Human Resources

Nick Malkin, SheKhan, Julius Smack, Corey Fogel
2017-06-15 20:30 (America/Los_Angeles) | Human Resources LA, 410 Cottage Home, Los Angeles, CA, 90012
Corey Fogel :::
http://coreyfogel.com/
Julilus Smack ::::::::::
TKB888

SheKhan ::::::::::::::::::::::::::::
https://shekhan.bandcamp.com/
Nick Malkin ::::::::::::::::::::::::::::::::::::
https://nickmalkin.bandcamp.com/
performances will take place in EJ Hill’s exhibition “A Subsequent Offering”

Steve Roden, Yann Novak + Special Guest
2017-06-11 19:30 - 22:00
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’.
Yann 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.
Novak’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.
Steve 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.
Roden’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.
In 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.
In 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.
Roden 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.
Roden 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.

Subsequent Performances
2017-06-09 21:00 - 23:00
An eclectic night of performances from
AirChina
Maria Maea
Bitter Party
Elliot Reed
Laub

Performances will take place, on EJ Hill’s A Subsequent Offering.
Monetary donations for the artist will be excepted, but are not required

Performing "Deep Listening Chorus" by Pauline Oliveros
2017-06-08 19:30 - 21:30
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:
Deep Listening Chorus: A form to activate community creative sound making
By Pauline Oliveros
1. Lying on the floor, heads or feet toward center and touching, listen/sound. Listen while sounding—listen while silent.
2. 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.
3. 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.
4. Anything goes if and only if you are listening.
A 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.

this event will be hosted by Elana Mann and take place in EJ Hill’s exhibition “A Subsequent Offering”

FUPU Reparations Tour Fundraiser Birthday Celebration
2017-06-07 07:00 - 22:00
FUCK U PAY US WOULD LIKE TO INVITE THE ENTIRE CITY TO CELEBRATE THE BIRTH OF OUR LEAD VOCALIST JASMINE NYENDE!
WE WOULD ALSO LIKE TO INVITE YOU TO OUR BENEFIT PARTY (A FUNDRAISER FOR OUR DIY TOUR IN EUROPE!!!)
WE WILL FOR THE FIRST TIME PRESENT TO YOU ALL RECORDED MUSIC FOR SALE!
A BOOTLEG CD FROM OUR LIVE PERFORMANCE AT THE “MELANIN UNITY” SHOW AT CIELO GALLERY IN SOUTH CENTRAL RECORDED BY Really Not Radio!!!
WE WILL ALSO HAVE ZINES AND SHIRTS FOR SALE AND WILL PERFORM LIVE.
WE 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!!!

TELL EVERY FEMME YOU KNOW WHO NEEDS TO HEAR THE SCREAMS OF LIBERATION!

MAGIC FLYER ART by BINX

A Subsequent Offering: EJ Hill
2017-06-03 - 2017-06-19
A Subsequent Offering , 2017. Human Resources, Los Angeles. Courtesy the artist and Commonwealth & Council photo: Michael Piña
A Subsequent Offering: EJ Hill
Human Resources, Los Angeles
Exhibition: June 3 – June 18, 2017
Exhibition will be open Thursday – Sunday, 12-6pm
EJ Hill in conversation with Amanda Hunt, Director of Education and Public Programs, MOCA Los Angeles
Saturday, June 3, 2017
7pm
*A reception will immediately follow the talk.
Human 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.
The 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.
Fuck U Pay Us performing on A Subsequent Offering June 7, 2017photo: Arlene Mejorado
Fuck U Pay Us performing on A Subsequent Offering June 7, 2017photo: Arlene Mejorado
EJ Hill in conversation with Amanda Hunt, Director of Education and Public Programs, MOCA Los Angeles. Saturday, June 3, 2017

Ritual for Mutual Black Care: Melanie Griffin
2017-05-28 19:00 - 21:00
SUNDAY, MAY 28, 2017
7pm – 9pm **
Ritual for Mutual Black Care
Melanie Griffin
presented by at land’s edge
Black 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.
This 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.
**This event is only for all Black identified people
____________________
A wheelchair accessible entrance (via portable ramp) and a wheelchair accessible bathroom will be provided.
Public transit via the Chinatown Gold Line Station. Street parking available.
at 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.
DecolonizeLA 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.

Accidents of Birth: seren sensei
2017-05-28 16:00 - 17:30
SUNDAY, MAY 28, 2017
4pm – 5:30pm
Accidents of Birth
seren sensei
presented by at land’s edge
We 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?
____________________
A wheelchair accessible entrance (via portable ramp) and a wheelchair accessible bathroom will be provided.
Public transit via the Chinatown Gold Line Station. Street parking available.
at 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.
DecolonizeLA 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.

Divine Creators!!! : Intro to Divination Practices for Creatives
2017-05-27 19:00 - 21:00
SATURDAY, MAY 27, 2017
7pm – 9pm *
Divine Creators!!! : Intro to Divination Practices for Creatives
Edgar Fabián Frías
presented by at land’s edge
Divine 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.
*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.
*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.
*Queer, trans, gender nonconforming, low-income, people of color, indigenous people, immigrants, and folks at other intersections will be given priority.
____________________
A wheelchair accessible entrance (via portable ramp) and a wheelchair accessible bathroom will be provided.
Public transit via the Chinatown Gold Line Station. Street parking available.
at 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.
DecolonizeLA 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.

Wendy Red Star: What does intergenerational collaboration look like?
2017-05-27 12:00 - 13:00
SATURDAY, MAY 27, 2017
1pm – 2pm
What does intergenerational collaboration look like?
Forging Pathways for Future Apsáalooke Feminists
Wendy Red Star
a skype/virtual lecture presented by Decolonize LA
As 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.
http://www.wendyredstar.com/
____________________
A wheelchair accessible entrance (via portable ramp) and a wheelchair accessible bathroom will be provided.
Public transit via the Chinatown Gold Line Station. Street parking available.
at 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.
DecolonizeLA 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.

Elisa Harkins: Adoption, Electronic Music, and Enrollment
2017-05-27 11:00 - 12:00
SATURDAY, MAY 27, 2017
11am – 12pm
Adoption, Electronic Music, and Enrollment.
Elisa Harkins
a skype/virtual lecture presented by Decolonize LA
Artist 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.
Elisa Harkins | Artist and Composer

____________________
A wheelchair accessible entrance (via portable ramp) and a wheelchair accessible bathroom will be provided.
Public transit via the Chinatown Gold Line Station. Street parking available.
at 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.
DecolonizeLA 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.

on the other / side reception
2017-05-26 19:00 - 22:00
FRIDAY, MAY 26TH, 2017
7pm – 10 pm
on the other / side Reception
hosted by at land’s edge 2017 Fellows
Light refreshments will be served.
at 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.
**Free and open to the public**
____________________
A wheelchair accessible entrance (via portable ramp) and a wheelchair accessible bathroom will be provided.
Public transit via the Chinatown Gold Line Station. Street parking available.
at 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.
DecolonizeLA 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.

Everything I Say Is True: Suzanne Kite
2017-05-24 19:30 - 20:30
WEDNESDAY MAY 24, 2017
7:30pm – 8:30pm
Everything I Say Is True
Suzanne Kite
a live sound/video performance presented by Decolonize LA
Everything 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.
http://kitekitekitekite.com/
____________________
A wheelchair accessible entrance (via portable ramp) and a wheelchair accessible bathroom will be provided.
Public transit via the Chinatown Gold Line Station. Street parking available.
at 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.
DecolonizeLA 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.

On The Other Side: 2017 at land’s edge fellows
2017-05-24 10:00 - 2017-05-28 21:00
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.
Wednesday, May 24th – Sunday, May 28th
Gallery Hours:
3pm – 9pm, Wed – Thurs
11am – 7pm, Sat
1pm – 7pm, Sun
Special Reception: 7pm – 9pm. Friday, May 26th
workshops and performances throughout the week presented by
Decolonize LA & at land’s edge

All events are free and open to the public, made possible with funding from the Los Angeles Department of Cultural Affairs.
Visit the at lands edge website for more information.
_____________________
WEDNESDAY MAY 24, 2017

7:30pm – 8:30pm
Everything I Say Is True
Suzanne Kite
a live sound/video performance presented by Decolonize LA
Everything 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.
http://kitekitekitekite.com/
_____________________
FRIDAY, MAY 26TH, 2017

7pm – 9 pm
on the other / side Reception
hosted by at land’s edge 2017 Fellows
Light refreshments will be served.
at 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.
**Free and open to the public**
_____________________
SATURDAY, MAY 27, 2017

11am – 12pm
Adoption, Electronic Music, and Enrollment.
Elisa Harkins
a skype/virtual lecture presented by Decolonize LA
Artist 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.
http://www.elisaharkins.org/

1pm – 2pm
What does intergenerational collaboration look like?
Forging Pathways for Future Apsáalooke Feminists
Wendy Red Star
a skype/virtual lecture presented by Decolonize LA
As 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.
http://www.wendyredstar.com/

7pm – 9pm *
Divine Creators!!! : Intro to Divination Practices for Creatives
Edgar Fabián Frías
presented by at land’s edge
Divine 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.
*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.
*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.
*Queer, trans, gender nonconforming, low-income, people of color, indigenous people, immigrants, and folks at other intersections will be given priority.
_____________________
SUNDAY, MAY 28, 2017

4pm – 5:30pm
Accidents of Birth
seren sensei
presented by at land’s edge
We 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?

7pm – 9pm **
Ritual for Mutual Black Care
Melanie Griffin
presented by at land’s edge
Black 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.
This 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.
**This event is only for all Black identified people
____________________
A wheelchair accessible entrance (via portable ramp) and a wheelchair accessible bathroom will be provided.
Public transit via the Chinatown Gold Line Station. Street parking available.
at 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.
DecolonizeLA 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.
Human Resources Los Angeles
410 Cottage Home St, Los Angeles, CA 90012
near Broadway and Cottage Home in Chinatown

Yes Femmes 4 Lez Gulls
2017-05-18 20:00 - 22:00
Readings and screenings by:
Megan Auster-Rosen
Muriel Leung
Adrienne Walser
Vanessa Angélica Villarreal
YES 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.
This set of readings will accompany Human Resources’ current show Lesbian Gulls, Dead Zones, Sweat, and T. by Candice Lin and Patrick Staff.
Hosted by Sam Cohen & Amanda-Faye Jimenez

Project Q - 'We Don't Have Mothers Day'
2017-05-14 12:00 - 18:00
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.
Burrito Coalition is feeding the youth nourishment of heart and soul.
Poetry by an. Choreography by Loic Noisette and comic leadership by Krystal Babich.
And as always, haircuts by ProjectQ
About Project Q:
https://www.projectq.me/
Using hair as a form of social justice.
Creating a safe space For LGBTQIA youth to find their identity,
and raise the awareness of self confidence.

ProjectQ 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.

LESBIAN GULLS, DEAD ZONES, SWEAT AND T.
2017-05-04 19:00 - 2017-05-21 18:00
LESBIAN GULLS, DEAD ZONES, SWEAT AND T.
Opening Reception: Thursday May 5th, 7-10pm
Exhibition Dates: May 5-21, 2017
Exhibition hours: Wednesday – Sunday, 12-6pm
*Gallery will be closed on Sunday, May 14th
Free and open to the public.
An exhibition of new work by Los Angeles based collaborators Candice Lin and Patrick Staff.
LESBIAN 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.
Filling 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.
Lin 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.
Constructed 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.
Simultaneously 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.
Available at the show is a new artist edition by Lin and Staff, produced by Closing.
Candice 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.
Thanks to Ghebaly Gallery for additional support
All photos by Ian Byers-Gamber

The Experimental Music Yearbook Presents: Carolyn Chen and Happy Valley Band
2017-04-29 20:00 | Human Resources LA, 410 Cottage Home, Los Angeles, CA, 90012
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.
Carolyn Chen “SIgns of Struggle” (2016) photo credit: Daniel Pufe
Carolyn 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.
The 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.
The 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.

Antiphony, Otherwise: Friday Joy Night Service
2017-04-28 19:00 - 22:00 | Human Resources LA, 410 Cottage Home, Los Angeles, CA, 90012
Antiphony, Otherwise: Friday Joy Night Service
7:00pm, April 28, 2017
(FREE) TICKETS
“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:
I. Singing
II. Talkback with Musician and Lead Singer
III. Eating
Curated 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.
“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.
Musician
Abdul 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.”
Song Leader
Troy 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.

Keith Fullerton Whitman / Sean McCann / Jessika Kenney
2017-04-27 20:00 | Human Resources LA, 410 Cottage Home, Los Angeles, CA, 90012
live in concert:
KEITH FULLERTON WHITMAN
SEAN McCANN
JESSIKA KENNEY
doors at 8 / sound at 9
$12 at the door
advance tickets also available as a convenience for $10 plus fees: http://tiny.cc/KFWatHRtix

KEITH FULLERTON WHITMAN
Through 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.
The 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.
Previous 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.”
This 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.
http://www.keithfullertonwhitman.com/redactions/

SEAN McCANN
Drawn 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.
For 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.

JESSIKA KENNEY
Whether 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.
For 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.
Organized by Tim Leanse

Having Left: Intersectional Perspectives on Migration
2017-04-26 19:00 - 21:00
Having Left: Intersectional Perspectives on Migration
Human Resources, Los Angeles
Wednesday, April 26, 2017
7:00–9:00pm
Transnational 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.
Curated 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.
ARTISTS
Christine 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.
Thinh 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.
Seo 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.
eunhae 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.
Intersectionality 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.

Sing Stitch Resist
2017-04-23 14:00 - 16:00 | Human Resources LA, 410 Cottage Home, Los Angeles, CA, 90012
Blending techniques of a sing-along, sit-in, and sewing circle, artist and activist Emily Lacy invites the public to give voice to sonic resistance in challenging times. At this gathering, the rich legacy of politically active music in America is both enacted and added to, by mixing traditional protest songs from the past with new songs and sound pieces written for the present. Drawing from another community-oriented folk tradition, that of the sewing and quilting circle, participants are invited to embroider a message while listening or singing along. Custom sewing kits and materials are provided. The event is a celebration of folk forms and their potential to be adapted for contemporary contexts that encourage inclusive and compassionate expression. Participants are invited to wear attire and bring signs or other visual aids normally associated with a march or a demonstration. All ages are welcome. Lacy has generated work in music, film, and other media for many years, and her performances and recordings have been included in various exhibitions at PS1 MOMA, MCA Chicago, the Whitney Museum of American Art, the Hammer Museum, the Walker Art Center, and LACMA, in addition to various DIY spaces all throughout America.
Special guest performers will include Charlyne Yi, Carolyn Pennypacker-Riggs, Laura Steenberge, and Elana Mann with the Take a Stand Marching Band.

Indecent Exposure
2017-04-12 - 2017-04-24
Indecent Exposure
April 12-23, 2017
opening reception 4/12
Gallery Hours: Daily 8pm-midnight
“Sex is a gift we are given, and we should all just have fun with that.”
-Margie Schnibbe (as Vena Virago) in I Had Sex with a Gigolo on Reality TV (2015)
Indecent Exposure is a retrospective of Margie Schnibbe’s sexually explicit videos and includes over twenty years of work. Paying homage to Cinemaland, the building’s previous tenants, the main gallery is utilized as a casual movie theater, with a ninety-nine minute video program projected as a continuous loop. The seating arrangements are comfortable and migratory; viewers are encouraged to sit close together or far apart, to mingle, to come and go as they please. The upstairs galleries are spaces for invited artists to create intimate performances that encourage participation. The lobby operates as a bar and gift shop. The exhibition is organized by John E. Kush, and will be open nightly.
Schedule of nightly intimate performances
April 12th: Karl Petion, D Og
April 13th: Johnnie Jungleguts
April 14th: Kim Ye
April 15th: Joe Merrell
April 16th: Esater Sunday Screening of Porn Star Pets (9:30-10:30)
April 17th: Molly Shea
April 18th: Stephen van Dyck
April 19th: Alan Ishi
April 20th: Whits n Giggles (Whitney Gibson & Shelley Holcomb)
April 21st: Sarah Gail, Travis D
April 22nd: Badly Licked Bear
April 23rd: Gregory Barnett
Schnibbe’s videos chronicle her life, often portraying her friends, jobs, partners, pets, and sometimes herself. The program begins with Mistress Samantha Diet Doctor (1994), filmed while Schnibbe worked as a dominatrix in New York City. The video documents one of the artist’s co-workers in a scene with a client/sub and a MOMA poster with the image of Picasso’s Les Demoiselles d’Avignon. Schnibbe’s other early works include Art Farm (1995), the staging of a go-go dancer in Kostabi World Soho with a soundtrack by Heidegger, Hans Object of Desire (1995), a document of her dachshund’s passion for munching on her colleagues’ sex toys, and First Date (1997), a psychedelic home-porn mash-up of the artist and former fuck buddies.
After attending graduate school in California, Schnibbe abandoned New York’s Lower East Side for Los Angeles’ Silver Lake and became fascinated with the San Fernando Valley porn scene. While working for an adult website in Chatsworth called Babenet (a partner of VCA Pictures), Schnibbe and friends filmed Teaparty! (2001), a soft-core girl-girl wrestling movie with infantilism themes. Around this time the artist became an adult film guide for the internet portal About.com and wrote about porn films and actors, conducting interviews and visiting porn shoots. Crystal Cleans My House of Consciousness (2005) documents a heavy-metal housekeeper gone wild and Tweak (2002) is a portrait of a neighbor on drugs who can’t ejaculate, despite the artist’s repeated solicitations and unwavering gaze.
In the mid-aughts Schnibbe worked for Vivid Entertainment and Hustler Video as a production designer and director of commercial pornography under the moniker Vena Virago. The program includes several trailers from Virago’s feature-length movies: Silverlake Scenesters (2006), Eastside Story (2007), Honey Bunny (2008), and Nietzsche Bangers (2005). In 2008, for the first time in over ten years, Schnibbe once again put her naked self in front of the camera in Case 1112: Forty is the New 14, a somewhat fictionalized self-portrait of the artist as a sentimental masturbator.
After retiring from porn and sex work, Schnibbe turned to documenting the perversion in her personal life. Shot in the Silver Lake dog park, Bareback PhD (2013) tells the story of a polyamorous OK Cupid hookup who fails to coerce the artist into having sex without a condom. The Cowboy (2010) and Women’s Work (2016) are meditations on the artist’s past experiences performing dirty sex acts for money in the S/M House. Schnibbe reveals her passion for gay porn and watching men jerk off in A Brief Portrait of Gregory at Age 30 (2012) and I Am a Tourist I Would Like to See Him Naked (2015). In Broken Hearts Are for Assholes (2016), the artist engages an exhibitionist masturbator from Tinder to help her recuperate from a lost love. Schnibbe returns to the porn set as Vena Virago, this time as a multi-orgasmic performer when she appears on the Showtime Network’s real-sex television series titled Gigolos. I Had Sex with a Gigolo on Reality TV (2015) is an unauthorized bootleg of the artist’s performance, recorded from the television during the episode’s premiere.
Video program:
http://margieschnibbe.com/indecentexposure/videoprogram.html
Schnibbe’s work has been exhibited at venues including Witte de With Center for Contemporary Art (Rotterdam), Arsenal Institute for Film/Video Art and Kino Moviemento (Berlin), Kunsthalle Wien (Vienna), Arte TV (Germany/France), Anthology Film Archives, Center for Book Arts, The James Gallery at CUNY Graduate Center, Monkeytown (New York), Yerba Buena Center for the Arts (San Francisco), and in Los Angeles at LACE, Film Forum, Charlie James Gallery, MOCA, The Hammer Museum, Francois Ghebaly Gallery, The Box, and David Kordansky Gallery.
Schnibbe received a MFA from California Institute of the Arts in 1998, and a BFA from Kansas City Art Institute in 1991. Schnibbe was born in Yonkers, New York and studied at Hunter College of the City University of New York in the late eighties. Schnibbe lives and works in Los Angeles and hosts a monthly program on KCHUNG Radio.

$3.33 - "DRAFT" Tape Release Feat. Album-Length Screening of Original Film by Miko Revereza
2017-04-07 20:00 - 22:00 | Human Resources LA, 410 Cottage Home, Los Angeles, CA, 90012
$3.33 Tape Release of “DRAFT” on Leaving Records
Featuring an album-length screening of an original film by Miko Revereza
+ Drinks and Snacks by Chef Jazzy
http://www.threethirtythree.biz/
http://www.mikorevereza.com/
http://www.jasminesarp.com/
http://leavingrecords.com/

UNTAMED
2017-03-31 19:30 - 23:00
UNTAMED
On March 31st Human Resources LA presents the work of five female artists working in the mediums of dance, performance, visual projections and film. The evening will feature three dance films by Olivia Mia Orozco, Andrea Ordaz and Rebeca Hernandez and performances presented by choreographers Andrea Ordaz, Livya Howard-Yashar, Zoe Rappaport, and Olivia Mia Orozco.
Doors 7:30pm. Show at 8pm. Stay for music by Sudan Archives from Stones Throw and drinks before and after the show.
$5-10 Suggested Donation
$3 Beer and Wine

Fidelity of Nothing
2017-03-29 20:00 - 2017-03-30 18:00
Opening reception: Wednesday, March 29, 8 – 10pm
Gallery Hours: Thursday March 30th 12pm – 6pm

Fidelity of Nothing is a group exhibition of video installation and sculptures by Lily Yu, Jamie Kim, Michelle Lee.

IDLE was shot on 16mm b/w reversal with Arri ex. Hand processed through traditional negative processing and reversal processing. Tinted with fabric dye. IDLE features dancer Alexandra Bender.
A-Gah- Mi (아가미) is about longing that particular someone. This project begun after a loss of my father.
“I wanted to put all my blues in this square frames and wished my world outside of the frames would be happy. “
Michelle Lee works vary from painting, sculpture, video where materiality of a human body and thoughts about human condition in relation to the human body are explored. The installations displayed in the show embody (the) idea(s) regarding the fascination of the space, divided and outside of our individual skin, as an extension of one’s own body and mind. The human body, encapsulated as the negative space separate from the space outside of the human skin, in tandem with human conditions—including/such as longing, companionship, loneliness, insatia- ble desire of being loved / accepted, and the inclined involvement of bodies to one another.
Lily is a teaching artist and lmmaker from Oakland California. Her work is primarily documentary and analog lm with the focus on ethnography and close portraits. She has worked with Bay Area Video Coalition, Bump Records, Echo Park Film Center, TEDx, and PBS. Her work has been shown in San Francisco International Film Festival, AFI Docs, and TedX Vancouver.
Jamie is a Korean born artist/ lmmaker who predominantly works with 16mm lms. Her work is derived from mental and emotional aspect. She is focused on capturing what is impalpable and ephemeral into a tangible medium. Her work has been shown in IlShin Hall in Seoul, South Korea and Chang Ucchin Museum of Arts in YangJu, South Korea.
Michelle Lee was born in San Francisco, CA, in 1994. Her past exhibitions include frottage (2017), Thoughts on Living Matter (2015), Inland: BFA work from Art Center, CalArts, UCLA (2015) and Invisible and Physical (2014).

34,000 Pillows​ Workshop
2017-03-25 16:00 | Human Resources LA, 410 Cottage Home, Los Angeles, CA, 90012
Since 2007, US Congress mandated that Immigration & Customs Enforcement maintain a quota of 34,000 detained immigrants per day in its 250 facilities around the country.
As part of the exhibition MAKING PLANS taking place at Human Resources LA (March 18 – March 26), artist duo Díaz Lewis will be holding 34,000 Pillows Workshop. Participants in this free, hands-on art-making session can join the Los Angeles-based artists in person as they take on the US Congress’s mandate — aiming to create a pillow for each bed. The ever-growing pile of pillows reflects the number of beds required to be filled each night, translating the mandate in a way mere statistics cannot. The price of each pillow reflects the amount US taxpayers spend to detain one person per day. 100% of the proceeds of each pillow is donated to Human Rights Watch.
ABOUT THE ARTISTS
Díaz Lewis – the collaborative duo comprised of Alejandro Figueredo Diaz-Perera and Cara Megan Lewis – create art to prompt social change. After the couple met in 2012, they worked across the divide between Cuba and the US. Now based in Los Angeles, their practice as artists and activists is fueled by deconstructing social processes and the symbols and politics behind them, from two distinct and often opposing angles. Recent exhibitions include “Home Land Security” For Site Foundation, San Francisco (2016); “Soul Asylum” Weinberg Newton Gallery, Chicago (2016); “A Dream Deferred” Aspect/Ratio, Chicago (2015); “Cul De Sac” Mission Gallery, Chicago (2015); and “The Other’s Voice” Rapid Pulse International Performance Art Festival, Chicago (2014). Díaz Lewis were most recently artists-in-residence at the Chicago Cultural Center through the support of the Joyce Foundation. Díaz Lewis are represented by Aspect/Ratio Gallery, Chicago.
in conjunction with the exhibition MAKING PLANS

Making Plans
2017-03-18 - 2017-03-27 | Human Resources LA, 410 Cottage Home, Los Angeles, CA, 90012
Opening reception: March 18, 7-10pm
Gallery hours: Tuesday – Sunday, 12-6pm
MAKING PLANS brings together a coalition of artists engaging with issues of labor, access, invisibility, and power through various actions. In the introduction to Working: People Talk About What They Do All Day and How They Feel About What They Do (1974), a transcription of interviews with working people, oral historian Studs Terkel begins by likening work to violence. This “daily humiliation,” is at the root of a Capitalist condition which, as Marx wrote many years prior, “uses up its material factors, its subject and its instruments, consuming them,” yet continues to endure, despite an established discourse and data all but exhausting its systemic flaws and troubled histories.
This violence also emphasizes a search for daily meaning, rationale for the empty hours, dissent and hopelessness of that condition. In MAKING PLANS, new economies of production emerge or return in retaliation, deliberately positioning life and practice in such a way that acknowledges complicity, yet still consistently working to eradicate that which does not work.
If we accept that Capitalism has failed us, but that a true Communism cannot [yet?] be achieved, how do we proceed? As Paulo Freire’s writes,“only human beings are praxis;” a constant and vigilant re-examination of the pervasive, endangering methodologies are needed, so that something else, something better, might arise.
“I’m not so much despairing as asking a question about making plans.”
Fred Moten
Artists in the exhibition include: Astrovandalistas (Rodrigo Frenk, Lleslie Garcia and Thiago Hersan), Di?az Lewis (Alejandro Figueredo Diaz-Perera and Cara Megan Lewis), Ishi Glinsky, Nuttaphol Ma, Jimena Sarno, Aram Han Sifuentes and Kim Zumpfe.
MAKING PLANS is organized by two artists, Kyle Bellucci Johanson and Matthew Lax. An additional essay by Clara Lo?pez Mene?ndez accompanies the exhibition in a book designed by Gia Ahn (online version available here).
ADDITIONAL PROGRAMMING:
Saturday, March 25 @ 4PM Participatory workshop by artist duo Di?az Lewis
Sunday, March 26 @ 6PM Film screening of work by Nuttaphol Ma, Behrouze Rae and others

still from “A Grain of Rice Under A Microscope,” 2013, Nuttaphol Ma

photos by Christopher Wormald

Inside You Is Me - Jaqueline Gordon
2017-03-11 20:00 - 2017-03-12 17:00
A dynamic sculpture with moveable walls, multichannel sound pieces, and a staged performance SATURDAY EVENING, featuring FAY and Jon Mandabach.
http://jacquelinegordon.net/
HOURS:
Saturday Night:
6:00 – 8:00 Visiting Hours
8:00 – Jon Mandabach
9:00 – FAY
Sunday:
11:00 – 5:00 Visiting Hours
FAY:
FAY will be premiering her new record “Deal” (release date: February 24, 2017) within the sculptural infrastructure of Inside You Is Me.
Forging an idiosyncratic musical language, told through striking rhythms and adventurous wordless vocal explorations, ‘Deal’ is FAY’s boldest work yet. A conversational interplay between drum and voice is at the center, highlighting an alluring human element. A loose, primal urgency guides these compelling and playful electronic compositions that favor intuitive sense perceptions over self-expression. The voice acts as a beacon throughout the record, leading the rhythms and arrangements towards their next move. Each moment is deliberate and precise, while simultaneously being executed with a pulsing of life energy.
https://www.facebook.com/FAYshadows/
“Inside You Is Me” was originally installed at The Lab (SF) during the month of October 2016. http://www.thelab.org/projects/2016/10/1/jacqueline-gordon

Monster Romp Live!
2017-03-04 19:00 - 22:00
Chess is widely regarded as an intellectual game, and often used as inspiration in cerebral artworks. This is checkers.
Monster Romp originated as a short film featuring a game of checkers. Monster Romp Live!, a performance in three acts, is an extension of that film. The first is a satire of fascist militaristic displays of power, selfregulation, punishment, and torture. The following act is an improvisational dance by a mercurial creature, performed by SamanthaJane Gray. The third act is a violent, slapstick battle between the last two remaining pieces on the board.
The game of checkers is a contest between two oppositional forces divided by superficial difference. In Monster Romp, checkers embodies the inherent brutality of binary opposition. Two monsters conjoined at the head, the Twins, play an unfriendly game, pitting the checkers against one another. The pressure created by antagonistic relationships erupts into violence between and within both sides.
Los Angeles based artists BeckandCol use humor and chaos to examine the crisis of human exceptionalism. Through costume based performance and video, their work explores alternate universes populated with monsters who obsess over humanity and emulate its dominant attributes. Within these universes, BeckandCol analyze humanity’s construction of sexualized, racialized and naturalized others. The monsters are at once silly, playful and exceptionally brutal. Through comical yet violent antics, their monsters are both mimicking human behaviors and challenging them.
Made possible in part by the Foundation for Contemporary Arts Emergency Grant.
doors at 7pm, performance at 8pm
suggested donation $5
