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DTSTART;TZID=America/Los_Angeles:20161027T193000
DTEND;TZID=America/Los_Angeles:20161027T220000
DTSTAMP:20161218T203606Z
CREATED:20161003T000316Z
LAST-MODIFIED:20161218T203606Z
UID:2241-1477596600-1477605600@www.h-r.la
SUMMARY:Dorian Wood + String Quartet : A Dios
DESCRIPTION:Of us\, repeatedly staring down into the precipice of fleeting consciousness; of milk and lust; of the breadth of celebrity death…an evening of music by Dorian Wood and conductor/arranger Danny Graziani\, with art direction by Eduardo Alvarez (director of Wood’s video “O”).\n \n\n“A fearless artist and performer whose voice inhabits a room like a choir of ghosts” (LA Weekly)\, Dorian Wood seeks to glorify both the sanctity and irreverence of intimacy. Through the use of his corpulent body and distinct vocalization\, Wood revels in challenging the artist-audience separation\, using subject matter informed by his own position in society as a queer man of color and an autodidact without a formal college education nor a strong alliance to any particular community. His work has been showcased in institutions such as LACMA (Los Angeles)\, The Stone (NYC)\, Kulturhuset (Stockholm)\, and Hebbel am Ufer (Berlin). As a musician\, he has released over a dozen recordings. His two most recent back-to-back albums\, Rattle Rattle and Down\, The Dirty Roof\, showcase a series of doomsday-themed songs that incorporate over 60 musicians. He is currently working on a new album\, XALÁ\, set for release in 2017. Tickets: $15 in advance; $20 at the door. Purchase advance tickets here!\n\n\n\nhttps://www.youtube.com/watch?v=y8vMUzj80Zs
URL:https://www.h-r.la/event/dorian-wood-string-quartet-a-dios/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20161023T200000
DTEND;TZID=America/Los_Angeles:20161023T200000
DTSTAMP:20161021T231707Z
CREATED:20160926T233517Z
LAST-MODIFIED:20161021T231707Z
UID:2236-1477252800-1477252800@www.h-r.la
SUMMARY:Southland Ensemble: John Cage 1975-77
DESCRIPTION:A program that explores three compositions by John Cage from the mid to late 1970’s – Child of Tree\, Cheap Imitation and Renga. \nThese three works range from iconic (Child of Tree) to rarely performed (Renga)\, and feature three of Cage’s primary notational styles – text\, graphic\, and traditionally notated – yet are all equally pioneering and adventurous in nature. \nChild of Tree\ncomposed in New York City 1975 \nCheap Imitation for violin solo\nedited by Paul Zukofsky\ncomposed in New York City 1977 \nRenga\ncomposed in New York City\, Caracas\, Cuernavaca\, Toronto\, Perth\, Sydney\, Adelaide\, Canberra\, Kyoto\, Tokyo & Sapporo September 1975-April 1976 \nSouthland Ensemble is:\nCasey Anderson  Jennifer Bewerse  Eric KM Clark  Orin Sie Hildestad  James Klopfleisch  Jonathan Stehney  Cassia Streb  Christine Tavolacci
URL:https://www.h-r.la/event/southland-ensemble-john-cage-1975-77/
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:20161020T190000
DTEND;TZID=America/Los_Angeles:20161020T210000
DTSTAMP:20160926T233112Z
CREATED:20160923T014537Z
LAST-MODIFIED:20160926T233112Z
UID:2231-1476990000-1476997200@www.h-r.la
SUMMARY:Keywords for Radicals: L.A. Launch and Discussion
DESCRIPTION:In Keywords (1976)\, Raymond Williams devised a “vocabulary” of culture and society that reflected the vast social transformations marking the post-war period. Following Williams\, Keywords for Radicals asks: what vocabulary might illuminate the social transformations marking our own contested present? How do these words shape the political imaginary of today’s radical left? \nBringing together the insights of dozens of scholars and committed troublemakers\, Keywords for Radicals constellates a vocabulary of contested words that shape today’s political landscape. More than a glossary\, Keywords for Radicals makes clear that contests over word usage and meaning are themselves meaningful. By forcing words to reveal the underlying social contradictions they symptomatically express\, the contributors to this volume provide an important new vantage on the terrain—and the stakes—of contemporary struggle. \nJoin special guest Robin D.G. Kelley and Keywords for Radicals editor Clare O’Connor to explore the meaning and significance of the worlds within our words! \nROBIN D.G. KELLEY is is the Gary B. Nash Professor of American History at UCLA. His research has explored the history of social movements in the U.S.\, the African Diaspora\, and Africa; black intellectuals; music; visual culture; contemporary urban studies; poverty studies and ethnography; colonialism/imperialism; organized labor; constructions of race; Surrealism\, Marxism\, nationalism\, among other things. \nCLARE O’CONNOR is a contributing editor of Keywords for Radicals and a doctoral student in Communication at USC. She is former Coordinator of the Public Interest Research Group (Toronto) and cofounder of the activist training program Tools for Change. Between 2007 and 2013 she served on the editorial committee of Upping the Anti: A journal of theory and action. \nFor more information about the book\, visit:\nhttps://www.akpress.org/keywords-for-radicals.html
URL:https://www.h-r.la/event/keywords-for-radicals-l-a-launch-and-discussion/
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:20161015T210000
DTEND;TZID=America/Los_Angeles:20161015T210000
DTSTAMP:20161003T024827Z
CREATED:20161003T024827Z
LAST-MODIFIED:20161003T024827Z
UID:2243-1476565200-1476565200@www.h-r.la
SUMMARY:Robert Beatty • John Wiese/Mitchell Brown • Smokey Emery
DESCRIPTION:live in concert \nROBERT BEATTY\nJOHN WIESE / MITCHELL BROWN\nSMOKEY EMERY \ndonate eight\n_ _ _ _ _ _ _ \nRobert Beatty (Lexington\, Kentucky) \nConcurrent to crushing noise-rock norms and jockeying shattered electronics in Hair Police\, Robert Beatty has – over a decade and a half – also cut a solo path of pulses and tricks under the guise of Three Legged Race. These underground sounds have been spooled by tape labels crucial to their times: Gods of Tundra\, Night People\, NNA\, and Vitrine. More frequent live appearances and Beatty’s Soundtracks for Takeshi Murata have brought his sounds to more ears and his name to more lips. An apparent insistence on cassette and vinyl for physical releases hint at the technology-stretch at play in all of his work. Like the globally recognizable album art Beatty has created for others\, his own electro-sonics blur the line between analog artifact and digital method. And this ambiguity is intrinsic to his era-less weirdness: mystery mindscapes that can evoke The Residents or alternately offer a fully twisted take on contempo fake-techno. This is Beatty’s first show in Los Angeles in three years and his first in town since shedding the Three Legged Race moniker for live performances in favor of his own name. \nJohn Wiese / Mitchell Brown \nCuts and folds and layers of sound; abstractions that suggest referent but defy recognition. Words fail\, but still these here do loosely approximate audio aspects of two perennial figures of experimental music activity in Los Angeles. Mitchell Brown’s seemingly ubiquitous presence performing live has brought his analog alchemies and head expansion techniques to the front of the class as Professor Cantaloupe and as a next-gen LAFMS exponent. John Wiese’s digital incisions and perpetual bricolage have laid a concrète path from the extremities of the American underground\, around the earth\, and to the studios of INA-GRM. Duo collaborations are core to each of these system-riggers\, and – of course – they are no strangers: the Superstitious cut on Wiese’s mid-career chronicle Deviate from Balance documents an early aughts meeting between the two\, and they have collabed live with each other in various Spacek ensembles and Smegma connected jams. Yet\, the two haven’t paired up for a live action in nearly a dozen years. Come hear the air tear. \nSmokey Emery \nBarely within sight\, darkness swallows a shadow at the far end of a long corridor\, leaving only a cascade of echoes. Such are the dank dreamstate atmospherics conjured by Smokey Emery\, a long running project of Houston-born artist Daniel Hipólito. An itinerant accumulator of sound\, he coaxes a mix of soundscape fragments and material decay from prepared tape loops snaking through a apparatus of vintage dictaphone\, reel-to-reel\, and cassette decks. Synthesis and rhythm also work their way into the flow\, as has been captured on recent releases on Holodeck and Chondritic Sound. With Hipólito’s re-location to Los Angeles from Texas\, Smokey Emery has begun to be more readily visible diffusing sound into rooms around town.
URL:https://www.h-r.la/event/robert-beatty-%e2%80%a2-john-wiesemitchell-brown-%e2%80%a2-smokey-emery/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20161007
DTEND;VALUE=DATE:20161025
DTSTAMP:20161001T084942Z
CREATED:20160928T231157Z
LAST-MODIFIED:20161001T084942Z
UID:2238-1475820000-1477288799@www.h-r.la
SUMMARY:Seduction of a Cyborg
DESCRIPTION:Exhibition Dates: October 7-23\, 2016\nOpening Reception: Saturday\, October 8\, 7-10pm  \nSeduction of a Cyborg explores intimacy\, sex\, and desire as related to technocratic fantasies of futurity\, (re)production of bodies\, and fractured selfhood in the digital age. The fictional and the virtual intersect\, exposing narratives that activate\, transform\, and deconstruct our understanding of the networked and plugged-in subject. The exhibition springs from an engagement with the work of Lynn Hershman Leeson\, a foundational feminist artist whose work has explored selfhood and technology for over fifty-years. The exhibition places special focus on Hershman Leeson’s feature-length film Teknolust (2002)\, in which a female bio-geneticist downloads her own DNA to produce cyborgnetic clones that subsist on sexually obtained Y-chromosomes and act as “portals” on the internet where users fulfill fantasies and dreams. \nSeduction of a Cyborg considers this and other early works by Hershman Leeson as a point of inception in examining a range of practices by artists\, which include video\, photography\, installation\, and web-based projects. The exhibition presents historical and contemporary works that call on critical ideas of and around technofeminism\, queer theory\, and disembodiment. The erotic innuendo inherent in the politics and possibilities of nascent technologies\, as well as a longing for an era of low-fi and analogue\, mark points of interest that extend from the 1990s to today. Other works realize fantastical and futuristic (gender) identities\, presenting body parts that have been biotechnologically produced and avatar identities that assume mutable identities online. In the realm of the virtual\, the imaginary knows no limits. \nArtists in the exhibition include: Sadie Benning; Hannah Black; Johanna Breiding; Shu Lea Cheang; Linda Dement; Ricardo Dominguez\, Francesca da Rimini\, and Michael Grimm; Deanna Erdmann; Lynn Hershman Leeson; Faith Holland; Juliana Huxtable; Martine Neddam; Alexei Shulgin; Vertical Blanking (Kim McKillip and Michael J. Masucci); and Pinar Yoldas.\nSeduction of a Cyborg is curated by David Evans Frantz\, Hannah Grossman\, and Simone Krug\, 2017 MA Candidates in Curatorial Practices and the Public Sphere Program at the USC Roski School of Art and Design. \nGallery hours are Wednesday through Sunday\, 12-6pm\, October 7 – 23\, 2016. An opening reception will be held on October 8 from 7-10pm. \nA screening of Lynn Hershman Leeson’s film Teknolust (2002)\, presented in collaboration with a shorts program curated by Dirty Looks LA\, will be held at Human Resources on Sunday\, October 16 from 6-8pm.
URL:https://www.h-r.la/event/seduction-of-a-cyborg/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20160927
DTEND;VALUE=DATE:20161004
DTSTAMP:20161106T211936Z
CREATED:20160914T040628Z
LAST-MODIFIED:20161106T211936Z
UID:2224-1474956000-1475474399@www.h-r.la
SUMMARY:Jakob Brugge
DESCRIPTION:Laoshou Mountain in southwestern China was quarried for more than two decades. Shortly after the quarry’s closure\, the Funnin County Forestry department decided to reconcile the barren mountainside with its surrounding foliage. The conclusion they reached was to paint the mountain. Workers sprayed the section of land a bright\, vaguely chemical green\, tracing the exact outline of the quarry. This decision\, whether simply a dishonest attempt at “greening” or the result of a more substantial bureaucratic drama\, presents a startlingly incongruous failure of representation\, but also\, perhaps\, a development in the potential of authenticity and redescription. The true reasons behind Funnin County’s decision are largely unknown; however\, they provide a methodology of well reasoned foolishness through which to view this exhibition. \nThe exhibition consists of the failed execution of a DIY design and the ensuing attempts to reconcile its deficiencies. A set of Adirondack furniture was mistakenly built out of drop ceiling tiles\, accidentally broken\, and then recast out of plastic to ensure its structural stability. This reformatting establishes a logic of compromise from which the rest of the work emerges. Each element appears in mediated and codependent forms\, functioning ultimately as a staging of uncertainty. \nJakob Brugge (b. 1990\, Los Angeles) Studied at Washington University in St. Louis and the Gerrit Rietveld Academie (Amsterdam\, NL). \nOpening: September 27th\, 7—10pm\nExhibition on view from September 28th—2nd October (12pm-6pm daily)
URL:https://www.h-r.la/event/jakob-brugge/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160927
DTEND;VALUE=DATE:20161004
DTSTAMP:20160917T214130Z
CREATED:20160909T202312Z
LAST-MODIFIED:20160917T214130Z
UID:2216-1474956000-1475474399@www.h-r.la
SUMMARY:Lina Hermsdorf “A Biologically Immortal Living Being Can Still Die”
DESCRIPTION:Performed by Henry Babbage\n\nPerformance September 27th\, 8pm\nExhibition on view from September 28th—2nd October (12pm-6pm daily) \nHydras never die of old age. In the ancient Greek myth\, the Hydra is a multi-headed serpent\, with a specific organic talent. As soon as one of its heads is decapitated\, the serpent regenerates the missing body part. Hydra is also the name of a freshwater animal with similarly extraordinary regenerative abilities. Stem cells from this genus of Hydra have a capacity for indefinite self-renewal. \nIn the multidisciplinary exhibition “A Biologically Immortal Living Being Can Still Die“ at Human Resources Los Angeles\, Frankfurt-based artist Lina Hermsdorf examines the varying philosophical and scientific meanings of ageing and confronts them with the seemingly ubiquitous desire for eternal youth. \nHermsdorf is concerned with rhetorical strategies and modes of narration. Through employing intertextuality as a device\, she hints at the very foundation of language and the instability and unreliability of the voice of the artist. She uses the exhibition space as a stage on which language\, the mind and the body exercise\, testing ways that one perceives and processes information as a cognitive being in stimulation-rich environments.\nHer ongoing interest in the characteristics of living organisms as systems that receive\, store\, exchange energy and information in all forms – food\, oxygen\, heat\, signals and are subject to the irreversible time of the second law\, since they are dying entities\, has also shaped the form and content of this exhibition. \nOriginally commissioned by BlockUniverse\, London\, this iteration of the work will open with a lecture performance on September 27th\, 8pm and transform into an exhibition\, surveying the subliminal structures regarding questions of preservation\, ageing and temporality at the intersection of performative and object-based practices. \n“What is an organism? A sheaf of times. What is a living system? A bouquet of times.”\n– Michel Serres \nLina Hermsdorf studied Theatre at the University in Giessen and Fine Arts at the Städelschule in Frankfurt. Her performative works and installations have been shown at Museum Abteiberg Mönchengladbach (2016)\, BlockUniverse\, London (2016)\, Minibar\, Stockholm (2015)\, Yvonne Lambert\, Berlin (2015)\, Kunsthalle Baden-Baden (2015)\, Rowing\, London (2015)\, and Taylor Macklin (2015)\, Zurich among other venues. Upcoming and current projects include: Salon Kennedy\, Frankfurt\, Atlas Economy at Mélange\, Cologne and Rowing\, London (2017). She will be Artist in Residence at Gasworks\, London from October 2016 on. \nProduction Assistant Carl Marion \nsupported by Goethe-Institut\, Munich \n 
URL:https://www.h-r.la/event/lina-hermsdorf-a-biologically-immortal-living-being-can-still-die/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160918
DTEND;VALUE=DATE:20160926
DTSTAMP:20160913T021723Z
CREATED:20160913T012717Z
LAST-MODIFIED:20160913T021723Z
UID:2221-1474178400-1474783199@www.h-r.la
SUMMARY:Noon Tran & Hannah Mjølsnes: Road River Gust
DESCRIPTION:After driving for hundreds of miles\, \npast mountains\, cliffs\, boulders\, and gravel \ndust\, you will find a field of white dunes surrounded by blue mountains. \nCurrents of wind move through this landscape\, continuously shaping and rearranging it. When lakes and rivers dried out due to climate changes\, the wind swept up the exposed bottom sediment of dry sand. The sand brushed against cliffs and rocks\, before piling up at the foot of a mountain ridge that barricaded it from traveling further with the winds. For the past 2\,500 years or more\, fine grains of golden quartz and feldspar have accumulated into 600 feet tall dunes. \nYour feet sink into the side of the dune and soften the sound of your steps\, but as thousands of small rocks begin cascading down\, you can hear them reverberating around you. You leave clear imprints in the surface but as you look back at your tracks they have already been smoothed over by the wind and are almost gone. The booming echoes fade back into complete silence. \nThroughout our work with the site\, a migration of materials occurs. Ceramic sculptures are taken to the site and field recordings are brought back. The materials break apart before coming together in a new form. The site is compressed by the act of recording it\, and reassembled in the gallery. The recordings are altered through digital processes that mirror the natural process of erosion. \nAudio recordings are adapted using granular synthesis: a method by which sounds are broken into tiny grains\, smaller samples of sounds are then redistributed and reorganized to form other sounds. \nThe soundscape is a five-channel sound piece that is experienced differently according to your position in the space. Individual sound recordings from ceramic vessels set up an acousmonium of collected recordings. \nThe video component of the installation uses software that employs an optical flow algorithm to read the motion of the sand. This data is subsequently fed into a video feedback system that resynthesizes the footage. \nƨɘnƨloႱM ʜɒnnɒH bnɒ nɒɿT nooИ         ƚƨuᎮ bɒoЯ ɿɘviЯ \nƨɘlim ʇo ƨbɘɿbnuʜ ǫnilɘvɒɿƚ ɿɘƚʇA\nɒ bniʇ ɘw \,ƚƨub lɘvɒɿǫ bnɒ \,ƨɿɘbluod \,ƨʇʇilɔ ʜǫuoɿʜƚ\n.ƨniɒƚnuom ɘuld yd bɘbnuoɿɿuƨ ƨɘnub ɘƚiʜw ʇo blɘiʇ \n.ɘqɒɔƨbnɒl ɘʜƚ ƚuo ɘvɿɒɔ ƨƚnɘɿɿuɔ bniW\nɘʜƚ ƚuo bɘiɿb ɘǫnɒʜɔ ɘƚɒmilɔ nɘʜw \,ƚɒʜƚ wonʞ ɘW\nƨniɒɿǫ ɘniʇ \,ƨɿɒɘy 005\,2 ɘdyɒm ɿoᖷ .ƨƚnɘmibɘƨ\nmoɿʇ bɘƚɒlumuɔɔɒ ɘvɒʜ ɿɒqƨblɘʇ bnɒ zƚɿɒup ʇo\n.ƚɘɘʇ 006 ƨɒ llɒƚ ƨɒ\,ƨɘnub ƚnɒiǫ mɿoʇ oƚ noiƨoɿɘ\n\n\,ƨɘnub ɘʜƚ ǫniʞlɒw ƚɿɒƚƨ ɘw ƨA\nllɒmƨ ʇo ƨbnɒƨuoʜT .bnɒƨ ɘʜƚ oƚni ʞniƨ ƚɘɘʇ ɿuo\nnɒɔ ɘW .ƨɘnub ɘʜƚ nwob ɘbɒɔƨɒɔ oƚ niǫɘd ƨɘnoƚƨ\nllɒmƨ ɘʞil ƨu ʜƚɒɘnɘd ɘƚɒɿɘdɿɘvɘɿ ƨɘnoƚƨ ɘʜƚ ɿɒɘʜ\nɘɿuƨ ɘʞɒm ɘw oƧ .ʞɘɘƨ-bnɒ-ɘbiʜ ǫniyɒlq ƨlivɘb\n\,ǫnolɒ oǫ ɘw ƨɒ bnɒƨ ɘʜƚ ni ƨƚniɿqƚooʇ ɿuo ʞɿɒm\nbɘqqoƚƨ ɘv’ɘw wonʞ ƨlivɘb yɘnoƚƨ ɘʜƚ oƨ ƚƨuႱ\n.ǫniʜɔɿɒm ɘɿɒ ɘw ɘʞil ƨʞool ƚi \,ɿɒʇɒ moɿᖷ .yf\nbɘʞool bɒʜ ɘw ʇi \,ƚɒʜƚ ƨi ƚɘy wonʞ ƚ’nob ɘw ƚɒʜW\n.ƨʞɔɒɿƚ ɿuo ʇo ynɒ nɘɘƨ ɘvɒʜ ƚ’nbluow ɘw \,ʞɔɒd\nƨɘiɔnɘbnɘƚ ɔiƚƨilɒiɿɘqmi ɿuo ʇo ƨuoiɔƨnoƆ\nƨbniw ɘʜƚ \,ƨlivɘb yɘnoƚƨ ɘʜƚ moɿʇ qlɘʜ ɘlƚƚil ɒ ʜƚiw\nɿuo bɘwɘivɘɿ bɒʜ ɘw ʇI .ƨƚniɿqƚooʇ ɿuo ǫniʇluǫnɘ ɘɿɒ\n⁏ƨqɘƚƨ ɿuo noiƚƨɘup oƚ bɘƚɿɒƚƨ ɘvɒʜ bluow ɘw \,liɒɿƚ\nɘno ɘʜƚ ƨuƨɿɘv \,ʞooƚ ɘw ƚʜǫuoʜƚ ɘw ʜƚɒq ɘʜƚ\nbluow ɘw ƚʜǫuoʜƚ ɘw ɘno ɘʜƚ ɿo \,ʞooƚ yllɒɘɿ ɘw\n\,ɘɔɒq ɿuo ǫninoiƚƨɘup bɘƚɿɒƚƨ ɘvɒʜ bluow ɘW .ɘʞɒƚ\nnɘvɘ ⁏ʜƨɘlʇ ɿuo ʇo yɔnɘɿɒqƨnɒɿƚ ɘʜƚ \,ƚʜǫiɘw ɿuo\n\,noiƚɒɔol ɿuo ƚnioqniq oT .ƨɘibod ɿuo ʇo yƚivɒɿǫ ɘʜƚ\nɘʜƚ ni ƨʞɿɒmbnɒl ɿoʇ bɘʞool ɘvɒʜ bluow ɘw\nǫniƨoqmoɔɘb ɘmoƨ ɿo ʜƨud yɿb ɒ ɿoʇ ɘdyɒm \,ƨɘnub\n.ɘɔnɘƚƨixɘ ɿuo ƚɿoʇmoɔ oƚ ǫniʜƚynɒ \,ʜƨɒɿƚ \nƚnɘmɘlƚƚɘƨ ɒ ɘʞɒm oƚ ɘbiɔɘb ɘw bɒɘƚƨnI\nbɘiʇƨiƚɒƧ .ɿɘʜƚɿuʇ nɘvɘ ɘƚiƨ ɘʜƚ ƚidɒʜni bnɒ\nɘƨoqoɿq ɘw \,ƨɘnub ɘʜƚ ʇo ǫniʞɿɒm ɿuo ʜƚiw\nwɘn ƚɿoqmi bnɒ ɘƚiƨ ɘʜƚ moɿʇ ƨlɒiɿɘƚɒm ƚɿoqxɘ oƚ\nƨɘɿuƚqluɔƨ ɔimɒɿɘɔ ǫniǫniɿd ɘniǫɒmi ɘW .ƚi oƚ ƨɘno\nɿoʇ quɘʞɒm oƚ ǫniɿɘʇʇo nɒ :ɘǫnɒʜɔxɘ nɒ ƨ’ƚI .ɘɿɘʜƚ\n\,llɘw \,bnɒ \,ƨɘɿuƨɒɘɿƚ ɿiɘʜƚ ǫniƚool \,ƨɘnub ɘʜƚ ǫniziɘƨ\nɘɘɿǫɒ ƨu ʇo llɒ ƚoИ .ƨlivɘb yɘnoƚƨ ɘʜƚ ǫnidɿuƚƨib\nƨbniw ɘʜƚ bnɒ lliƚƨ bnɒƚƨ ƚ’nƨɘob ɘmiƚ ƚud ƨiʜƚ oƚ  .ƚoʜƨ ɒ ƚi ɘviǫ oƚ ɘbiɔɘb ɘw \,oƨ ⁏ɿɘǫnoɿƚƨ woɿǫ \n.ƨɘqɒʜƨ wɘn ni ƨɘnub ɘʜƚ ɘǫnɒɿɿɒɘɿ ɘW\nɘƚiƨ ɘʜƚ ʇo ƨƚɘɿɔɘƨ ɘʜƚ ɿɘʜƚɒǫ ɘW\nɘǫɒnɒm ɘw ʇi \,ƚɒʜƚ bɘɔnivnoɔ \,ƨǫnibɿoɔɘɿ ʜǫuoɿʜƚ\nɘvɘiʜɔɒ bnɒ mɘƚƨyƨ oibuɒ ɘƚɒɿodɒlɘ nɒ ƚɔuɿƚƨnoɔ ɘW\n\,”ǫninɘƚƨil ɘɿuq oƚ bɘƚovɘb ɒiqoƚu wɘn“ ɿɘwɘn ɒ\n’muinomƨuoɔɒ‘ ƨ’ɘlyɒᙠ yd bɘnoiƨivnɘ ƨɒ\nƨǫnibɿoɔɘɿ ɿɘʜƚɘǫoƚ ǫniɿd lliw ɘW .ƨbnuoƨ ʇo\nylƚnɘɿɘʇʇib bɿɒɘʜ ɘɿɒ ƚɒʜƚ ƨlɘƨƨɘv ɔimɒɿɘɔ moɿʇ\nɿɒlunɒɿǫ ǫniƨU .ɘɔɒqƨ ni noiƚɒɔol ɿuo oƚ ǫnibɿoɔɔɒ\n\,ƨniɒɿǫ yniƚ oƚni ƨbnuoƨ ƨʞɒɘɿd ƚɒʜƚ \,ƨiƨɘʜƚnyƨ\n.bnuoƨ ʇo ƨɘlqmɒƨ ɿɘllɒmƨ ɘɿuǫiʇnoɔɘɿ lliw ɘw\n.noiƚɒllɒƚƨni bnuoƨ ɿuo ɿoʇ ƨoɘbiv ɘƚɒɘɿɔ ɘW\nɘƨnɘƨ ƚɒʜƚ ƨmʜƚiɿoǫlɒ wolʇ lɒɔiƚqo ɘƨu ɘW\n.ƨɘʞɒm ƚi ɘƨion ɘʜƚ bnɒ bnɒƨ ɘʜƚ ʇo noiƚom ɘʜƚ  \nʜǫuoɿʜƚ noiƨiv ɿuo ǫniɘɘƨ ɿɘƚʇA\n\,nɒlq bnɒɿǫ ɿuo oƚ ƨɘnub ɘʜƚ ǫniƚɔɘႱduƨ bnɒ\n.ƨɘnub ɘʜƚ ʇo ƨɘiɿɘƚƨym ɘʜƚ bɘʞɔɒɿɔ ɘvɒʜ lliw ɘw  \noƚ ǫnivom ɘd bluow ɘw ƨA\nɘɔnɘƨƨɘ ɘʜƚ ɘɿoƚƨ bluow ɘw \,ƨɘɿuƚnɘvbɒ ƚxɘn ɿuo\nɘmoƨ ƚƨɒɘl ƚɒ ɿo( ɘɔɒqƨ yɿɘllɒǫ ɿuo ni ƨɘnub ɘʜƚ ʇo\nɘnoɘmoƨ liƚnu \,ɘmiƚ ɘmoƨ ɿoʇ )ƨlivɘb yɘnoƚƨ ƨƚi ʇo\nmɿɘƚ-ǫnol ɒ bɘɘn ƚʜǫim ɘw \,ɿɘƚɒ⅃ .ƨniɒlqmoɔ\nǫnizɘɘupƨ ɿo ƚinu ɘǫɒɿoƚƨ ɒ ǫniƚnɘɿ ɘdyɒm \,nɒlq\n.yɿoƚƨ ɿɘʜƚonɒ ƨi ƨiʜƚ ƚuᙠ .ƨɘxod bɿɒodbɿɒɔ ɘbiƨni ƚi \nƚɒʜW\nɘw ƨɒ \,ƚɒʜƚ ƨi ɿɘdmɘmɘɿ oƚ ǫniƨƨɘɿq ɘɿom ɘd ƚʜǫim\nbnɒƨ ɘʜƚ ǫniʞɿɒm \,ƨɘnub ɘʜƚ ʜǫuoɿʜƚ ǫniʞlɒw ɘɿɒ\n.ʞɔɒd bɘʞool ƚ’nɘvɒʜ lliƚƨ ɘw \,ƨƚniɿqƚooʇ ɿuo ʜƚiw\nƨƚɿoʇʇɘ ɿuo ƚɒʜƚ nwonʞ ɘvɒʜ bluow ɘw \,bɒʜ ɘw ʇI \n.ɘɘɿʇ ƚɘƨ nɘɘd ǫnol ɘvɒʜ ƨɘnub ɘʜƚ :niɒv ni ɘɿɒ \n  \nNoon Tran and Hannah Mjolsnes \nContributors: Daniel Hynds\, Michael Leisz\, Chenhui Mao\, Sara Gomez\nOpening Sunday\, September 18th 7 – 9pm performance at 8:30pm\nGallery hours everyday: 2 – 8pm
URL:https://www.h-r.la/event/noon-tran-hannah-mjolsnes-road-river-gust/
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/2016/09/sands.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160915T200000
DTEND;TZID=America/Los_Angeles:20160915T200000
DTSTAMP:20160910T223419Z
CREATED:20160909T195846Z
LAST-MODIFIED:20160910T223419Z
UID:2214-1473969600-1473969600@www.h-r.la
SUMMARY:Marisa J. Futernick “13 Presidents” Book launch and artist’s talk\, in conversation with Steve Kado
DESCRIPTION:In 2014\, Marisa J. Futernick drove nearly ten thousand miles across America\, visiting all thirteen of the country’s Presidential libraries along the way. 13 Presidents is the result: an artist’s book that combines photographs from the journey with a suite of short stories. Mixing fact and fiction\, each President from Herbert Hoover to George W. Bush is a protagonist in this collection of unexpected portraits. \nThe photographs\, shot on analogue film\, depict the everyday details of the towns that these men are from\, including the homes where they were born\, and their final resting places. 13 Presidents weaves together personal narrative with wider cultural observation\, forming a vision of America that is both invented and true. \nMarisa J. Futernick is an artist and writer based in London. She was born in Detroit\, Michigan and raised in Hartford\, Connecticut. Futernick has published several books\, including How I Taught Umberto Eco to Love the Bomb (RA Editions and California Fever Press\, 2015) and The Watergate Complex (Rice + Toye\, 2015). She has exhibited widely\, at venues including the Whitechapel Gallery\, London; Royal Academy of Arts\, London; Jerwood Space\, London; Arnolfini\, Bristol\, England; and Yale University. \nSteve Kado is an artist\, writer and musician from North York. Works and performances of his have been seen at places like The Wattis\, 8-11\, Tate Britain\, YEARS and REDCAT. He co-hosts the Talking Show on KCHUNG radio with Nicolas Miller and is the Editor-at-large for Prism of Reality. Other writing of his has appeared in Artforum\, Flash Art and a piece about his visit to the Nixon Library was recently published in Night Papers. He is in the band LEAD. \n13 Presidents is published by Slimvolume in September 2016.
URL:https://www.h-r.la/event/marisa-j-futernick-13-presidents-book-launch-and-artists-talk/
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/2016/09/unnamed.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160911T170000
DTEND;TZID=America/Los_Angeles:20160911T220000
DTSTAMP:20160909T195616Z
CREATED:20160904T180100Z
LAST-MODIFIED:20160909T195616Z
UID:2205-1473613200-1473631200@www.h-r.la
SUMMARY:9/11 Fifteen Years
DESCRIPTION:9/11\nFifteen Years \nA one-night exhibition happening on the fifteen year anniversary of\nSeptember 11\, 2001. \nA paradigm shift. Airplanes as weapons. America attacked. In the\nimmediate aftermath\, we saw people rush to hospitals to donate blood\,\nand strangers talking on the street to figure out what was going on.\nPeople wanted to help. But\, in the months and years that followed\, the\nevent was used to incite wars\, foster racism and xenophobia\, and\nstoke small-minded\, nationalistic thinking. \nSome of the works in this show address September 11th specifically\,\nbut many do not. The works address isolation\, absence\, destruction\,\npolitics\, religion\, collapse\, terrorism. They depict falling\, burning\,\nvoids\, paper\, ash\, smoke\, skyscrapers\, airplanes. The works are smart\,\nsombre\, elegiac. And this show is uncomfortable. Often an anniversary\nis something celebrated\, as is the opening of an art show. But not in\nthis case. Is it a commemoration of the event? A memorial? \nSam Contis\nNikki Darling\nNicole Eisenman\nTony Feher\nDavid Gilbert\nDevin Kenny\nMark McKnight\nElieen Myles\nJohn Purtle\nVincent Ramos\nGuan Rong\nSamantha Roth\nMark So\nCody Trepte\nRosha Yaghmai\nSamira Yamin \nCurated by Closing
URL:https://www.h-r.la/event/911-fifteen-years/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/09/IMG_4426.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160909T190000
DTEND;TZID=America/Los_Angeles:20160909T220000
DTSTAMP:20160908T005738Z
CREATED:20160811T224352Z
LAST-MODIFIED:20160908T005738Z
UID:2185-1473447600-1473458400@www.h-r.la
SUMMARY:Break It Down: Art and Resistance
DESCRIPTION:INVEST IN COMMUNITIES — NOT JAILS AND PRISONS! \nBreak it Down: Art + Resistance is an evening of art\, community and celebration to benefit Californians United for a Responsible Budget (CURB). We are a statewide coalition of 70 grassroots organizations working to reduce the number of people in prisons and jails\, reduce the number of prisons and jails in the state\, and shift local spending from corrections and policing to vital human services.  \nCURB relies on grassroots funding to help make our vision of true social\, racial\, and economic justice in California and across the nation a reality. Join us and our allies in the art community to help cultivate the resources we need to fight the Prison Industrial Complex. \nBidding for our on-line art auction starts Wednesday\, September 7th at 12pm PT exclusively on www.paddle8.com. Please join us Friday\, September 9th at Break it Down: Art + Resistance to celebrate the launch\, view the work available in the auction and bid live. Bidding ends Wednesday\, September 21st at 12PM PT on the Paddle8 website.  \n+ FEATURING THE WORK OF… \nA.L. STEINER + ANDREA FRASER + BRENDAN FOWLER + BRIAN WILLS + CASSILS + CELESTE DUPUY-SPENCER + CINDY VALLEJO + DANNY JAUREGUI + EMILY ROYSDON + ENRIQUE CASTREJON + EVE FOWLER + FREDERICK TINSLEY + GALA PORRAS-KIM + GERALD MORGAN + GLORIA GALVEZ + HEATHER O’BRIEN + JENNIFER MOON + JENNIFER ROCHLIN + JIBZ CAMERON + JOHANNA BREIDING + JOHN MASCARO + JOSHUA ASTER + JPW3 + JULIE TOLENTINO + KARI ORVIK + KEAN O’BRIEN + KELLY AKASHI + KELTIE FERRIS + KRISTIN CALABRESE + LAUB + LAURA OWENS + LAURIE NYE + LETHA WILSON + MARIAH GARNETT + MICHAEL PARKER + MOLLY LARKEY + NANCY POPP + NATASHA RUDENKO + ORLANDO TIRADO + PAMELA JORDEN + PARKER ITO + PAUL MPAGI SEPUYA + PETER HARKAWIK + RACHEL MASON + RAFA ESPARZA + SHEPARD FAIREY + SAYRE GOMEZ + SILVIA PRADA + SOFIA LEIBY + TALA MADANI + WU TSANG & BOYCHILD + XYLOR JANE + YOUNG JOON KWAK + YUNHEE MIN + ZAK PREKOP + MORE!  \n+ COMMUNITY + PARTY + ABOLITION + PERFORMANCES  \n+ MUSIC BY DJ MICAH JAMES  \n+ Art Photos by ADLA Photo Collective www.adlaphotocollective.com \n+ Framing by Mut LA \n+ Catering by Full Moon Pickles \n+ Brewing Services by Vernon Brewers Guild \nwww.paddle8.com\nwww.curbprisonspending.org
URL:https://www.h-r.la/event/break-it-down-art-and-resistance/
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/2016/08/CURB.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160903T210000
DTEND;TZID=America/Los_Angeles:20160904T210000
DTSTAMP:20160909T195616Z
CREATED:20160820T074004Z
LAST-MODIFIED:20160909T195616Z
UID:2193-1472936400-1473022800@www.h-r.la
SUMMARY:Internet Discount Bedroom 2
DESCRIPTION:Opening Saturday\, September 3rd at 9pm\, the exhibition will be on view for the duration of 24 hours\, closing Sunday\, September 4th at 9pm.  \nContributing artists include:\nMatt Damhave\, Emma Kohlmann\, Dennis Wornick\, Shay Semple\, Suzanna Zak\, Cali Thornhill DeWitt\, Madison East\, Elijah Funk\, Taylor Doran and ”Prank Line” from Local Outreach (Van Robinson & Jake Hjortland). \nPerformances by:\nVIP\, Doses\, Sage Caswell\, Colorways\, A.B.S.\, Naturalized\, and Free The Land  \nSo Fine Arts and Internet Discount Mall present Internet Discount Bedroom 2\, an immersive installation examining the distance between art and commodity and the role of the artist in self-promotion. Modeled after stock environments and film sets\, the constructed space resembles a teenage bedroom from the late 1990s\, or the functional equivalent of one. With those few elements\, the artists engage in the act of refusal as a generative form of art-making\, as seen within the circumscribed boundaries of the traditional domestic space\, where the walls are half sex half war.
URL:https://www.h-r.la/event/internet-discount-bedroom-2/
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/2016/08/idm.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160830T200000
DTEND;TZID=America/Los_Angeles:20160830T233000
DTSTAMP:20160827T082539Z
CREATED:20160826T213959Z
LAST-MODIFIED:20160827T082539Z
UID:2198-1472587200-1472599800@www.h-r.la
SUMMARY:SCREAM: FUPU\, DOVE\, SARAH GAIL\, LA PORSCHA
DESCRIPTION:SCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM \nFUPU \nDOVE \nSARAH GAIL \nLA PORSCHA \nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING \nHOSTED BY BDH \n*eardrums bleed not from sound\, but truth* \nHuman Resources\nAugust 30th\n8PM SHARP\n$5 \nBlack Woman don’t create for you. Black Women create to understand themselves. Black Women create to communicate their existence. Black Women create to survive. Black Women create to survive their oppression. Black Women scream because we don’t listen. Black Women scream because we kill them for breathing. You are killing Black Women because they exist for themselves. \nPerformances by Dove\, La Porscha and FUPU (Fuck You\, Pay Us)\, as well as a special reading by Sarah Gail for the launch of her new chapbook SOMETHING LIKE DREAMING\, released by n0 eg0 p0ems. \nYOU WILL HEAR THEM
URL:https://www.h-r.la/event/scream-fupu-dove-sarah-gail-la-porscha/
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/2016/08/scream.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20160825
DTEND;VALUE=DATE:20160830
DTSTAMP:20160812T181458Z
CREATED:20160812T181355Z
LAST-MODIFIED:20160812T181458Z
UID:2187-1472104800-1472450399@www.h-r.la
SUMMARY:TROPHY
DESCRIPTION:TROPHY is a dance/music/media performance of fragments\, stop-n-go selfies\, and broken encounters. In a hyperbolic world of live music and immersive video art\, TROPHY follows the pursuits of three dancers who face a gnawing pressure to exhibit success and the impact of media authority over them.  It asks\,  how does the labor of performing\, posing\, and posting about life – while it is presumably happening – affect the experience of simply being in the world?   \nChoreography: Kevin Williamson\nIn collaboration with performers: Barry Brannum\, Jasmine Jawato\, Kevin Le\nScore: Jeepneys (Anna Luisa Petrisko)\nVideo Art: Cari Ann Shim Sham*\nLighting Design: Katelan Braymer \nThu Aug 25 – 8pm\nFri Aug 26 – 8pm & (10pm pay-what-you-can)\nSat Aug 27 – 8pm\nSun Aug 28 – 7pm \n*Special event:\nSat Aug 27th (following the show): community dance jam with live dj set by Jeepneys and video art by Cari Ann Shim Sham*.  This event is free and open to the public.  Starts at 9pm!  \nFor more info or to purchase tickets: www.kevinwilliamsontrophy.eventbrite.com
URL:https://www.h-r.la/event/trophy/
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/2016/08/Kevin-Williamson_-Photo-Rafael-Hernanadez.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160820T203000
DTEND;TZID=America/Los_Angeles:20160820T235500
DTSTAMP:20160909T195633Z
CREATED:20160820T213844Z
LAST-MODIFIED:20160909T195633Z
UID:2196-1471725000-1471737300@www.h-r.la
SUMMARY:Pehrspace Benefit: Signor Benedick the Moor\, Dream Panther\, Amir Says Nothing\, DJs Margot Pauline and Micah James
DESCRIPTION:bring your friends so we can dance\n————————————————– \nSignor Benedick the Moor \nDream Panther \nAmir Says Nothing \nDJ Margot Pauline \nDJ Micah James \nThank you\, D Wing for getting it all together! \n$5-$10\, all ages.
URL:https://www.h-r.la/event/pehrspace-benefit-human-resources-signor-benedick-the-moor-dream-panther-amir-says-nothing-djs-margot-pauline-and-micah-james/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/08/IMG_6438.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160813T080000
DTEND;TZID=America/Los_Angeles:20160813T170000
DTSTAMP:20200410T073513Z
CREATED:20200410T073513Z
LAST-MODIFIED:20200410T073513Z
UID:5158-1471075200-1471107600@www.h-r.la
SUMMARY:xina xurner
DESCRIPTION:
URL:https://www.h-r.la/event/xina-xurner/
CATEGORIES:one-time event at HR
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160810
DTEND;VALUE=DATE:20160813
DTSTAMP:20161218T205720Z
CREATED:20160806T191206Z
LAST-MODIFIED:20161218T205720Z
UID:2180-1470808800-1470981599@www.h-r.la
SUMMARY:AFFECT: NETWORK: TERRITORY  (A performance of syllogisms in motion)
DESCRIPTION:August 10th and 11th\, 8pm sharp\nPerformer: JOSH JOHNSON (Forsythe Company\, Sad for No Reason)\nScore : VIOLENCE Olin Caprison (http://soundcloud.com/vilentsiolence)\nLighting: NATHAN AZHDERIAN (Juliette Jongma gallery NL)\nDramaturgy: KANDIS WILLIAMS (http://www.kandiswilliams.com/) \nIn connection with these performances\, Kandis Williams and Josh Johnson will lead a public workshop at Human Resources on August 9th from 2—6pm. \n  \nhttps://www.youtube.com/watch?v=s5IXjFXkAgY
URL:https://www.h-r.la/event/affect-network-territory-a-performance-of-syllogisms-in-motion/
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/2016/08/kandis.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160809T140000
DTEND;TZID=America/Los_Angeles:20160809T180000
DTSTAMP:20160809T044756Z
CREATED:20160809T044756Z
LAST-MODIFIED:20160809T044756Z
UID:2184-1470751200-1470765600@www.h-r.la
SUMMARY:With(n)essing in Motion Workshop
DESCRIPTION:With(n)essing in Motion Workshop\nInstructors:\nKandis Williams\nJosh Johnson \nVisual artist Kandis Williams and dancer Josh Johnson (Forsythe company\, Sad for No Reason) will guide a group of participants through screenings and movement exercises that will excavate the space between affective moving bodies and documentation. Dance pieces will be constructed around the device as it witnesses and proofs bodies within our collective mind. This workshop will ask participants to engage in exercises and conversations around the camera phone as an extension of the eye and internalizer of the voice. The eye\, the body and the document of bodies in space created by our ability to witness our surroundings with this technological extension of the eye will be investigated through movement exercises. In dialogue\, we will examine specifically civic and journalistic images of violence. The recent rash of police shootings post Ferguson will be treated as a starting point to look back on these documents and the way they shape the interactions of a multitude of partial subjects\, in the hopes that dissecting these videos as strange choreographies will explore how the tensions in the bodies of victim\, perpetrator\, and witness are framed\, aligned and circulated within the distended Cartesian mind of web2.0.  \nPlease bring:\nA camera phone w/ internet access and at least 2GB of space\nMovement clothes \nWe ask a $30 suggested donation\, please come even if you don’t have it!\nReaders of the material viewed will be provided to all participants. Please RSVP by email: kandis.williams@gmail.com \nv. wit·nessed\, wit·ness·ing\, wit·ness·es\nv.tr.\n1. To see or know by personal experience: witness a robbery; witness the birth of a new nation.\n2.a. To provide or serve as evidence of: The child’s laughter witnessed her delight.\nb. To consider as an example. Often used in the imperative: Even a widespread species can go extinct.Witness the passenger pigeon.\n3. To testify to; bear witness of: The diary witnesses the difficult living conditions of the time.\n4. To be the setting or site of: This old auditorium has witnessed many ceremonies.\n5. To attest to the legality or authenticity of (a document) by signing one’s name.\nv.intr.\n1. To furnish or serve as evidence: The fine buildings witness to the town’s prosperity.\n2. To testify to one’s religious beliefs: “As they witnessed to their faith they brought others to believe” (Leon Morris)\nWebster’s Dictionary \n“A left-over of the activity of the scopic drive in the Real\, the objet a is cleft from the subject as well as from the Other\, and it has no direct representation by image. In the field of vision\, such a split objet a is the gaze. It is a remnant of the scopic drive’s trajectory of reaching for objects. It is a leftover of inaccessible “bodily samplings” of my corpo-reality and of the Other. Split from the subject and split from the Other\, such a gaze is for Lacan an absence\, a libidinal loss.”\n-Bracha Ettinger\, parallax\, 2001\, vol. 7\, no. 4\, 89-114 \n“As long as the centuries continue to unfold\, the number of books will grow continually\, and one can predict that a time will come when it will be almost as difficult to learn anything from books as from the direct study of the whole universe. It will be almost as convenient to search for some bit of truth concealed in nature as it will be to find it hidden away in an immense multitude of bound volumes.\n-Denis Diderot\, “Encyclopedie” (1755) \nPresented in connection with the performance Affect: Network: Territory (A Performance of Syllogisms in Motion)\, August 10th and 11th at Human Resources.
URL:https://www.h-r.la/event/withnessing-in-motion-workshop/
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/2016/08/kandis.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160807T180000
DTEND;TZID=America/Los_Angeles:20160807T200000
DTSTAMP:20160909T195633Z
CREATED:20160802T143703Z
LAST-MODIFIED:20160909T195633Z
UID:2176-1470592800-1470600000@www.h-r.la
SUMMARY:Tita Salina & Irwan Ahmett: Ring of Fire/Pacific Rim (Screening and Q&A)
DESCRIPTION:Screening of short video pieces by Irwan Ahmett and Tita Salina\, Jakarta-based artists who have been working together since 2010. Their tactical\, interventionist approach to social issues frequently plays itself out in public space\, and translate into spontaneously unfolding events through a spontaneous and self-organized approach that they describe as Urban Play. In the last few years\, they have been working with vulnerable groups in society\, including Indonesian undocumented workers and migrant laborers living in the Netherlands and Taiwan. Their ambition is to reflect the real situations and what has been happening\, but also to generate critical alternatives to these complicated issues through play. \nA brief conversation with the artists will follow the screening. \nAhmett and Salina recently completed a month-long residency at the Museum of Fine Arts\, Boston\, in the context of the Megacities Asia exhibition. Their work has also been exhibited at the ST Paul St Gallery (Auckland NZ\, 2016)\, Biennale Jogja (Yogyakarta ID\, 2015)\, Asian Art Biennial (Tainan TW\, 2015)\, the Stedelijk Museum (Amsterdam NL\, 2014)\, and the ZK/U Center for Art and Urbanistics (Berlin DE\, 2013).
URL:https://www.h-r.la/event/tita-salina-irwan-ahmett-ring-of-firepacific-rim-screening-and-qa/
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/2016/08/e116b_sept19_ntfa_img.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160805T200000
DTEND;TZID=America/Los_Angeles:20160805T200000
DTSTAMP:20160722T233403Z
CREATED:20160722T233232Z
LAST-MODIFIED:20160722T233403Z
UID:2127-1470427200-1470427200@www.h-r.la
SUMMARY:Folktale Fest VII
DESCRIPTION:Carla Bozulich || Los Angeles\, CA\nwww.carlabozulich.com  \nHuman Behavior || Tucson\, AZ\nhumanbehaviormusic.bandcamp.com \nNight Auditor || Nashville\, TN\n[Record release for “Drugz” 7-Inch]\nhttps://nightauditor.bandcamp.com/ \nRococo Jet || Los Angeles\, CA\nhttps://www.facebook.com/Rococo-Jet \nCharlyne Yi || Los Angeles\, CA\nhttps://charlyneyi.bandcamp.com/
URL:https://www.h-r.la/event/folktale-fest-vii/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/07/folktale.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160804
DTEND;VALUE=DATE:20160816
DTSTAMP:20160809T045006Z
CREATED:20160722T232349Z
LAST-MODIFIED:20160809T045006Z
UID:2124-1470290400-1471240799@www.h-r.la
SUMMARY:Nikki Darling - Temple of the Dawg
DESCRIPTION:Opening Thursday Aug 4th\, 7:00-9:30pm\nOn view August 5th-14th\, 12-6pm \nAn exhibition of art therapy works by Nikki Darling\, Temple of The Dawg includes 26 works on paper and a video installation. \n“There’s a new man\, a new love\, trying to come into your life. Right now he might be just a whisper\, but it is likely that you already know him. This new situation is rooted in reality\, the material world\, enjoyment of everyday life together (rather than on family legacies\, past hurts\, anxieties\, psychological illnesses\, etc). We see this same figure again in your final outcomes\, where he will manifest as a real\, flesh and blood man\, the Knight of Cups. But in order to get this person to fully manifest\, there’s a lot of work that needs to be done. Luckily\, it’s fun and beautiful work\, so that’s good news. But it will also take time and effort\, and it looks like you might have a tendency to be impatient. The cards are asking you to do the work\, pay attention\, and allow things time to grow. “Stay the course\,” might be a good motto for you right now. \nSo what is the work? Your main objective now should be to overcome your family legacy. Chances are that if you don’t do this work now\, you will be confronted with the same situations again and again until you do\, and these situations do not look fun at all. In order to begin your new life\, which from what you’ve said\, you’re already doing (great job!! this is hard work and you are making great progress!)\, you need to stop running away\, stop focusing on what else might be out there\, stop turning away from what is right in front of you.” – The Oracle of Los Angeles 2014 \n“John\, the show is something like this: February 18th 2006 I got on a bus at Port Authority headed for Moton Pennsylvania where I would spend a month at the Caron Recovery Center/Rehab\, to deal with a decade of drug and alcohol addiction. I was 25. Since I left Caron I have not had an alcoholic beverage. While there I opened myself to the idea of Recovery. The process of trying to lead my best life\, one that supported my highest potential and worth and in turn could be of greatest service to myself and others. Recovery became an all encompassing process/motif in which I have tried to live in accordance with my ideals\, ethics and faith. A power greater than myself. During this process I have come in contact with therapists\, psychiatrists\, anti-depressants\, exercise\, self help books\, AA\, MA\, Ala-non\, fallen back into marijuana addiction and the ramifications of that and now\, finally\, Magic. Each stage of this self discovery process has pushed me deeper into my Hero Journey. I have gone back to college\, gotten an MFA and am now starting a dissertation which will culminate in a PhD in Literature. Through this work I have had to let go of shame based coping mechanisms\, welcome grief and embrace parts of myself that used to frighten me. \nIn this last and final leg\, Magic\, which I encountered in 2014 during a birthday reading with the Oracle of Los Angeles\, I have finally gotten the courage to shake off the last vestiges of what has held me back. I am more than just a writer\, I am also and have always been an artist. \nThese water color collages\, bricolage\, instigated by a romantic break up- the thing I needed to truly step outside my comfort zone and face the frightening unknown- have been instrumental in this final leg of the Hero Journey. Once this show is presented\, I will have cycled through this process of grief and growth and emerged as my true self. If it happens in 2016 it quite literally will have been a decade long process starting at 25 and ending at 36. My journey will of course not be over\, but I will have shed an old and useless skin and come into my true identity. I am a queer mixed race feminist artist and writer. \nEach piece\, made using what was available to me\, nail polish\, computer paper\, magazines\, old books\, staples\, was created with the intention of being a gift to a friend\, each piece represents a part of this struggle to inhabit this self. Once worked through and processed in the piece\, it is intended to be given away with love\, transformed. Nothing will be for sale. In this way\, the recipients also become a part of the process\, they are my community\, my support system\, and themselves as integral to this process as the creation of the piece itself. A symbol of the healing power of friendship. \nI have never presented myself as a visual artist and this fact is one of the main cruxes of the project. I am a performance artist and experimental writer\, but in this work I am trying to initiate a dissolving of binaries. A freedom to be who I say am\, not just for myself\, but others who might also live in fear and shame.” – Email to John pitching this show\, 2015 \n“I guess I seem to be saying that if you were to treat love like work\, there would be no way you could be going about it the wrong way. It would be impossible for you not to come to the table full of romance and insight and surprise. If anything\, it seems to me to be about building a grounded foundation first\, coming at the bare facts of it plainly as soon as you can\, expressing what you want in big picture terms\, so that you can set up a house\, literally and figuratively\, where you and the Other can bathe in the formless\, timeless\, ecstatic waters of life.” – Email from Stuart Krimko about my astrological chart\, 2016 \n“Hey Nikki\, Just tried to give you a call\, but the phone line was not connected. You still wanna? Let me know.” – The Universe
URL:https://www.h-r.la/event/nikki-darling-temple-of-the-dawg/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/07/nikki-darling.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160801T210000
DTEND;TZID=America/Los_Angeles:20160801T210000
DTSTAMP:20160728T054249Z
CREATED:20160728T054249Z
LAST-MODIFIED:20160728T054249Z
UID:2133-1470085200-1470085200@www.h-r.la
SUMMARY:Some Ware
DESCRIPTION:No Vacancy Inn\nA$AP Bari\nSome Ware DJ\nDJ Cuntry Noise
URL:https://www.h-r.la/event/some-ware-2/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/07/image1-e1469684555192.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160731T190000
DTEND;TZID=America/Los_Angeles:20160731T190000
DTSTAMP:20160730T010101Z
CREATED:20160728T055226Z
LAST-MODIFIED:20160730T010101Z
UID:2135-1469991600-1469991600@www.h-r.la
SUMMARY:The Stars Down to Earth
DESCRIPTION:Screening\, with a short introduction and Q&A with Tashi Condelee\, Afia Fields\, Margaret Haines & others. \nThe text\, Sex Without Threat (within the upcoming Wrong Issue of Nonsensical)\, and the film\, The Stars Down To Earth\, consider the experience of attending astrology classes for five years under The Carroll Righter Astrology Foundation (home to Nancy and Ronald Reagan’s astrologer) while simultaneously keeping in mind philosopher and musicologist Theodor W. Adorno’s read of astrology (and astrologer Carroll Righter) as nothing close to an innocent past-time\, but instead—in line with ‘pseudo-rationality’ and ‘authoritarian irrationality’—fascism. \nThe film responds to this 1952/53 text\, The Stars Down to Earth\, and acts as its somatic secretary\, as Adorno—in his purposeful\, justified and pragmatic critique (myopia as tactic to scorn)—did not conduct evident field research.  \nShot in early 2015\, the 23 minute film acts as part sci-fi thriller\, part documentary\, part idealist anti-secrecy forecast.  \nAstrologers from the Carroll Righter Astrological Foundation divine events for 2015 and 2016—including\, reading the star charts for America\, Paris\, Russia\, Snowden and Chelsea Manning. Coupled with their predictions\, is the reincarnation of mythological prophetess Kassandra (Henry Hopper) and god Apollo (Afia Fields) in 2015 Los Angeles and Athens­. Kassandra’s divinations and access to past/present/future information see her momentarily and perhaps mistakenly identify with the ‘whistle-blowers’ the astrologers chart in their predictions for coming events\, as both live in multi-temporality (extreme knowing). And\, both are threatened with not only imprisonment\, physical harm or rape\, but worse: forget. This passing flash of identification sparks for Kassandra a kind of hysteric anarchy\, where she attempts to fool fate and create a dimensional transparency and chaos in defiance of Apollo and those around her (the world). \nResearch and notes for the film are included in the text\, Sex Without Threat\, which takes the internet as divination system\, and pairs the context of post-war Los Angeles (when Adorno is writing) with 2016 Los Angeles and Athens. This text also contains a short interview with artist\, trans-activist and filmmaker Paola Revenioti (who acts in the film as a pythia of Apollo)\, as Paola returns from Lesbos\, Greece where she is making two films and volunteering aid\, as the EU\, in part\, ignores its status and duties as signatories of the 1951 Refugee Convention—in this way\, Sex Without Threat also attempts to make the comparison between 2016 EU and the fascism/pseudo-rationalism Adorno relentlessly and carefully seeths and pin-points in 1952 California. \nCast and Crew:\nStarring Afia Fields & Henry Hopper\, Tashi Condelee\, Cynthia MacAdams\, Jack Taub\, Paola Revenioti\, John Sweet\, Veronica Monae\, Silvia Romero\, Doug Lee\, James Raymond.\nDirection: Margaret Haines\nCinematography: Dan O’Sullivan\nProduction Manager: Teague Schneiter\nOriginal Sound Score: Patrick Dyer\nAssistant Director: Giulia Caruso
URL:https://www.h-r.la/event/the-stars-down-to-earth/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/07/13767189_10154281802692557_1621825934659984190_o.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160715T200000
DTEND;TZID=America/Los_Angeles:20160715T200000
DTSTAMP:20160726T224724Z
CREATED:20160620T092152Z
LAST-MODIFIED:20160726T224724Z
UID:2105-1468612800-1468612800@www.h-r.la
SUMMARY:Southland Ensemble presents: Soundings
DESCRIPTION:Southland Ensemble presents a concert of music from the early issues of Soundings Press\, an important and influential journal of experimental music published by composer Peter Garland from 1971- 1990. Program will feature compositions by: \nJOHANNA MAGDALENA BEYER\nJOHN DINWIDDIE\nJAMES FULKERSON\nSTEPHEN L. MOSKO\nJAMES TENNEY \nCopies of many of the early issues of Soundings will be available for perusal after the concert. \nSoundings came to be in November 1970 in a workshop taught by Dick Higgins. From the start it was seen as encompassing more than just “local talent”\, and so contributions were solicited from many composers living in California. … (It) arose from a feeling that the work of musicians needed a much wider circulation than that afforded by current publications. \n“… old music can be just as inspiring as the traditional image of the Western composer\, forever pushing forward into explored territory. Both deserve equal attention in a magazine such as this.” \n– Peter Garland \nphoto: Eron Rauch\n \n  \n  \nSouthland Ensemble is: \nEric KM Clark & Christine Tavolacci\, directors\nCasey Anderson – Jennifer Bewerse – Orin Hildestad – James Klopfleisch\nJonathan Stehney – Cassia Streb \n  \n 
URL:https://www.h-r.la/event/southland-ensemble-presents-soundings/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/06/13433159_1180744475289846_8400172626440053329_o.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160701
DTEND;VALUE=DATE:20160802
DTSTAMP:20160731T221409Z
CREATED:20160628T181953Z
LAST-MODIFIED:20160731T221409Z
UID:2108-1467352800-1470031199@www.h-r.la
SUMMARY:Apeirophobia / Aporia
DESCRIPTION:Wed-Sun 12-6pm\nOpening Fri July 1 7:00-9:30pm \n\n\n\n\n\n\n\n\nApeirophobia \n\nMathematician Georg Cantor realized that there could be small or large infinities. He invented a way to demonstrate that the infinity made up of real numbers (which are uncountable) are larger than the infinity made up of natural numbers. \nLet us imagine a small infinity enframed by a larger infinity. Within this frame\, the smaller infinity pours out an infinity that seems as expansive as the larger one. What is the perceptible threshold to recognize the difference between two horizonless expanses? \nMise en abyme \nThe image framed out of the totality of things is delineated by an artist’s subjectivity. A painting’s frame or a camera frame or a time frame is each a delimitation of the world\, a delimitation which contain within it the possibility of infinite recursions\, a small infinity. The universe frames human history\, which frames a subjective experience\, which\, in turn\, frames an artist’s work. Within each graded step of nested framing there exists their respective graded infinities which ripple out boundlessly\, each infinity as robust as the next. We adopt a deliberate myopia in order to delineate the frame. At times\, however\, this myopia blurs out the recursive expansiveness of what is inside and outside of the frame\, and we forget.\nWho’s afraid of eternity? It’s always been here. Don’t worry about it. \nWith:\nMichel Auder\nJulie Becker\nDavid Bernstein\nJennifer Bolande\nCliff Borress\nQuynh Dong\nShahab Fotouhi\nUlrik Heltoft\nJoel Holmberg\nHassan Khan\nLaura Owens\nMaria Taniguchi\nAsha Schechter\nDineo Seshee Bopape\nAlice Wang\nBrent Watanabe \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAporia \n\nOne thing could be two things at the same time\, and then it could be many more things. The art work is generative\, and is not bounded by the organizational principle\, which is more effective when taxonomic\, and otherwise it’s arbitrary – which does not imply irrelevance\, but rather as valid as any other point of entry\, or framework. As such\, issues regarding instrumentalization are at best optimistic\, at worst paranoiac. This might seem to legitimize or advocate the notion of the work’s indeterminacy\, which could appear to be permission for further complicity in this post-integrity moment\, if there is even room for further collusion. But the supposed indeterminacy is not neutral and neither is the organizational principle\, as such it remains political. The politics is rehearsed in this constitution\, with its passionate neutrality and practiced inconsequentiality. Yet what remains out of the realm of instrumentalization within these prescribed boundaries\, is functional design and propaganda. The artwork politicizes the notion of the universal after globalization. This includes a moment of strategic and reflexive post-identity\, one that is not essentialist on the one hand and is restrained on the other; it includes a materiality that engages with the stuff of the culture and commodity; it includes virtuosity after deskilling; that does not dismiss of class consciousness for kitsch futurity.  The notions of image saturation\, of visual overabundance\, of our digital overload\, post-internet all sound tedious and lazy as it merely echoes the years before the turn of millennium. Yes\, all of this happened\, Debord’s worst nightmares are reality and there’s no reason to rub it in any further. We need to celebrate the dawn of a new visual literacy. Boring is also the self-congratulatory reflexive clever complicity\, as it stinks of affect and privilege. A certain internal dialectic that might sound cliché at this point is paired with specificity with relation to medium\, and is then bifurcated; the index is a decoy\, identity is material\, context is contingent. We need to do at least two things at the same time\, as one at a time is not enough. The aesthete’s radicalism\, Sontag writes\, is “to be multiple\, to make multiple identifications…” \nOrganized by Sohrab Mohebbi and Miljohn Ruperto
URL:https://www.h-r.la/event/apeirophobia-aporia/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/06/unnamed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160622T190000
DTEND;TZID=America/Los_Angeles:20160622T190000
DTSTAMP:20160614T224410Z
CREATED:20160614T224238Z
LAST-MODIFIED:20160614T224410Z
UID:2095-1466622000-1466622000@www.h-r.la
SUMMARY:Friends Series #5: Alice Wang and Luke Fischbeck
DESCRIPTION:A discussion that takes as its starting point\, and as a periodic interruption\, the idea of a sound fossil—a material index of acoustic activity\, or a way of accessing past or future time through a perpetual sonic present. \nAlice Wang lives and works in Los Angeles. She makes sculptures\, drawings\, videos\, prints and films\, and teaches in the Art Department at the University of California\, Riverside.  \nLuke Fischbeck is an artist\, composer\, and organizer who designs and tests structures for collaboration. He is a contributing member of the group Lucky Dragons (2000—present\, with Sarah Rara)\, founder and principal organizer KCHUNG Radio (2011—present\, a collectively-organized broadcast project)\, managing director of the non-profit arts organization Human Resources\, and member of the steering committee for The Los Angeles Contemporary Archive.
URL:https://www.h-r.la/event/friends-5-alice-wang-and-luke-fischbeck/
LOCATION:LACA\, 2245 E Washington Blvd \, Los Angeles\, CA\, 90021\, United States
CATEGORIES:off-site event
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20160622
DTEND;VALUE=DATE:20160628
DTSTAMP:20160729T011211Z
CREATED:20160617T100814Z
LAST-MODIFIED:20160729T011211Z
UID:2101-1466575200-1467007199@www.h-r.la
SUMMARY:Exit Interview
DESCRIPTION:Drawing credit: Class of 2016\, Courtesy of CalArts \nOpen Daily June 22—26\, 11am to 6pm\nReception June 25\, 2016 6-10pm \nExit Interview\, the culminating exhibition by the California Institute of the Arts (CalArts) School of Arts’ 2016 MFA graduates\, departs from the strictly bureaucratic associations of its title. The group exhibition highlights the dialogic dimension of two years of thinking and working in relation to one another. Acknowledging the paradoxical quality of institutionalized art education\, the show is conceived as a field of interferences and counterpoints\, the aftermath of a vital encounter and commitment to critical discourse. \n \ndownload / view program as PDF\n  \n\n			\n				\n			\n			\n				\n			\n			\n				\n			\n			\n				\n			\n		\n\nSchedule of events: \n\nJune 22 – Wednesday 10am-5pm \nKyle Johanson and Tim Tsang\n“2 people\, 3rd space\, 5th wall: a long form activity practicing engagement with Exit Interview and each other in the forms of live and recorded talking and listening and looking”\nTim and Kyle walk and talk and listen and look with each other through the works of Exit Interview. The activity is recorded on two head mounted cameras and later replayed in an audio/video/text format. \n  \nJune 22 – Wednesday 7pm-9pm\n \nGloria Galvez\n“Soft Drink Social”\nSoft Drink Social bringing you soft drinks and soft tunes during hard times. A gathering and function hosted by Gloria Galvez in collaboration with hoops\, delivering a soft strike to the social pyramid. \n  \nJune 23 – Thursday 7pm-9pm\nScreenings:\n\nArtur Da Silva\n“St. Lazarus” (Running Time: 12:22)\n“Winter in America” (Running Time: 7:45) \nAy?e Melis OKAY\n“Fetish” (Running Time: 16:00) \nJohn Alexander\n“On Magic Mountain” (Running Time: 4:48) \nJuhee Han\n“Redroom” (Running Time: 13:30)\nA day in her red room. \nNebras Hoveizavi\n“Sometime in January\, Nakhodka Mammad was singing his songs while smuggling fabrics. It was sometime in June when I was born out of fabrics made by a loom.” (Running Time: 16:59)\nTime and Place are in snooze mood\, and the sleeping zone brought realistic form of talking about smuggling in Iran. The question is how one could talk about smuggling and the economy of the country which had been dealing with sanctions for decades. \nCarlos Diaz-Sullivan\n“Take Care of You (Running Time: 35:00) \nJulio Orta\n“Movie Trailer: El Chapo”\n(Running Time: 4:55)\nMovie Trailer for “El Chapo” Guzman movie. Starring Sean Penn and Kate del Castillo.\n“The Players” (Running Time: 4:00)\nA baby and a grown-up having a tennis match. \nShaoyu Su\n“Hongshan Relic: 4700 BC to 2014″ (Running Time: 0:07)\nMachine version of the history in Hongshan Relic Site. \n  \nJune 25 – Saturday 6-10pm\nReception \n  \nJune 25 – Saturday 6:30pm-6:50pm\nPerformance: \nRachel Yezbick\n“For Purposes Hereof”\nFor Purposes Hereof is a performance piece written for a group of readers. Created from a documentary film contract between Jeff Harmes – a homeless man\, gardener and panhandler – and a L.A. production company – Motiv8 Media – the piece highlights the obfuscating uses of legal language. \n  \nJune 26 – Sunday 12:00pm\nPerformance and Readings:\n\nKarley Sullivan\n“Venus Rising”\nPerformance/Mark-Making\, with Charmaine Bee\, Jonathan Molina-Garcia\, Brandon Rhoads\, and Karley Sullivan. \nErica Palmiter\n“Scenic Papers”\nA reading from a series of short stories that describe the artist’s family history. The stories speak to generational memory gaps and the recreation of narrative through a distanced cultural lens. \nB Neimeth\n“Josephine”\nJosephine weaves together a poetic narrative with genetic information. It is a mother-daughter relationship described in distance and the lasting residuals that lie in the body. \nKarley Sullivan\n“Snake Stories”\nReading\, opening\, erasing\, recasting. \nJuliana Lujan\n“Goodbye Flavia”\nA farewell letter to a spider-friend. \nGeorgia Lassner\n“Last Exit”\nDescription: A reading of excerpts from essays on art and art shows\, both real and imagined.
URL:https://www.h-r.la/event/exit-interview/
CATEGORIES:exhibition
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DTSTART;TZID=America/Los_Angeles:20160619T120000
DTEND;TZID=America/Los_Angeles:20160619T170000
DTSTAMP:20160601T123346Z
CREATED:20160601T123346Z
LAST-MODIFIED:20160601T123346Z
UID:2085-1466337600-1466355600@www.h-r.la
SUMMARY:DAD DAD DAD
DESCRIPTION:DAD DAD DAD is a three-channel collaborative video installation by Maura Brewer and Paul Pescador that takes Stanley Kubrick’s 1980 film The Shining as a site of analysis. The first channel is a short\, essayistic video that examines the relationship between the characters in The Shining and the Steadicam technology used to film their actions. In 1980\, the Steadicam was a new technology that combined the stability of the tripod with the freedom of movement of hand-held film. In The Shining\, Kubrick deploys the Steadicam both to track the action unfolding onscreen and as a point of view device\, elevating the characters outside the confines of their physical bodies. The second channel is a narrative interpretation of The Shining\, in which puppets made out newspaper and Styrofoam move through interiors\, each mimicking a series domestic activities (cooking\, masturbating and watching television.) Shifting between handheld camera and found footage\, an underlying tone of violence and perversity builds. The final channel is an overlay of the previous two\, which heightens the relationship between animate and inanimate actors. The mechanism of the moving camera becomes a character\, functioning like a ventriloquist who both observes and enables the narrative action. Power dynamics between camera operator and subject become a metaphor for the relationship between father and child. \nThis film will screen for one day only on Father’s Day.
URL:https://www.h-r.la/event/dad-dad-dad/
CATEGORIES:one-time event at HR
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DTSTART;TZID=America/Los_Angeles:20160609T210000
DTEND;TZID=America/Los_Angeles:20160609T210000
DTSTAMP:20160604T195310Z
CREATED:20160604T195310Z
LAST-MODIFIED:20160604T195310Z
UID:2092-1465506000-1465506000@www.h-r.la
SUMMARY:Sandy Ewen / Lucas Gorham • Ted Byrnes / William Hutson • Kathleen Kim / Bill Nace
DESCRIPTION:three duos \nWith a clutch of objects – often metal and sometimes literally nuts and bolts – Houston-based guitarist Sandy Ewen coaxes tangles of sound and tussles of texture out of the hollow-body electric on her lap.  Though she has made groups and records with Tom Carter\, Jaap Blonk\, Damon Smith and Weasel Water\, her playing most often flows from a steady stream of collaborations. She has laid out her idiosyncratic electro-acoustics in dozens of units and in cities coast-to-coast-to-coast and south of the border. For this – her first appearance in Los Angeles – she returns to a long-running duo with local Lucas Gorham\, himself a versatile guitarist whose lap steel work can just as easily conjure sheer cliffs of sound as it can pastoral reflection. \nEwen and Gorham each embraced improvisation and the outré as teens; they are part of a generation of deep listeners and soulful players who grew up in Houston\, Texas inspired and encouraged by the progressive education and creative music organization called Nameless Sound. That group and the surrounding scene offered them many a meeting in various sized ensembles to discover the interplay of their approaches. Together\, as a duo\, they air a gripping dialog. \nAngelenos who track now sound now have already been rewarded with a chance or two to catch Ted Byrnes and William Hutson parry and shuffle. Known to be at the controls behind the hissful swells of Rale and the cut-up shred of clipping.’s avant-hop\, here Hutson “plays the heads” re-sourcing sound from rather large tape loops. These voltages – dithered to magnetism and then diffused – are a made match with Byrnes’ own bias breaking: eschewing hum-drum drum rhythms\, he brazes\, hits\, and rattles a battery of things\, pouring out granular sound\, dashing dots and stacking crackles. \nExtending through technique and tech\, Kathleen Kim’s idiomatic play of the violin is a fluid free sail. T’was evidenced by her set at the solos show at LACA that welcomed Bill Nace to town this January. In the months since\, the assorted angles of Bill’s electric guitar repertoire have been a welcome addition to local sonic action.  As each of them has a deft touch and empathetic response\, here they join for their first encounter as a duo.
URL:https://www.h-r.la/event/sandy-ewen-lucas-gorham-%e2%80%a2-ted-byrnes-william-hutson-%e2%80%a2-kathleen-kim-bill-nace/
LOCATION:LACA\, 2245 E Washington Blvd \, Los Angeles\, CA\, 90021\, United States
CATEGORIES:off-site event
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DTSTART;TZID=America/Los_Angeles:20160603T210000
DTEND;TZID=America/Los_Angeles:20160603T210000
DTSTAMP:20160523T014843Z
CREATED:20160523T014157Z
LAST-MODIFIED:20160523T014843Z
UID:1955-1464987600-1464987600@www.h-r.la
SUMMARY:LFZ / OFFING / Odeya Nini / r.r. barbadas
DESCRIPTION:Music by LFZ (Sean Smith)\, OFFING (Chris Duncan)\, Odeya Nini\, r.r. barbadas (Rona Rapadas & Robbee Barber) \nLFZ (Sean Smith):\nRooted firmly in solo acoustic composition\, Smith has – over the past creatively fruitful decade – adopted electric instruments and devices to further his search and study. Improvisation is now an equal component to composition in his work. LFZ is Smith’s current musical endeavor. Guitar is at the heart and synthesizers come into play at times\, all manipulated by a vast array of analog and digital devices. The music is emotionally driven and rides the line between composition and improvisation. There is a deep experimentalism captured in the music of LFZ – all executed by tangible means. LFZ is exploratory of sights\, sounds and the phenomenological. Fripp & Eno\, Terry Riley\, and Michael Rother are some referential touchstones\, yet\, LFZ does not set out to mimic or cash in on its predecessors. Smith is also the owner and operator of the record label\, Stimulus Progression. \nFor all tour dates throughout 2016\, Smith will be performing music from the recent debut LFZ album. At select shows\, he will perform the piece\, “…city of god” by Science Fiction\, a composition for tape loops and live guitar solo originally released in 1981 in a private press edition. Re-issues available 5/27 from Stimulus Progression. \nhttp://www.stimulusprogression.com/l-f-z-1/\nhttps://lfzunlimited.bandcamp.com/ \nOFFING (Chris Duncan)\nChris Duncan is an Oakland-based artist who employs repetition and accumulation as a basis for experiments in visual and sound based media. Often in flux between maximal and minimal\, Duncan’s work is a constant balancing act of positive or negative\, loud or quite\, solitary or participatory and tends to lead towards questions regarding perception\, experience and transcendence. Outside of his studio practice he organizes events and runs a small artist book press and record label called LAND AND SEA with his wife Maggie Otero. Duncan earned his BFA from the California College of Arts and Crafts and his Masters Degree in Art Practice from Stanford University.  Under the moniker OFFING\, Duncan creates open ended sound paintings rooted in the accumulation of simple tones made from tuning forks and harmonicas combined with field recordings of natural phenomena.  \nhttp://christopherrobinduncan.virb.com/\nhttps://soundcloud.com/chris-duncan-3/painting-v \nOdeya Nini is a Los Angeles based experimental vocalist and contemporary composer. At the locus of her interests are textural harmony\, gesture\, tonal animation\, and the illumination of minute sounds\, in works spanning chamber music to vocal pieces and collages of musique concrète. Her solo vocal work extends the dimension and expression of the voice and body\, creating a sonic and physical panorama of silence to noise and tenderness to grandeur. Odeya has collaborated extensively with dancers\, visual artist\, filmmakers and theater directors as both a composer and soloist and has worked with artists such as Meredith Monk\, Butch Morris and LA’s contemporary orchestra – Wild Up.\nOdeya’s work has been presented at venues and festivals across the US and internationally\, such as The Hammer Museum\, REDCAT\, Joyce Soho\, and Art Basel Miami\, from Los Angeles to Tel Aviv\, Canada\, Mongolia\, Madagascar and Vietnam. She has lectured as a guest artist on contemporary vocal techniques and composition and leads workshops on voice and movement.\nOdeya holds a BFA from the New School for Jazz and Contemporary Music where she studied with vocalist Theo Bleckmann\, and an MFA in composition from California Institute of the Arts. Her debut album Vougheauxyice (Voice)\, for solo voice\, was released in April of 2014 on pfMENTUM records. \nhttp://www.odeyanini.com \nhttps://odeyanini1.bandcamp.com \nr.r. barbadas\nLos Angeles duo comprised of Rona Rapadas & Robbee Barber. Working within a wide range of electronic/collage-based music & sound\, the pair records via the scrapbooking of treated & prepared acoustic & electric signals* (musical & other) & field recordings*\, which are heavily deconstructed\, further reorganized and formed into implied rhythms\, textures\, spacial environs\, and sometimes even a “song”.  \n*household & yard debris\, industrial noise\, treacherous footpaths\, audio cassette tape\, naturally occurring water\, spring reverb\, incidental fauna\, synthesizers\, public transportation\, rock formations/rock slides\, parametric eq\, chords.  \nhttps://soundcloud.com/rrbarbadas
URL:https://www.h-r.la/event/lfz-offing-odeya-nini-r-r-barbadas/
LOCATION:LACA\, 2245 E Washington Blvd \, Los Angeles\, CA\, 90021\, United States
CATEGORIES:off-site event
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