matter\, takes on human\, biopolitical and necropolitical significance and effect. \nSimultaneously empty and dense\, dispersed and ingested\, LESBIAN GULLS\, DEAD ZONES\, SWEAT AND T. invites visitors to lose the illusion of their bodily boundaries and float within the influence of a hormonal mist\, suggesting questions of relationship and care\, dosage and tolerance and inciting a dissipating redefinition of subjectivity and knowledge. \nAvailable at the show is a new artist edition by Lin and Staff\, produced by Closing. \nCandice Lin and Patrick Staff live and work in Los Angeles\, and have been collaborating since 2010. Their collaborative practice focuses on the queer potential of herbal practices and cross-species interactions. Their work has been shown at Gasworks\, London; Teoretica\, Costa Rica; Centro Para Os Assuntos Da Arte E Arquitectura\, Portugal; 18th Street Arts Center\, Los Angeles; and as part of Witchy Methodologies at the ICA\, London\, 2017 and the Serpentine Galleries’ Transformation Marathon\, 2015. Candice Lin has had recent solo exhibitions at Gasworks Gallery\, London; François Ghebaly Gallery\, Los Angeles; Artissima\, Turin; and Galeria Quadrado Azul\, Porto. Patrick Staff’s recent solo exhibitions include MOCA\, Los Angeles; Contemporary Art Gallery\, Vancouver; Institute of Modern Art\, Brisbane; and Chisenhale Gallery\, London. \nThanks to Ghebaly Gallery for additional support \nAll photos by Ian Byers-Gamber
URL:https://www.h-r.la/event/candice-lin-and-patrick-staff/
CATEGORIES:exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170429T200000
DTEND;TZID=America/Los_Angeles:20170429T200000
DTSTAMP:20170405T230413Z
CREATED:20170329T215045Z
LAST-MODIFIED:20170405T230413Z
UID:2567-1493496000-1493496000@www.h-r.la
SUMMARY:The Experimental Music Yearbook Presents: Carolyn Chen and Happy Valley Band
DESCRIPTION:The Experimental Music Yearbook’s 2016 issue is celebrated with a performance of Carolyn Chen’s Signs of Struggle as well as a special Los Angeles appearance by David Kant’s Happy Valley Band. \nCarolyn Chen “SIgns of Struggle” (2016) photo credit: Daniel Pufe\nCarolyn Chen’s Signs of Struggle is a piece for people listening and reacting to different degrees of uncertainty when given a series of variably cooperative\, weight-sharing tasks. Using Antonioni’s Blow Up and Coppola’s The Conversation as sonic and procedural references\, a choreography of sound\, listening\, and movement is explored by a frequently-blindfolded quartet. Carolyn Chen has made music for supermarket\, demolition district\, and the dark. Her work reconfigures the everyday to retune habits of our ears through sound\, text\, light\, image\, and movement. For a decade she has studied the guqin\, the Chinese 7-string zither traditionally played for private meditation in nature\, which has informed her thinking on listening in social spaces. Recent projects include a marble chase\, an ASL interpreter strung to chimes at a distance\, and commissions for Wild Rumpus and Klangforum Wien. \nThe Happy Valley Band is the Great American Songbook heard through the ear of a machine. Composer / bandleader David Kant uses custom-built machine learning software to “unmix” pop songs and transcribe them back into musical notation. Imagine James Brown backed by a simmering Sun Ra Arkestra\, Madonna with a jittery freak-out synth rhythm section\, and Herb Alpert with a Tijuana Brass that must have been led by Charles Ives. The machine analysis has no concern for the limits of human performance\, and the resulting transcriptions are extremely complex\, literal\, and often impossible to play. The Happy Valley Band\, an ensemble of Bay Area and New York City musicians\, plays what comes out. \nThe Experimental Music Yearbook is a repository for composers\, performers\, and the public to glean the methods and styles of various artists working in the experimental music tradition. As the modes of experimentation in the sonic arts change from year to year\, the Experimental Music Yearbook’s annual issues will build into a comprehensive\, and varied\, database of experimentation in music/sound. Since the inaugural edition in 2009\, the Experimental Music Yearbook has featured contributions from such artists as Tom Johnson\, Bill Dietz\, Tashi Wada\, Cat Lamb\, Vinny Golia\, Jessie Marino\, Julia Holter\, and many\, many more. Along with the three permanent editors (Casey Anderson\, Scott Cazan\, and John P. Hastings)\, each year features a guest editor who provides curatorial direction. The 2016 edition features guest editor Jessie Marino (On Structure\, Ensemble Pamplemousse). Former guest editors have included Michael Pisaro\, Sara Roberts\, Laura Steenberge\, Olivia Block\, and Travis Just. Live performances of contributions have occurred in Los Angeles\, New York\, Chicago\, San Francisco and Cologne\, Germany.
URL:https://www.h-r.la/event/the-experimental-music-yearbook-presents-carolyn-chen-and-happy-valley-band/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/03/ORGANVM-PERCEPTVS-Liner-Notes-Booklet-1_1340_c.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170428T190000
DTEND;TZID=America/Los_Angeles:20170428T220000
DTSTAMP:20170311T215938Z
CREATED:20170311T215404Z
LAST-MODIFIED:20170311T215938Z
UID:2548-1493406000-1493416800@www.h-r.la
SUMMARY:Antiphony\, Otherwise: Friday Joy Night Service
DESCRIPTION:Antiphony\, Otherwise: Friday Joy Night Service \n7:00pm\, April 28\, 2017 \n(FREE) TICKETS \n“Antiphony\, Otherwise: Friday Joy Night Service” is a sound art event that brings together musicians\, singers\, foodies and audiences to intentionally consider the role of the senses in Black religious practice and sacred traditions. To do so\, “Antiphony\, Otherwise” utilizes the Hammond organ instrument with its use in Black Christian worship to be the particular “site” from which questions about gender\, sexuality\, spirit\, enfleshment can emerge. The Hammond instrument and the musician do not work alone but with others\, with the sound of handclaps\, foot stomps\, tambourines ringing and singers. “Antiphony\, Otherwise” consists of three movements: \nI. Singing \nII. Talkback with Musician and Lead Singer \nIII. Eating \nCurated by Ashon Crawley\, Assistant Professor of Ethnic Studies at University of California Riverside\, “Antiphony\, Otherwise” approaches and makes more intentionally considered the concept of the multisensory\, the way Black religious traditions are about feeling as the grounds for practice. “Antiphony\, Otherwise” illustrates how the senses in Black religious spaces are unitary\, how sense experience is one of simultaneity\, how the senses are nondivisional. So to remember and recall the way the Hammond B-3 sounds is also to hear the voices of saints singing and talking\, to remember the tactility and touch of carpet or wooden floors underfoot\, to smell the cooking of food and then\, also and of course\, to taste the fried chicken\, the fish\, the hot sauce. This is why eating will be integral to the show as part of the event itself\, not something occurring “after” we have finished. “Antiphony\, Otherwise” stages the sound of the Hammond B-3 organ to think about sense experience itself. \n“Antiphony\, Otherwise” will be a space of multiple beliefs\, doctrinal and theological positions. It will be an intentionally and explicitly safe space for Christians believers and believers from other religious traditions and sects\, as well as a safe space for agnostics\, atheists\, non-believers and for TQPOC people to gather together and share with one another. \nMusician \nAbdul Hamid Royal: Mr. Royal was recently awarded the coveted OVATION AWARD and LOS ANGELES DRAMA CRITICS CIRCLE AWARD for Best Music Direction for his work on the Los Angeles production of The Gospel At Colonus. He was previously awarded the NAACP IMAGE AWARD for his work on Broadway’s FIVE GUSY NAMED MOE and recently awarded the NAACP Theater Award for Best Musical Direction for his work on THE GOSPEL AT COLONUS. His Broadway credits\, as well as National and International tour credits\, read like a Broadway hit list – Five Guys Named Moe\, Smokey Joe’s Café\, Twist\, Sophisticated Ladies\, Ain’t Misbehavin’\, Jelly’s Last Jam\, The Wiz\, Truly Blessed\, Ma Rainey’s Black Bottom\, Fiddler on the Roof\, Betsy Brown\, Concerts for the Earth\, Colors of Christmas and Sound of Music. Born in Wisconsin\, Royal was raised in the Midwest and began piano lessons at the age of 4 at the Wisconsin Conservatory of Music. He completed a Bachelor of Music in Piano Performance/Jazz Studies at the Wisconsin Conservatory of Music\, received a Masters of Music in Choral Conducting from Northwestern University\, a Master of Theological Studies from the Claremont School of Theology and is currently working on his PhD. He says\, “The sanctified church is my inheritance and gospel music is my culture and the genesis of my musical experience. My first love was the sound of the hand-clapping\, foot-stomping\, tambourine accompanied sounds of the Hammond organ; the Leslie speaker and the click\, click\, click were the pulse of my soul. Then and now\, nothing moves me more than ‘the sound’ of gospel music.” \nSong Leader \nTroy Sanders: Pastor Troy Sanders’ relationship with the divine started when he was a toddler\, preaching on the front porch of his home in Denmark\, South Carolina\, and has served as the bedrock of his faith and ministry. As he grew so did his yearning and zeal for spiritual things\, resulting in a life-long ministry designed to affect the lives of youth and adults. His ministerial background includes over 25 years as a licensed and ordained minister\, and over 15 years of church administration\, where he created training curriculums and modules for leadership development; lecturing; and the development and institutionalization of a gospel choir in his hometown of Denmark. In 2001\, he completed his Bachelor’s of Arts program from Beulah Heights University (Atlanta\, GA) and completed a dual Master’s of Divinity and Masters of Art degree at the Interdenominational Theological Center (Atlanta\, GA). Pastor Troy is the Episcopal Liaison for the Greater Atlanta Area and servers the Executive Committee of The Fellowship Of Affirming Ministries\, under the leadership of Bishop Yvette Flunder\, an international movement of radically inclusive religious organizations committed to promoting liberation and addressing pivotal issues regarding racial\, social\, and economic equity. And he is pastor of Rehoboth Fellowship of Atlanta\, United Church of Christ\, Inc.\, a ministry called to be a 21st century prophetic voice admonishing all to Love God\, Love Self and Love People. \n 
URL:https://www.h-r.la/event/antiphony-otherwise-friday-joy-night-service/
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:20170427T200000
DTEND;TZID=America/Los_Angeles:20170427T200000
DTSTAMP:20170422T224135Z
CREATED:20170422T223859Z
LAST-MODIFIED:20170422T224135Z
UID:2595-1493323200-1493323200@www.h-r.la
SUMMARY:Keith Fullerton Whitman / Sean McCann / Jessika Kenney
DESCRIPTION:live in concert: \nKEITH FULLERTON WHITMAN\nSEAN McCANN\nJESSIKA KENNEY \ndoors at 8 / sound at 9 \n$12 at the door \nadvance tickets also available as a convenience for $10 plus fees: http://tiny.cc/KFWatHRtix \n\nKEITH FULLERTON WHITMAN \nThrough more than two decades\, Keith Fullerton Whitman has continuously explored and celebrated the technologies and many facets of electronic music\, plumming its history and scouting its cutting edges. Assuming the role of a contemporary “Contemporary Classical” composer\, Keith has also made the case that this music is a ‘popular form’ by serially choosing to release on labels intent on bringing such niche music to a wider audience. Keith’s discography is itself a dizzying catalogue of influence; labels that count his total-art aesthetic as part of their identity include Kranky\, Editions Mego\, PAN\, Room40\, No Fun Productions\, Rare Youth\, Root Strata\, Amethyst Sunset\, among other good companies. \nThe past couple of years Keith has focused on realizations of a “Live Electronic Music” that utilizes both software and hardware – improvisation with a laptop and modular rig both on stage. This activity has culminated in a piece – or perhaps a process – called Redactions. Each instance of this work incorporates “thematically and geographically relevant Musique Concrète elements” thus rendering each iteration – as well as the manner in which it is diffused – necessarily site-specific. Sonically\, the outcomes can be radically different\, or even abruptly shift styles within the same performance. Subtle landscapes of magnetic snow\, electro-acoustic gurgle and scrape\, sustained tone play\, or drifting particles of pulse. \nPrevious performances of Redactions have been staged in Europe\, Australia\, and the U.S. at various venues of note\, including Boston City Hall. KFW on Redactions: “It’s the most complete performance solution I’ve come up with to date; very much a live performance work and as of yet remains undocumented by a tangible commercial recording… please come hear it live.” \nThis will be Keith’s first L.A. appearance in over four years\, and also his first since relocating from Boston to Melbourne\, Austraila. The Los Angeles debut of Redactions will be presented in Quadrophonic Sound. \nhttp://www.keithfullertonwhitman.com/redactions/ \n\nSEAN McCANN \nDrawn to the timbres of the orchestra\, Sean McCann has meshed acoustic instrumentation back into the possibilities of new sound fields\, painting pastoral landscapes with voicings near and clear. Since 2013’s Music for Private Ensemble he’s drifted away from overtly electronic sonics\, creating seamless studio assemblages of imaginary and – possibly impossible – ensembles. In live settings too\, classical instruments come into the fold as fodder for the mix. Human voice is never far away\, even if phonemes are reconfigured or processed. Indeed\, McCann’s work – and that of his “Recital Program” imprint – draw inspiration from an array of aesthetics: the “guttural tape work” of Fluxus artists\, experimental librettos\, certain margins of the New Age\, and many an artist who practiced outside of the spotlight. \nFor this – his first local performance since his most recent release Music for Public Ensemble – McCann will convene an ensemble to present a mostly-acoustic chamber-based piece\, augmented by live electronics\, to be preceded by a sound poetry / tape music piece. \n\nJESSIKA KENNEY \nWhether singing amidst gamelan tones\, classical Persian music\, the heaviest metal\, or the noisiest fuzz\, Jessika Kenney keenly considers the play of frequencies\, and how song acts as a conduit for words and meaning. Her solo works – as well as projects with her core collaborator Eyvind Kang – offer an audio syncretism that draws from established forms while conjuring new expressions. Her sense of the spectral has been heard in the ensemble of Persian ney master Hossein Omoumi\, as well as at the helm of the Austrian Choir on Sunn O)))’s Monoliths and Dimensions. Though her practice includes many a studied approach\, she finds a continued freedom in musics of rebellion; her brushes with the Indonesian punk scene resonate. \nFor this event\, Kenney will perform her new work\, This Is My House\, a gritty live-electronics-affected sung-recitation of The Persian Poems by Kathy Acker. Through time-bending efforts on both the micro and macro levels – 25 years after Kenney’s initial obsessive readings of Acker’s writing – the fictional process of Janey learning Persian and the actual process of Jessika learning the radif collide. \nOrganized by Tim Leanse
URL:https://www.h-r.la/event/keith-fullerton-whitman-sean-mccann-jessika-kenney/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/04/KFW_HR_site.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20170426T190000
DTEND;TZID=America/Los_Angeles:20170426T210000
DTSTAMP:20170425T015235Z
CREATED:20170418T180124Z
LAST-MODIFIED:20170425T015235Z
UID:2581-1493233200-1493240400@www.h-r.la
SUMMARY:Having Left: Intersectional Perspectives on Migration
DESCRIPTION:Having Left: Intersectional Perspectives on Migration\nHuman Resources\, Los Angeles\nWednesday\, April 26\, 2017\n7:00–9:00pm \nTransnational and intersectional perspectives on feminism encompass questions that challenge postcolonial frameworks and scrutinize the destruction carried out by Western imperialism. Several artists from the Asian diaspora will present work exploring global migration\, labor\, and gender identity. Christine Dianne Guiyangco will re-stage a candle-lighting ceremony that marked her eighteenth birthday\, a coming-of-age debut in Filipino tradition\, which will involve three white women who were present at the event. Thinh Nguyen will perform the “War Cry” series as Long Long\, a reclaimed superego from Nguyen’s childhood memories growing up as a girl. Seo Yun Son & eunhae yoo will engage the audience in an interactive performance that narrativizes the Korean concept of jeong through a consideration of intergenerational and traditional labor.  \nCurated by Hyunjee Nicole Kim\, and presented by Intersectionality NOW as part of their spring 2017 programming residency at the Women’s Center for Creative Work. \nARTISTS \nChristine Dianne Guiyangco was born in Philippines in 1992 and moved to United States in 2001. She currently works and lives in Los Angeles. She actively works in a range of fields including performance\, painting\, writing\, installation\, video\, and sculpture. In 2014\, she received her BA at the University of California Los Angeles. The process of displacement and reestablishment that began from her childhood engender identity politics to ground her project based interdisciplinary art practice.  \nThinh Nguyen’s work is a complex contemporary look at a few converging issues investigating the personal\, social\, cultural\, and historical while innovatively engaging the public in the process. He explores formal and conceptual process in different media as a strategy to continue the development of critical exchange and aesthetic innovation. He received an MFA at Claremont Graduate University and BFA a California State University\, Fullerton. \nSeo Yun Son is an artist and educator living in Los Angeles\, California. She received her BFA in Fine Arts from the University of California\, Los Angeles. As an undocumented immigrant\, her practice examines the politics of constructing one’s identity by remapping territory and citizenship as well as the circulation and progression of one’s personal memory and history. \neunhae yoo is a Los Angeles-based artist who received her BFA in Fine Arts from University of California\, Los Angeles. She grew up in South Korea and immigrated to the U.S. in 2002. Her identity-based works stem from her undocumented status and the internal split caused by dichotomous cultural influences and memories. Through her conceptual practice\, the artist inspects the fluid – and often clashing – nature behind the sense of belonging to oneself and to a larger entity. \nIntersectionality NOW is a collective that believes FEMINISM NOW must be intersectional (we reject hierarchies based on race\, class\, gender\, ability\, sexuality\, or age) & that it must work to AMPLIFY the most marginalized women.
URL:https://www.h-r.la/event/having-left-intersectional-perspectives-on-migration/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2017/04/Nguyen_T_06.jpg
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