BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Human Resources - ECPv6.15.17//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Human Resources X-ORIGINAL-URL:https://www.h-r.la X-WR-CALDESC:Events for Human Resources REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/Los_Angeles BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20190310T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20191103T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20200308T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20201101T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20210314T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20211107T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20220313T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20221106T090000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20200111T200000 DTEND;TZID=America/Los_Angeles:20200111T200000 DTSTAMP:20260408T013305 CREATED:20191230T041446Z LAST-MODIFIED:20200106T205020Z UID:4907-1578772800-1578772800@www.h-r.la SUMMARY:Xina Xurner / M Lamar / Johanna Hedva / Pauline Lay + Gabie Strong DESCRIPTION:Xina Xurner\nM Lamar\nJohanna Hedva\nPauline Lay + Gabie Strong \ndoors at 8\, sound at 9\n$7 suggested donation\, no-one turned away for lack of funds.\nadvance tickets available here \n\nXina Xurner​ is an experimental music/performance collaboration between Marvin Astorga And Young Joon Kwak\, whose cathartic performances combine DIY and power electronics\, mutated vocals\, and bad drag to expand ideas about queer and trans bodies. Their music combines a variety of genres (including happy hardcore\, industrial\, drone metal\, and techno)\, in order to create sadical and sexperimental noise-diva-dance anthems that evoke a sense of transformation\, rebirth\, and renewal. Xina Xurner released their debut album “DIE” in 2012 and their follow-up\, “Queens of the Night\,” was released in April 2018. Xina Xurner will make you sweat.\nhttps://xinaxurner.com/\nPhoto by Christopher Richmond \n\nM. Lamar is a composer who works across opera\, metal\, performance\, video\, sculpture and installation to craft sprawling narratives of radical becomings. Lamar holds a BFA from The San Francisco Art Institute and attended the Yale School of Art\, sculpture program\, before dropping out to pursue music. Lamar’s work has been presented internationally\, most recently at The Cloisters at The Metropolitan Museum Of Art\, Funkhaus Berlin Germany\, Kunstgebäude Stuttgart\, The Meet Factory in Prague\, National Sawdust New York\, The Kitchen New York\, MoMa PS1’s Greater New York\, among others.\nPhoto by Johnny Q \n\nJohanna Hedva is a Korean-American writer\, artist\, musician\, and astrologer\, who was raised in Los Angeles by a family of witches\, and now lives in LA and Berlin. They are the author of the novel\, On Hell (2018\, Sator Press) and their writing has appeared in Triple Canopy\, The White Review\, and Black Warrior Review. Their work has been shown at The Institute of Contemporary Arts in London\, Performance Space New York\, the LA Architecture and Design Museum\, and the Museum of Contemporary Art on the Moon. Their album The Sun and the Moon was released in March 2019. Since 2018\, they’ve been touring Black Moon Lilith in Pisces in the 4th House\, a drone metal guitar and voice performance influenced by Korean shamanist ritual.\nhttp://johannahedva.com/\nhttps://bighedva.bandcamp.com/\nPhoto by Mengwen Cao \n\nGabie Strong is interdisciplinary\, conceptual artist exploring sonic constructions of drone and decay as a means to improvise new arrangements of feminist meaning. She uses the guitar in acoustically violent ways to create noise as both an exploration of bodily listening and as a critique of femininity.\nhttp://gabiestrong.com/ \n\nPauline Lay\nviolin and electronics\nhttp://paulinelay.com/ URL:https://www.h-r.la/event/xina-xurner-m-lamar-johanna-hedva-pauline-lay-gabie-strong/ 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/2019/12/HR_sm.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20200112T200000 DTEND;TZID=America/Los_Angeles:20200112T233000 DTSTAMP:20260408T013305 CREATED:20191220T082429Z LAST-MODIFIED:20191220T082429Z UID:4902-1578859200-1578871800@www.h-r.la SUMMARY:SHEENED DESCRIPTION:SHEENED is a new musical piece by Cody Putman for cellos\, contrabasses\, lap-steel guitar and whirly tubes. Dustin Wong and Takako Minekawa present a beautiful and colorful menagerie of kaleidoscopic-pop\, spells\, and patterns. Gemma Godfrey presents new songs and hexes for vocal loops\, electric guitar drones\, and feedback. \nVisuals by Peter Nichols \n$10 suggested donation // all ages URL:https://www.h-r.la/event/sheened/ ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2019/12/0-11.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200117 DTEND;VALUE=DATE:20200127 DTSTAMP:20260408T013305 CREATED:20200106T204533Z LAST-MODIFIED:20200119T172625Z UID:4917-1579240800-1580018399@www.h-r.la SUMMARY:LAURA PARNES: TOUR WITHOUT END DESCRIPTION:SCREENING OF TOUR WITHOUT END (92 min.) AND LIVE PERFORMANCES INCLUDING RACHEL MASON AND BRONTEZ PURNELL\nFRIDAY\, JANUARY 17\, starting at 8\, Suggested donation $10 \nSCREENING OF TOUR WITHOUT END (92 min.) AND CONVERSATION WITH CHRIS KRAUS AND LAURA PARNES\nON FRIDAY\, JANUARY 24\, starting at 8\, Suggested donation $10 \nGALLERY HOURS: Wednesday through Sunday\, noon-6:00pm and by appointment. \nPRESS PREVIEW LINK AVAILABLE UPON REQUEST\nOrganized by Jeanne Vaccaro\nPress contact: jeannevaccaro@gmail.com or tourwithoutend@gmail.com \nLOS ANGELES\, CA- Human Resources is pleased to present Tour Without End (2014-2019)\, a multi-platform installation that casts real-life musicians\, artists and actors as bands on tour\, and expands into a cross-generational\, Trump–era commentary on contemporary culture and politics. It features members of Gang Gang Dance\, LeTigre\, The Julie Ruin\, MEN\, Eartheater\, MGMT\, Light Asylum\, and more. \nShot in real environments and situations\, the core group of players improvised based on semi-scripted scenes. Because many of these performers are legends themselves in the New York City downtown scene\, they are archetypes playing archetypes.  The work revels in the sometimes hilarious — but always complex — band dynamics that the characters endure while touring\, collaborating\, and aging in a youth-driven music industry. As the players move in and out of character\, blending fiction and real life\, the film moves in and out of non-linear narrative and historical document.  Shot from 2014–2018 at over 15 DIY music spaces in and around New York City — many of which have since shuttered their doors — the film acts as an urgent time capsule for the rapidly gentrifying city.  \nThe installation version highlights the extensive and growing archive of live performance in NYC shot during the four-year production schedule and the raw footage from the improvised scenes. These include more than thirty musicians and ten underground music venues. The archive expands as the project is shown. Portraits of performers taken By Justine Kurland are central to the installation.  The feature film (92 min) will screen everyday at 12\, 1:32\, 3:04\, 4:36. The installation is travelling and was just exhibited at Burchfield Penney in Buffalo\, NY. \nThe film’s multitude of characters include:  Wooster Group founder Kate Valk\, Jim Fletcher (The NYC Players)\, musicians Lizzi Bougatsos\, (Gang Gang Dance)\, Kathleen Hanna (The Julie Ruin)\, Brontez Purnell (The Younger Lovers)\, Eileen Myles\, Alexandra Drewchin (Eartheater)\, Nicole Eisenman\, K8 Hardy\, Johanna Fateman (Le Tigre) Shannon Funchess (Light Asylum)\, JD Samson (MEN)\, Gary Indiana\, Kembra Pfahler\, (Voluptuous Horror of Karen Black)\, Rachel Mason\, Tom McGrath\, Matthew Asti (MGMT)\, Becca Blackwell\, Christen Clifford\, Alessandra Genovese (Crush)\, Rogelio Ramos (Love Pig)\, Kenya Robinson (Cheeky LaShae) and Neon Music (Youth Quake). \n Laura Parnes’ critically acclaimed films and installations address counter-cultural and youth-culture references where the music is integral to the work. Her work has been screened and exhibited widely in the US and internationally\, including at the Whitney Museum of American Art\, NY; MoMA PS1\, NY; Miami Museum of Contemporary Art\, FL; Brooklyn Museum; Deste Foundation for Contemporary Art\, Athens; The International Film Festival Rotterdam\, Rotterdam\, Netherlands; and Museo Nacional Centro De Arte Reina Sofia\, Madrid; and NY and on PBS and Spanish Television. Recently she had solo exhibitions at LA><\, LA\, Participant Inc.\, Fitzroy Gallery; and solo screenings at the Museum of Modern Art\, and The Kitchen\, New York City. Parnes is a 2013 John Simon Guggenheim Memorial Fellow\, a 2014 NYFA recipient\, and a 2016 Creative Capital Awardee. Video Data Bank published a box set of her work\, and Participant Press published a book of her scripts titled ‘Blood and Guts in Hollywood: Two Screenplays’ by Laura Parnes with an introduction by Chris Kraus. She has also directed music videos for The Julie Ruin and Le Tigre. \nTour Without End is made possible with funds from The John Simon Guggenheim Foundation\, Creative Capital and the New York State Council on the Arts in Partnership with Wave Farm: Media Arts Assistance Fund\, a regrant program of the New York State Council on the Arts\, Electronic Media and Film Program\, with the support of Governor Andrew Cuomo and the New York State Legislature. URL:https://www.h-r.la/event/tour-without-end/ LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012 CATEGORIES:exhibition ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2020/01/Laura-Parnes-Tour-Without-End.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20200126T143000 DTEND;TZID=America/Los_Angeles:20200126T163000 DTSTAMP:20260408T013305 CREATED:20200118T204059Z LAST-MODIFIED:20200124T082153Z UID:4975-1580049000-1580056200@www.h-r.la SUMMARY:EDGE: A Session on Pornography DESCRIPTION:Event\, 2:30-4:30\, conversation from 3-4pm \nSublevel Magazine invites you to join in Session— a Live Cam conversation with Johanna Fateman\, Lorelei Lee\, and Tiana Reid. Their respective work lies at the intersections of sex-feminism\, labor and pleasure\, the legal dimensions of pornography and prostitution\, politics of representation\, archival research\, and queer potentialities. This conversation will be recorded and published in the upcoming EDGE issue of the magazine. \nEDGE: The Pornography Issue\, will launch in March 2020 and considers what constitutes the pornographic today. How do we conceive of pornography as a material form? An affective register? Where do conversations on the pornographic figure into contemporary gender politics? Edging is a question of mediation between the virtual and the real\, so come cam with us! \nSpeaker Bios: \nJohanna Fateman is a writer\, art critic\, and owner of Seagull salon in New York. She writes art reviews regularly for The New Yorker and 4Columns\, and she is a contributing editor at Artforum. She is a 2019 Creative Capital awardee and currently at work on a novel. \nLorelei Lee is a writer\, sex worker\, and community organizer. She serves on the steering committee of Red Canary Song and is a researcher and policy analyst with Hacking Hustling. \nTiana Reid is a writer\, editor\, and PhD candidate in English and Comparative Literature at Columbia University. Her writing has been published in or on Art in America\, Bookforum\, The Paris Review\, T Magazine\, Vice\, Vulture\, and elsewhere. She is also an editor at The New Inquiry and Pinko. \nAbout the Magazine: \nSublevel Magazine is an online literary magazine devoted to the nexus of literature\, poetry\, art\, criticism\, philosophy\, culture\, and politics. Based in the CalArts MFA Creative Writing Program in the School of Critical Studies—an innovative and interdisciplinary environment dedicated to the experimental impulse in writing and thinking—Sublevel is a literary publication immersed in the world of art without being in service to it. We make no hard distinctions between creative and critical enterprise\, instead celebrating writing of any kind that we find stimulating\, timely\, or otherwise compelling. Each academic calendar year\, we publish eight features comprised of original essays\, interviews\, roundtables\, poetry\, fiction\, and non-fiction works on a theme. We also publish an annual limited-edition print component\, the Sublevel B-sides\, which reflects the content of the online magazine and questions the need for print in the digital era. Sublevel Magazine was founded by Janice Lee and Maggie Nelson in 2017. \nLauren Mackler is its Managing Editor.\nSabrina Tarasoff is its Assistant Managing editor. \nThe editors of the EDGE issue are Rose Sheela\, Allison Smith\, Daniel Spielberger\, Sarah Stockton\, Misael J. Oquendo\, Jayne Pugh\, Sofia Benitez Villanueva. URL:https://www.h-r.la/event/edge-a-session-on-pornography/ 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/2020/01/bg.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20200126T193000 DTEND;TZID=America/Los_Angeles:20200126T193000 DTSTAMP:20260408T013305 CREATED:20200117T212126Z LAST-MODIFIED:20200117T213334Z UID:4966-1580067000-1580067000@www.h-r.la SUMMARY:Rite Nite DESCRIPTION:Rite Nite brings together three LA-based artists using solo voices to re-describe ritual. \nAlphabet Of Wrongdoing\nOdeya Nini\nFrancine Thirteen \n\nAlphabet of Wrongdoing is the newest musical project from Snowblink’s Daniela Gesundheit\, exploring ceremonial Jewish prayer songs and blessings that encircle themes of reckoning\, forgiveness\, mortality\, striving\, and atonement\, reimagined for secular audiences and secular spaces. The texts and melodies are traditional and ancient; the context and arrangements are subversive and impressionistic. This performance acts as a communal investigation of gestures of forgiveness—in the words of poet Alan Felsenthal\, an attempt to “restore dignity to experience through music.” \n  \n\nFrancine Thirteen landed from Venus in Dallas\, TX\, where she began her earthly life. She is a proud Libra/Scorpio who creates in a genre/aesthetic she calls ‘Ritual Pop’. Her current project is entitled ‘Psalms for The Queen of Heaven’. Part music and art exhibition\, the work is deeply connected to the concept of the body as both a physical and etheric space; an energy center to conjure many things. Performances of the work include her handwoven textile art worn as jewelry and played as instruments. \n  \n\nOdeya Nini is a Los Angeles based experimental vocalist and contemporary composer. At the locus of her interest is performance practices\, 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. \n@alphabetofwrongdoing\n@thirteenthevenusian\n@OdeyaNini \nadvance tickets available here. URL:https://www.h-r.la/event/rite-nite/ 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/2020/01/unnamed-3.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200131 DTEND;VALUE=DATE:20200218 DTSTAMP:20260408T013305 CREATED:20200116T185159Z LAST-MODIFIED:20200213T235050Z UID:4948-1580450400-1581919199@www.h-r.la SUMMARY:KEN EHRLICH: DYSFUNCTIONAL FURNITURE DESCRIPTION:Opening Friday\, January 31: 7–9pm\n\nClosing event Sunday\, Feb 16: 4-6pm\nMusic by Adam Samuel Goldman\, toasts\, conversation about living with dysfunction.\n\n  \nGallery Hours: Thursday-Sunday noon-6pm\nand by appointment [contact ken at kenehrlich dot net]\nnote: the Firecracker 5K/10K  goes right down Broadway on 2/16\, but should have finished before noon.\n\n  \nHuman Resources is pleased to present Dysfunctional Furniture\, an exhibition of new work by artist Ken Ehrlich. The show presents a range of works that are at once sculptural and in direct conversation with furniture design. Made from gleaned building materials\, objects range from playful to aggressive\, displaying a rough\, informal aesthetic and refined craftsmanship. Many balance precariously and pose a slight sense of danger: Glass juts out at unexpected angles\, sharp edges lean uncomfortably\, and weight and balance seem unsteady. The installation toys with the tension between the utility of furniture and the perceived uselessness of sculpture.\n\n\n  \nIn the months preceding the exhibition\, the artist asked Los Angeles writers to ‘host’ one of the dysfunctional furniture pieces in their home for a period of time and reflect on daily life with that object. The exhibit includes a pamphlet of their writings and a series of diptychs\, which present the works in situ alongside a portrait of each host.\n\n\n  \nIn conceiving the project\, the artist was inspired by several texts from 1972\, which is also the year he was born. In that year both The Power of Women and the Subversion of the Community by Mariarosa Dalla Costa and Selma James and the seminal exhibition catalogue  Italy: The New Domestic Landscape were published. In The Power of Women and the Subversion of the Community\, a collaboration between an American and an Italian thinker\, the writers begin by analyzing the role of the housewife in the political and economic context of Italy in the 1970’s. This text eventually offers an expansive critique of the dynamics of housework\, the family\, care work and the politics of gender more broadly within a capitalist economy. Texts by designers Gae Aulenti and Enzo Mari in the catalog from Italy: The New Domestic Landscape question to what extent design can meaningfully alter behavior in a capitalist context and examine the ways that experimentation in design circulates around economic questions. Putting feminist critiques in conversation with radical Italian design from the same period generates a series of questions that move back and forth along the edge of contemporary art and design\, placing the fine grain of individual daily life against the backdrop of broad social and political dynamics.\n  \nWriters who participated in the project include Gabrielle Civil\, Andrew Culp and Eva Della Lana\, Jennifer Doyle\, Amy Gerstler and Benjamin Weissman\, Maya Andrea Gonzalez\, Maya Gurantz and Allison Yasukawa. Copies of the pamphlet will be available at the exhibition. \n  \nKen Ehrlich was born in Taos\, NM and received a BA from New College of California and an MFA from CalArts. His wide ranging practice in sculpture\, photography\, video and performance has been presented internationally\, including at the California Pacific Triennial at the Orange County Museum of Art\, Los Angeles County Museum of Art\, The Hammer Museum and High Desert Test Sites. His writing has been published widely\, including mostly recently a text on networks\, infrastructure and logistics in Blind Field Journal as well as a forthcoming text on networks in Drain Magazine. He co-edited the Surface Tension book series for Errant Bodies Press. He currently hosts the bi-monthly radio show *segments* on KCHUNG Radio and is on the organizing committee of The Public School\, Los Angeles. He has taught at UC Irvine\, Woodbury University\, CalArts and UC Riverside. URL:https://www.h-r.la/event/ken-ehrlich-dysfunctional-furniture/ CATEGORIES:exhibition ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2020/01/gurantz-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20200214T120000 DTEND;TZID=America/Los_Angeles:20200214T180000 DTSTAMP:20260408T013305 CREATED:20200210T163630Z LAST-MODIFIED:20200214T201512Z UID:5008-1581681600-1581703200@www.h-r.la SUMMARY:Online Sexual Harassment Prevention Training: A Public Performance of Compliance DESCRIPTION:  \nZOOM LINK (TW: this will be glitchy\, at times boring\, strange!): https://zoom.us/j/161645550?pwd=OEJZcFRrcm9Ka2NobFg2aFRnM05wdz09 \nJoin Jennifer Doyle\, a professor of English at the University of California\, Riverside and author of Campus Sex\, Campus Security\, as she takes the UC Sexual Violence and Sexual Harassment Prevention Training for Supervisors and Faculty. State employees are required by law (AB1825 and AB2053) to take training geared to raising awareness about sexual harassment and discrimination. Faculty tend to speed through this training at home\, alone\, and then joke about it. But for harassment victims\, these trainings can trigger all sorts of feelings about the distance between the ideals expressed in anti-discrimination law and the real difficulty of confronting harassment\, bullying and discrimination within one’s own community. The scheduling of this training on Valentine’s Day is intentional: Doyle is a victim of stalking and harassment: Valentine’s Day is a bad holiday for stalking victims. \nDoyle will take her training in public\, at HRLA\, while gallery sitting for Ken Ehrlich’s exhibition\, Dysfunctional Furniture. The training is based on case law/case history. Doyle will talk out the implications of those cases\, and spotlight the good in the training\, the bad and the blindspots. Other people who need to take their required training are welcome to bring their own laptops and participate. \nTW: this will involve some sustained discussion of sexual harassment. It also takes MUCH longer to do one’s training this way. Where most faculty will speed through this training in two hours\, Doyle insists on spending as much time as possible reflecting on and unpacking the training’s examples. She expects this public performance of compliance with anti-discrimination regulation to take six hours. URL:https://www.h-r.la/event/online-sexual-harassment-prevention-training-a-public-performance-of-compliance/ LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012 ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2020/02/HRLA-harassment-training.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20200214T200000 DTEND;TZID=America/Los_Angeles:20200214T220000 DTSTAMP:20260408T013305 CREATED:20200210T160811Z LAST-MODIFIED:20200210T193851Z UID:5004-1581710400-1581717600@www.h-r.la SUMMARY:Corey Fogel + Ted Reichman + Eyvind Kang: Improvised Music amongst Dysfunctional Furniture on a Dysfunctional Holiday. DESCRIPTION:Best known for his long association with John Hollenbeck’s Claudia Quintet and many other New York creative music ensembles\, as well as his work as film composer and educator\, Ted Reichman has recently developed a new language for amplified accordion based on the work of his teachers Anthony Braxton and Alvin Lucier as well as his longstanding interest in ambient music\, North Indian Dhrupad and early minimalists like Terry Riley and La Monte Young. \nEyvind Kang is a composer\, violist and conductor who has has released many acclaimed albums on labels such as Tzadik\, Ipecac\, Abduction and Ideologic Organ\, as well as worked on hundreds of recordings as an instrumentalist and arranger. His compositions have been played by the Iceland Symphony Orchestra\, the Winnipeg Symphony\, the Seattle Chamber Players\, MG_INC Orchestra\, Coro di Camera di Modena\, Orchestra del Teatro Communale di Bologna\, and the Israeli Contemporary Players\, among other ensembles. As a violist he has been featured by a wide range of independent musicians including Bill Frisell\, Laurie Anderson\, John Zorn\, the Sun City Girls\, and Secret Chiefs.  Kang has also performed solo pieces by Christian Wolff\, Giacinto Scelsi\, Ornette Coleman\, Satyajit Ray\, and Hanne Darboven. His ongoing\, genre defying collaboration with composer and singer Jessika Kenney has been described as “serious\, refined music”  (The New York Times)\, taking the form of sound actions and installations\, choral and orchestral works\, and minimalist vocal and string arrangement\, with two releases on Ideologic Organ (2011\, 2013) curated by Stephen O’Malley. \nCorey Fogel is a drummer\, composer\, and artist living in Los Angeles\, CA. His practice is based in momentary encounters between music and objects\, textiles\, foods\, and other collaborators. Corey engages viewers to consider sound as a material on par with paint and cellulose\, a constant in our daily lives. He challenges us to consider the contexts in which we create\, store\, and understand music performance. Corey and composes in many rock\, jazz\, noise\, folk\, and chamber music capacities. Corey’s works have been presented at Machine Project\, Los Angeles County Museum of Art\, Human Resources\, Los Angeles; Redling Fine Art\, The Wulf\, The Hammer Museum\, the Museo de Arte Contemporaneo de Oaxaca\, and the New Music for Strings Festival: Reykjavik. His performance work was also included in J. Paul Getty Museum’s Pacific Standard Time Performance and Public Art Festival and West of Rome’s Trespass Parade. He was awarded The California Community Foundation 2014 Fellowship in Visual Arts. Corey is currently working on his PhD in UC Irvine’s Integrated Composition\, Improvisation\, and Technology (ICIT) program. URL:https://www.h-r.la/event/corey-fogel-improvised-music-amongst-dysfunctional-furniture-on-a-dysfunctional-holiday/ LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012 ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2020/02/DysFurnMusic3-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20200215T200000 DTEND;TZID=America/Los_Angeles:20200216T000000 DTSTAMP:20260408T013305 CREATED:20200206T222851Z LAST-MODIFIED:20200206T223846Z UID:4995-1581796800-1581811200@www.h-r.la SUMMARY:Feldman and Frey performed by The Koan Quartet with Katie Porter DESCRIPTION:Performance: 8pm\n$15 at the door (no one turned away for lack of funds)\n\n\n\n\n\n\nFeldman and Frey performed by The Koan Quartet with Katie Porter\n\n\nJürg Frey; Quintet\, Clarinet and String Quartet\nMorton Feldman; Clarinet and String Quartet\n\n\n\n\nEric KM Clark & Orin Hildestad\, violins\nCassia Streb\, viola\nJennifer Bewerse\, cello\nKatie Porter\, clarinet\n\n\n\n\n\n\nQuintet\, Clarinet and String Quartet\nJürg Frey\, b.1953\, Swiss\n\n\n“Silence requires one decision – sound or no sound. Sound requires a great many more decisions. These shape the sound and give it its quality\, feeling and its content. Thus silence\, in its comprehensive\, monolithic presence always stands as one against an infinite number of sounds or sound forms. Both stamp time and space\, in that they come into appearance\, in an existential sense. Together they comprise the entire complexity of life.”\nJürg Frey\, from The Architecture of Silence\n\n\nClarinet and String Quartet\nMorton Feldman\, 1926-1987\, American\n\n\nTowards the latter part of his life\, Feldman became increasingly interested in the patterns of Coptic Rugs as an influence on his music. There is a phenomena in rug making called abrash where there is a natural color variation due to the use of vegetable-based inks made in small batches. Feldman explores his fixation on abrash through the imperfect stillness designed in Clarinet and String Quartet. Patterns and shapes appear and are repeated with minuscule differences in strict\, grid-like scoring. The musicians see slow\, abstract rhythms fit into various stretched durations\, repeated sometimes four to five times. Feldman designs these complex musical patterns to naturally vary from one another to avoid the music sounding “too perfect.” As listeners\, the result is peaceful\, ominous\, introspective\, and unsettling; distant passing storm clouds. URL:https://www.h-r.la/event/feldman-and-frey-performed-by-the-koan-quartet-with-katie-porter/ LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012 CATEGORIES:one-time event at HR ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2020/02/feldmanfrey.png END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200220 DTEND;VALUE=DATE:20200303 DTSTAMP:20260408T013305 CREATED:20200125T012139Z LAST-MODIFIED:20200223T013510Z UID:4985-1582178400-1583128799@www.h-r.la SUMMARY:Lúcia Prancha: CASA DO SOL DESCRIPTION:Opening: Thursday\, February 20th\, 8–10pm \nExhibition Dates: February 21st–March 1st\, 2020 \nGallery Hours: Wed-Sun\, noon-6pm and by appointment \nThe Body of the Text\, a reading circle & seminar: Saturday\, February 22\, 2-5pm \nHuman Resources is pleased to present CASA DO SOL\, an exhibition of new work by artist Lúcia Prancha. \nPrancha’s installation explores the work and legacy of Brazilian writer Hilda Hilst (1930-2004). Often described as the Marquis de Sade of Brazil\, her astonishing work takes up mysticism\, insanity\, embodiment\, eroticism\, and female sexual liberation. Hilst is one of the most important Portuguese ­language authors of the twentieth century. Nevertheless\, her work is virtually unknown in our community. \nCASA DO SOL is the name of Hilst’s home. During her lifetime\, her residence was an important gathering site for writers\, artists and intellectuals. Today\, CASA DO SOL holds her archive\, and hosts an intimate residency program which allows writers and artists to breathe in the compound’s earthy magic. \nPrancha’s video installation\, CASA DO SOL\, was shot on location at Hilst’s house and gardens during summer of 2019 and uses the text of one of Hilst’s short stories. This experimental video explores sexuality and the colonial through the political and poetic militancy of Hilst’s writing. \nAs a part of this exhibition\, HRLA will host The Body in the Text on February 22\, a reading circle & conversation about writing\, sex\, transgression and Hilst’s writing. \nLúcia Prancha (1985\, Portugal) obtained her MFA from CalArts (USA) in 2015\, after completing BA studies in Lisbon (PT\, 2009) and MA in São Paulo (BR\, 2012). Lúcia Prancha explores the tensions between aesthetics\, perception and politics\, often by rethinking specific historical and social sites through sculpture\, video and printed matter. Her work has been exhibited at LACA–Los Angeles Contemporary Archive\, Los Angeles\, USA\, Hordaland Kunstsenter\, Bergen\, NO\, Serralves Foundation\, Porto\, PT; Galeria Leme\, Sao Paulo\, Brazil and Galeria Baginski\, Lisbon\, Portugal. In 2016\, her film SEBASTIAN\, THE GHOST was screened at Les Rencontres Internationales Nouveau Cinéma et Art Contemporain in Paris and\, at Haus der Kulturen der Welt\, Berlin; and the 24th Curtas Vila do Conde – International Film Festival\, Portugal. In 2017\, Prancha was in residency at the Jan van Eyck Akademie in Maastricht\, NDC. During the Spring of 2020\, Lúcia is a Visiting Artist Faculty at CalArts–California Institute of the Arts. Lúcia Prancha lives and works in Los Angeles. \nThis show is possible with the kind support of Calouste Gulbenkian Foundation\, Portugal. URL:https://www.h-r.la/event/lucia-prancha-casa-do-sol/ 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/2020/01/Lúcia-Prancha_CASA-DO-SOL_2020-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20200222T140000 DTEND;TZID=America/Los_Angeles:20200222T170000 DTSTAMP:20260408T013305 CREATED:20200218T052954Z LAST-MODIFIED:20200218T052954Z UID:5031-1582380000-1582390800@www.h-r.la SUMMARY:Hilda Hilst: The Body of the Text\, a reading circle and seminar DESCRIPTION:Join artist Lúcia Prancha\, artist/scholar Patrícia Lino\, and Jennifer Doyle in a reading circle and conversation celebrating the writings of the extraordinary writer Hilst Hilst (1930-2004). Often described as the Marquis de Sade of Brazil\, her astonishing work takes up mysticism\, insanity\, embodiment\, eroticism\, and female sexual liberation. Hilst is one of the most important Portuguese ­language authors of the twentieth century. Nevertheless\, her work is virtually unknown in our community. \nWe will read short excerpts from Letters from a Seducer\, the second in a trilogy of texts which cut across the lines between the erotic and the pornographic. In a recent essay for The Paris Review\, Valerie Stivers describes this work as “a melodic string of sounds\, of freeing obscenity and silliness.” Attendees are welcome to read excerpts of Hilst’s writings here. \nYou can also read more about this text on her publisher’s website. There\, you will find endorsements which suggest her importance to experimental writers today: \n\nShe is a novelist with the fecundity and multivocality of Joyce\, with the precision and wit of Sarraute\, and yet she is something new under the sun\, the poet of “friezes\, strips\, joyful bands\, columbombastic screams.” Maybe all women wonder what men would be like\, without their posturing and wack\, but it seems to me Hilst had more than an inkling…. \n-DODIE BELLAMY\n\n\n\n\nLetters of a Seducer seduces the reader with all the strategies available to a fine writer: wit\, wonderfully inventive language lushly captured by the translator\, an intriguing story—and did I say sexuality that broils and bubbles along at a mad and marvelous intensity? This is a brilliant performance!” \n-SAMUEL R. DELANY\n\n\n\nI remain in awe of this book\, stimulated through its powerfully rich and expansive arcade. John Keene’s beautiful translation of Hilda Hilst’s Letters from a Seducer couples the orgasmic with the writerly\, the book edging between filth and feeling. \n-RONALDO V. WILSON URL:https://www.h-r.la/event/hilda-hilst-the-body-of-the-text-a-reading-circle-and-seminar/ LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012 ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2020/02/Still-CASA-DO-SOL_2020_Lúcia-Prancha_photographs-by-Fernando-de-Lemos.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20200229T190000 DTEND;TZID=America/Los_Angeles:20200229T210000 DTSTAMP:20260408T013305 CREATED:20200112T210512Z LAST-MODIFIED:20200227T175808Z UID:4938-1583002800-1583010000@www.h-r.la SUMMARY:Lanzamiento en Los Angeles de "Slow Down Fast\, A Toda Raja" por Cecilia Vicuña y Camila Marambio / Book Launch of "Slow Down Fast\, A Toda Raja" by Cecilia Vicuña and Camila Marambio DESCRIPTION:  \nANNOUNCEMENT: DUE TO UNEXPECTED SICKNESS CECILIA WON’T BE ABLE TO BE THERE ON SATURDAY. \nCAMILA MARAMBIO AND CLARA LOPEZ MENENDEZ WILL HOST THE BOOK LAUNCH AND CHANNEL CECILIA IN A POETIC READING. EVENT STILL ON!! COME!! \nSaturday February 29\, 2020\n7 – 9 pm \nReading will start at 7:30pm\nEnglish and Spanish \nHuman Resources is pleased to present the book launch of “Slow Down Fast\, A Toda Raja.” In this slim publication two indigenous mestizas from Chile\, Camila Marambio\, curator\, and Cecilia Vicuña\, artist-poet\, engage in a translational\, intergenerational dialog on de-colonial\, non-sexist perceptions and experiences in sessions conducted in Santiago\, New York and Melbourne Australia\, where they live. \n“This is a book of the female giggling that terrifies men” \n                                                                               James O’Hern\, poet. \n“We propose to slow down fast\, a toda raja\, before it is too late\, before the nauseating speeding up of (our) destructiveness kills us all. We can perform it daily and slowly awareness that others are be doing it too will come. \nTune into the Raja\, the slit\, the opening\, the tear between your legs—to take its pulse. Slip out of time and slide into the cosmic current. Wiggle loose from the grip of the worldview based on monetary currency and swim the laps of what we really are. \nTo slow down as a symbolic/active gesture is to bring back the notion of paradise on earth. Paraíso (para-iso)\, paradise\, is to stop and lift the soul.” \n¿Qué se construye con un detenimiento y una elevación? \nEl paraíso\n              Adivinanzas\, 1966\nCecilia Vicuña \nWhat place skirts hazard and is worth the gamble? \nParadise\n Riddles\, 1966\nCecilia Vicuña \n                                (Translated by Rosa Alcalá) \n  \nthis event is organized by Clara López Menéndez with the support of Calarts and the Herb Alpert Award \n  \nCecilia Vicuña’s work has addressed ecological destruction\, human rights\, and cultural homogenization\, since her first poems and paintings\, made in Chile during the 1960s. Her performances and installations\, such as the Quipu (created in nature\, streets\, and in museums)\, combine ritual and assemblage elements in a practice that Vicuña calls lo precario (precariousness): transformative acts that bridge art and life\, the ancestral and the avant-garde. Her paintings\, poetry\, and Palabrarmas (prints and collages that create new meanings by decomposing signifiers in words) all propose a free and futuristic vision considered pioneering indigenous decolonization. Her work can be found in the collections of museums such as the Guggenheim and MoMA in New York\, the Tate Modern\, London\, MoMA and the Guggenheim Museum in New York and the Museo Nacional de Bellas Artes in Santiago\, Chile. Her first retrospective exhibition\, Veroir el Fracaso Iluminado/Seehearing the Enlightened Failure\, organized by the Witte de With Center for Contemporary Art in Rotterdam\, the Netherlands\, opened on May 26 th\, 2019. \n  \nCamila Marambio/ Bio according to Goldin+Senneby \nShe is 68% Southern European\, 10% Native American and 0.2% Scandinavian according to 23&me. \nShe was part of a magic circle according to Juan Esteban Varela. \nShe set up a laboratory for making time according to visitors at the IMA in Brisbane. \nShe has developed a method to communicate with beavers according to a peer-reviewed science journal. \nShe has stolen part of an artwork at Moderna museet in Stockholm according to an anonymous source. \nShe flatlined twice according to doctors. But is still alive according to multiple sources. \nShe is developing an ecology of the soul according to Cecilia Vicuña. \nShe is queering cancer according to Nina Lykke. \nShe is a character in the novel Headless according to her own account. URL:https://www.h-r.la/event/lanzamiento-en-los-angeles-de-slow-down-fast-a-toda-raja-por-cecilia-vicuna-y-camila-marambio-book-launch-of-slow-down-fast-a-toda-raja-by-cecilia-vicuna-and-camila-marambio/ 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/2020/01/Camila-y-Cecilia.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200305 DTEND;VALUE=DATE:20200307 DTSTAMP:20260408T013305 CREATED:20200220T210133Z LAST-MODIFIED:20200220T210955Z UID:5048-1583388000-1583474399@www.h-r.la SUMMARY:LEV ABRAMOV: THE HUNT DESCRIPTION:LEV ABRAMOV\nTHE HUNT \nMARCH 5 2020\n8-10PM \nLev Abramov returns to Human Resources with THE HUNT\, a two hour duration work. \n‘Please note that due to the extreme nature of this piece\, discretion is advised.’ \nwww.levabramov.com URL:https://www.h-r.la/event/lev-abramov-the-hunt/ ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2020/02/LEVABRAMOV_THEHUNT-e1582232703752.png END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200307 DTEND;VALUE=DATE:20200309 DTSTAMP:20260408T013305 CREATED:20200302T192356Z LAST-MODIFIED:20200307T071729Z UID:5083-1583560800-1583647199@www.h-r.la SUMMARY:Fagedelics + Robertitx DESCRIPTION:  \n \nDOORS: 8PM \nELIAS: 9PM \nMOOD KILLER: 10PM \nFAGEDELICS: 11PM \n$10 \n  URL:https://www.h-r.la/event/fagedelics-robertitx/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20200308T180000 DTEND;TZID=America/Los_Angeles:20200308T200000 DTSTAMP:20260408T013305 CREATED:20200307T191217Z LAST-MODIFIED:20200307T191310Z UID:5118-1583690400-1583697600@www.h-r.la SUMMARY:TOUCH WORKSHOP: Touching\, Feeling\, Transmission. DESCRIPTION:TOUCH WORKSHOP \nTouching\, Feeling. Transmission\n \nHUMAN RESOURCES\nSunday March 8\n6pm – 8 pm\n410 Cottage Home St\, Los Angeles\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nOn Touch is a workshop developed by artist Anna Betbeze to explore gestures of touch\, and the extension of such gestures by creating and using sensitive prosthetics. The workshop was taught at Yale University in 2018 and Cal Arts 2019. The Human Resources edition is exciting because it is not at a school! The structure will be more open. \nAfter his films were banned by the communist party in 1971\, Czech surrealist Jan Svankmajer conducted a series of tactile experiments with a group of artists in Prague. The experiments were not for the blind\, but for the seeing. Simple objects were built for tactile and erotic stimulation; engaging the imagination through memory\, fantasy\, psychoanalysis\, and synesthesia. The results of the experiments were outlined in “Touching and Imagining\,” an artist book published in an edition of 5. The book circulated through Europe\, hand to hand\, with the idea that you cannot censor or ban touch. Betbeze became interested in Svankmajer’s tactile experiment and traveled to Prague in the Spring of 2018 to meet with Svankmajer himself and talk about these experiments. This was the impetus for developing On Touch. The desire to tap into the deep knowledge and aesthetic potentiality of the touch sense and the feeling body. To critique the hegemony of the visual cortex\, to gesture away from ocularcentrism\, to understand more fully our under-examined senses. \nDuring the workshop\, participants first explore the embodied gesture of touch in relation to materiality. Participants bring in tactile materials to be analyzed\, solely through touching them. An eccentric group of materials is required. The participants will combine materials into tactile\, or haptic arrangements. Arrangements will be touched without access to vision: blindfolded or in the dark. Participants make note of sensorial\, mimetic\, psychosexual\, or confounding sensations. \nThe second part of the workshop will extend the gesture of touch from the organic body into a mechanical extension. The hinged action of a finger or rotary motion of a wrist could be amplified through the attachment of a handcrafted prosthetic. Participants will be asked to design bodily extensions\, and to consider how a prosthetic might transfer sensation to the proprioceptive body. How might we extend our touch into inanimate objects and still feel? Can we create a sensitive prosthetic? How does a hairbrush\, a towel\, or a doorknob act as a sensitive prosthetic\, not only transferring sensation to the user but performing as a conduit between bodies? \nWe will then return to the idea of sensation. Participants will organize experiments into a time-based concept or performance. A performance organized around feeling rather than vision and the sensation of the blindfolded performer. URL:https://www.h-r.la/event/touch-workshop-touching-feeling-transmission/ END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200313 DTEND;VALUE=DATE:20200319 DTSTAMP:20260408T013305 CREATED:20200218T085044Z LAST-MODIFIED:20200314T225720Z UID:5041-1584079200-1584511199@www.h-r.la SUMMARY:Marcia Bassett\, Alison O' Daniel\, Kathleen Kim\, Angel Chirnside\, Varese Group DESCRIPTION:so·cial res·i·den·cy\nthe fact of living in a place with living organisms   \nDue to public health concerns around the spread of coronavirus\, Human Resources has made some adjustments to upcoming programing.  Social Residency will proceed with an opening Friday March 13 from 8-11pm. We have cancelled the performances that were a part of that event. \nBy appointment only\, until 3/20\, pending further notice.  \nIdeas as inventions\ncalled artifacts [Buckminster Fuller]\nSocial Residency is an artifact\nCalled ideas as notes \nRevealing threads\, bleeds\, crossings\, streams of conscience\nFrom a group of artists housed virtually\nExchanging notes\nProcessing\na single part\na reference point\na collective meeting\na window into\nan inter-related experience\nPresently formulating\nan error\, a filter\, a trial\, a misunderstanding\, a slur\,\na natural and artificial sound colliding\nTrying to relate\nconfusion\, vision\, miscommunication\nliteracy\, clarity\, exposure\nA variable non-static artifact \nuntune and Human Resources present Social Residency\, March 13 – 17 – an all new iteration of what initially began in 2017 at untune with Alison O’ Daniel\, Kathleen Kim\, Marcia Bassett\, and Angel Chirnside.  Joined by Fiona Connor and other members of the Varese Group\, artists reconstruct separate ideas involving tone\, slur\, entropy\, action\, and residency under the binding umbrella of Social. \nSocial Residency attempts to shift the structure of an artist residency into a process – one that develops\, much like a group exhibition does – through ongoing conversations\, discussions\, feedback\, and exchanges\, with emphasis placed on the interactions between individual process and group interventions that have formulated remotely. \nMarcia Bassett\, given the concept Social Entropy\, explores the idea of social theory where social and natural worlds have constantly shifting relationships.  Sound collected from participants and the environment will be assembled\, collaged\, processed and transformed into a quadraphonic sound installation.  She will be activating her installation with a live performance on Saturday March 14th\, 9pm. \nThroughout the exhibition (at times TBA)\, Alison O’ Daniel\, given the term Social Tone\, will be processing a series of Skype sessions – a live collaboration with hard of hearing friends where repeated\, indecipherable\, and filtered communication of parts of her film script will then be utilized as new text\, dialogue and sound within the script. \nSocial Slur presented by Kathleen Kim\, a prolific advocate for civil and immigration rights\, will present an impromptu dialogue on social justice themes present in her work while allowing for sound improvisation involving audience participation to blur and bleed into the conversation – a starting point for communication about social issues.  This will take place on Sunday March 15\, 4-6pm followed by a cosmic grooving with an Avant Jazz ensemble later in the evening at 8pm\, providing a capstone to Social Slur. \nAnd as most stories have a beginning\, middle\, and end\, Angel Chirnside will prove otherwise. Intercepting with Bassett’s relational intersections\, Chirnside provides the most significant building block to Social Action – literacy.  In a participatory intergenerational (kid-friendly) reading room\, she will facilitate storytelling with visitors\, with special attention to kids\, utilizing colorful felt cutouts she has made\, with no scripted story in mind\, that can be rearranged by visitors to tell new stories with varied outcomes.  The felt pieces provide catalysts for a variety of narratives. You’ll be able to find her in the reading room at various times between 11am and 1pm on the 14th\, 15th\, and 16th. \nBringing forth and integrating the very essence of the term Social Residency\, we are also extending a warm welcome to the Varese Group\, founded in 2017 by Fiona Connor with an intention to meet consecutively until 2021 in Northern Italy.  Taking the form of one-week symposiums\, the group consists of artists\, designers\, architects\, writers\, and curators\, engaging in dialogue and conversation about ideas and their projects\, intercepted by shared meals and excursions. The materiality of location is a central aspect to their exchanges.  Every year a press release is produced (as the only public presentation) – this years iteration will be presented in this show as well as a screening of Ten Minutes in Binio by Sasha Portis that is comprised of a collection of 1 minute videos taken by members of the group when they met last year.  The screening will take place Saturday\, March 14 – stay tune for exact time. \nBios \nMarcia Bassett is a NYC-based musician and multi-media artist. An artist whose alternately shimmeringly beatific and uncannily intense work has resonated through the underground world\, Bassett is the exterminating and vivifying force defying boundaries of noise\, free drone and dark psychedelia to arrive at a place of heavenly radiance and hellish intensity. Working with synthesis\, processed field recordings\, electric guitar\, electronic experimentation and acoustic instruments\, under the moniker Zaïmph\, she seeks to transform\, re-imagine and find new meaning within established structure. Her solo recordings appear on a number of independent USA and European record labels\, as well as her own private-press label Yew Recordings. Bassett frequently collaborates and records one-to-one with musicians living in the USA and Europe; collaborators include Samara Lubelski\, Bridget Hayden\, Barry Weisblat\, Bob Bellerue\, Helga Fassonaki\, Jenny Graf and Margarida Garcia. Additionally\, Bassett is an active participant in ensembles that explore improvised sound and visual scores.  She has been an active member of Andrew Lafkas’ large ensemble Alternate Models; the group presented “Two Paths with Active Shadows Under Three Moons and Surveillance\,” at Experimental Intermedia and Eyebeam\, NYC; Bassett has also contributed to “Gen Ken’s Supergroup” performing at PS1 Solid Gold and Experimental Intermedia. \nRecent solo and collaborative presentations of her work include “Transitory Freezing of Perpetual Motion” collaborative improvised sound performance with Jenny Graf and dancers at Here-10 Evenings Festival\, Sweden; “Field Recording with Zaïmph”\, BOMB magazine; “Out of Line: Narcissister” live improvised sound interaction with the performance\, High Line\, NYC; “Ed Atkins: Performance Capture” at the Kitchen NYC; composition and performances of the score “One Two Sides Dirty\,” part of Helga Fassonaki’s Khal project presented at galleries in the US and New Zealand; and “Ten Ways of Doing Time”\, 2013\, Single Channel Video\, written and directed by James Fotopoulos and Laura Parnes with original soundtrack by Marcia Bassett. \nhttp://www.marciabassett.org/ \nAlison O’Daniel is a visual artist and filmmaker. She has exhibited internationally at the Hammer Museum\, Los Angeles; Garage Museum of Contemporary Art\, Moscow; Centre Pompidou\, Paris\, FR; Centro Centro\, Madrid\, Spain; Bemis Center for Contemporary Arts\, Omaha; Shulamit Nazarian\, Los Angeles; Art in General\, New York; Samuel Freeman Gallery\, Los Angeles; Centre d’art Contemporain Passerelle\, Brest\, France; Tallinn Art Hall\, Estonia. She is a recipient of the 2019 Louis Comfort Tiffany and Creative Capital awards\, and has received grants from the Rema Hort Mann Foundation; Center for Cultural Innovation; the California Community Foundation; and Franklin Furnace Fund. She has attended residencies at the Wexner Center Film/Video Studio Program\, the Fine Arts Work Center in Provincetown\, and the Skowhegan School of Painting and Sculpture. Writing on O’Daniel’s work has appeared in The New York Times Magazine\, Artforum\, Los Angeles Times\, BOMB and ArtReview. Her film\, The Tuba Thieves\, was supported by the Sundance Creative Producing Lab and she was included in Filmmaker Magazine’s 25 New Faces of Independent Film. She is represented by Commonwealth and Council in Los Angeles. \nKathleen Kim is an experimental musician and composer who creates solo work as well as collaborative work with LA Fog and SheKhan. She has performed in joint projects in museums\, galleries and venues\, nationally and internationally. She co-founded Human Resources Gallery with her brother Eric Kim along with Giles Miller\, Dawn Kasper and Devin McNulty. Kathleen is also a full-time professor of law at Loyola Law School and a nationally-recognized scholar of critical theory perspectives on immigration and human trafficking. She is co-author of the leading casebook on human trafficking. From 2013-2016 she served as a Los Angeles Police Commissioner and was a gubernatorial appointee to the first statewide California Anti-Trafficking Task Force. In 2014\, Los Angeles Magazine named her one of Los Angeles’ ten most inspiring women. In 2016\, The National Jurist selected her as one of twenty law professors “Leaders in Diversity.” She was a recipient of the Judge Takasugi Public Interest Fellowship\, Skadden Fellowship and Immigrants’ Rights Teaching Fellowship at Stanford Law School. \nFrom Auckland\, New Zealand\, Angel Chirnside has been making queer noises in fits and starts for the past twenty years. They have had various aliases throughout that time\, most notably Jane Austen\, their long-running solo sound project which at various times has referenced animal noises\, anxiety and accordions. Born under a Libra stellium\, Angel prefers to collaborate and many of their happiest times musically have been in bands\, including: P.U.S.H\, Avanti Maria\, It Hurts\, Currer Bells and Tea Dust. In the early-mid 2010s they got into soundtracking archival film\, co-curating a series of live cinema events with Nga Taonga Sound and Vision\, the New Zealand Film Archive. This was a joyous convergence of their various interests in archival research\, amateur filmmaking and background music. These days\, Angel is pretty happy just staying cool and getting by in their job as a children’s librarian in Vancouver\, Canada\, but they still sometimes head out to howl at the moon when the time is right. Sometimes this involves playing in the ensemble Gamelan Gita Asmara. \nhttps://bluestockingsvioletpages.wordpress.com \nVarese Group\nwww.varese.group URL:https://www.h-r.la/event/social-residency/ 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/2020/02/social_residency2.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200314 DTEND;VALUE=DATE:20200316 DTSTAMP:20260408T013305 CREATED:20200226T055513Z LAST-MODIFIED:20200313T165806Z UID:5064-1584165600-1584251999@www.h-r.la SUMMARY:Varese Group screening / Marcia Bassett - Social Entropy DESCRIPTION:Left:  Varese Group\, film still\, Ten Minutes in Binio\, 2019  /  Right: Marcia Bassett\, photo credit – Jennifer Braun\nCANCELLED: Screening on Saturday March 14 \nIn place of the one-time screening by Varese Group\, Ten Minutes in Binio will be screened throughout the gallery hours (11am-5pm) followed by a video and a quadraphonic sound installation by Marcia Bassett\, and Skype sessions conducted by Alison O Daniel. \nVarese Group‘s Ten Minutes in Binio is a series ten 1-minute videos taken by members of the group when they met last year in Northern Italy. This is the third iteration of a project organized by Sasha Portis. Each year all are invited to contribute a video that will be screened on the last day of Varese Group\, with the following parameters: one minute in length\, a single shot\, static (no moving or zooming)\, and no editing. The clips capture day-to-day experiences as members respond to their temporary environment.\nwww.varese.group \nMarcia Bassett‘s Social Entropy Extended – has been converted from a live performance to a quadraphonic sound installation. Transformed voice and collaged sounds taken from environmental\, natural and electronic sources will be manipulated and extended in a series of sound events. Bassett invited six women to contribute voice responses to the theme of Social Entropy. These voices along with a collection of sounds that capture day-to-day moments and personal experiences submitted by the other Social Residency participants and Bassett were worked into the quadrophonic piece that is presented here as an installation. The live performance will extend that process to a durational length that is meant to be observed and experienced as a social gathering where one may choose freely to converse\, observe and move within the performance space as slowly evolving waveform transformations and isolated sound capsules reveal themselves. The live event will embrace social interaction\, ritual gestures and serendipitous configurations that take place through extended time intervals. Bassett is very grateful for the response from the six women who contributed voice to this project: Bridget Hayden\, Áine O’Dwyer\, Crystal Penalosa\, Ursula Scherrer\, Jenny Graf Sheppard\, and Eva Sidén.\nhttp://www.marciabassett.org/ URL:https://www.h-r.la/event/varese-group-screening-marcia-bassett-social-entropy/ CATEGORIES:one-time event at HR ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2020/02/SatMarch14_varese_bassett.png END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200315 DTEND;VALUE=DATE:20200317 DTSTAMP:20260408T013305 CREATED:20200227T015500Z LAST-MODIFIED:20200313T173902Z UID:5055-1584252000-1584338399@www.h-r.la SUMMARY:Kathleen Kim - Social Slur (remote participation) DESCRIPTION:Sunday March 15\, 2020\nAs part of the Social Residency exhibition\, untune is proud to welcome an event organized and presented by Kathleen Kim: a public forum is re-cast here as a small workshop conducted via zoom. \n4-6pm Group Dialogue and Open Jam (email info at humanresourcesla dot com to join us via Zoom)\n8-10pm Live Improv Performance with Wynne Bennett\, Guillermo Brown\, Kelly Coats\, Orlando Greenhill and Kathleen Kim \n\n4-6pm Group Dialogue and Open Jam\n \nKathleen Kim adds Social Slur to Untune’s Social Residency. The term arose in conversation with Helga Fassonaki\, the creator of Social Residency. At the time\, Kathleen considered the term a playful albeit literal alliteration. The ambiguous connotation of slur also seemed broad enough to include the group dialogue on social justice themes blurred with music improvisation\, that Kathleen contemplated. Later conversations with Helga invoked the multiple meanings of “slur\,” from music symbol\, inebriated speech\, to racial epithet. A new friend\, Jennifer Whitson\, social psychologist and professor at UCLA\, studies power and control in social regulation and the use and recasting of slurs within marginalized groups. We hope she and you join the conversation and explore remote connection with us. Bring your ideas and instruments! (A few instruments will be made available for use by attendees.) \nCancelled: 8-10pm Live Improv Performance\n \nSocial Slur ends with a capstone performance by Los Angeles music luminaries Wynne Bennett\, Guillermo Brown\, Kelly Coats\, Orlando Greenhill and Kathleen Kim in a first-time combo. \nWynne Bennett is a virtuoso on keys as well as music composer and producer for Twin Shadow\, Janelle Monae and many others. Legendary drummer Guillermo Brown has worked with Reggie Watts\, William Parker\, and David Ware\, to name a few\, and is also vocalist\, writer and producer for his project Pegasus Warning. \nOrlando Greenhill\, a master of contrabass and electric bass\, is a prolific artist whose discography is so wide ranging it is genre bending and too long to summarize. \nFlutist Kelly Coats incorporates voice and effects in her sublime solo music and with groups LA Fog\, SheKhan\, Doctor 9 and Mi Grupo Favorito. \nKathleen Kim is a violinist and experimental composer who plays and records solo and with groups LA Fog and SheKhan. Kelly and Kathleen are longtime collaborators whose music has been featured at the Whitney Biennial and the Venice Biennale among others. URL:https://www.h-r.la/event/kathleen-kim-social-slur/ 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/2020/02/13th-A-and-Racial-Justice-Conference-Chicago-Kent-2019-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200319 DTEND;VALUE=DATE:20200322 DTSTAMP:20260408T013305 CREATED:20200227T074341Z LAST-MODIFIED:20200327T054414Z UID:5070-1584597600-1584770399@www.h-r.la SUMMARY:Khal Launch - 2 Day Event (cancelled/postponed) DESCRIPTION:This event is postponed until further notice. \n2 day publication launch and performance event\nThursday March 19\, 7-11pm  (launch / performances)\nFriday March 20\, 7-11pm (launch / performance / dinner) \nHelga Fassonaki began the Khal project in 2014 while living in Tabriz\, Iran for a month. As a visual artist in Iran\, what she was able to share in public was restricted. Furthermore\, as a female performing artist\, the use of her voice in public performance was restricted. \nAfter the establishment of the Islamic Republic of Iran in 1979\, Ayatollah Khomeini “condemned all forms of music\, other than classical and traditional Persian music” as being corrupted and influenced by Western culture\, and therefore\, forbidden. During this time\, Khomeini also forbade women from singing solo in public because of “the seductive quality of the female voice”. \nSince performing as she chose was illegal in Iran\, Fassonaki sent compositions in the form of sculptural scores created in Tabriz to sixteen female artists and musicians living in different cities and parts of the world. The concept being that the scores be interpreted and performed publicly by these artists in lieu of Fassonaki’s ability to do so. \nThese “living scores” were then passed on to other participants to be interpreted and performed\, creating in the process an open book of socio-spatial exchange. Iterations of Khal were exhibited at Glasshouse (Brooklyn\, NY)\, Los Angeles Contemporary Archive (Los Angeles\, CA)\, Disjecta (Portland\, OR)\, the Auricle Sonic Arts Gallery (Christchurch\, NZ)\, the 2015 Audacious Festival of Sonic Arts (Christchurch\, NZ)\, Audio Foundation (Auckland\, NZ)\, Viewfinder (Auckland\, NZ)\, and Nga Taonga Sound & Vision (Auckland\, NZ). As the series unfolds from one event to another\, a cumulative composition of voices and actions will continue to grow until the law inhibiting artistic expression ceases to exist. This ongoing exchange and peaceful protest refers to the derogatory use of the Farsi word “khal\,” coined to describe the passage of Iranian pop music in the form of homemade mixtapes. Once pop music was no longer being produced or sold in Iran after the Islamic Revolution\, the Los Angeles Persian community sent mixtapes to residents in Iran so they could listen to their own country’s pop stars. Fassonaki remembers partaking in this movement when she was a kid residing in Los Angeles.  The steady flow of cassettes soon became state-approved in Iran\, an example that gentle poetic actions can push through governing law. \nAfter years of gathering and communicating with a growing number of participating voices\, Fassonaki is thrilled to present a dedicated publication – a living archive of drawings\, interviews\, compositional notes\, and recordings\, published by Sming Sming Books and  Drawing Room Records. \nHuman Resources is pleased to present a two-day publication launch and exhibition on March 19 and 20\, featuring the publication hot off the press\, an installation of sound\, artifacts and drawings\, a video screening featuring one of Maryam Bagheri Nesami’s interpretations for “One Song Two Sides Bold Breathing – The Missing Score”\, and a video archive featuring public performances of every artist who performed one of the scores. \nPreserving Fassonaki’s original idea where each presentation of Khal is a new iteration as well as an ongoing archive\, the launch will include live performances by new artists who have been chosen by some of the original recipients of the scores. The two-day launch will conclude with a special dinner hosted at Human Resources that will mark the beginning of spring and the Persian holiday of Nowruz.   Details on both events will be announced soon. \nThe original recipients of Fassonaki’s scores include Matana Roberts (New York\, NY)\, Kelly Jayne Jones (Manchester\, UK)\, Kali. Z. Fasteau (New York\, NY)\, Gabie Strong (Los Angeles\, CA)\, Christina Carter (Austin\, Texas)\, Chiara Giovando (Los Angeles\, CA)\, Heather Leigh (Glasgow\, Scotland)\, Rachel Shearer (Auckland\, NZ)\, Jenny Gräf (Copenhagen\, Denmark)\, Purple Pilgrims (Coromandel\, New Zealand)\, Angel Chirnside (Auckland\, NZ)\, Marcia Bassett as Zaïmph (Brooklyn\, NY)\, Ashley Paul (London\, UK)\, Kathleen Kim (Los Angeles\, CA)\, Rachael Melanson as Ro Sen (London\, UK)\, and Shana Palmer (Baltimore\, MD). \nAdditional participating artists include Maryam Bagheri Nesami (Tehran\, Iran / Auckland\, New Zealand)\, Gemma Syme as Instant Fantasy (Christchurch\, New Zealand)\, Fariba Safai (San Francisco\, CA)\, Sarah Kelleher as Misfit Mod (Christchurch\, New Zealand)\, Beth Ducklingmonster (Auckland\, New Zealand)\, Tina Pihema as Piece War (Auckland\, NZ)\, Yasi Alipour (New York\, NY)\, Nazanin Daneshvar (New York\, NY)\, Julia Santoli (New York\, NY)\, Suki Dewey (Califon\, NJ)\, Laura Sofia (New York\, NY)\, Ella Chau Yin Chi as French Concession (Christchurch\, New Zealand)\, Elizabeth Mary Maw (Auckland\, New Zealand)\, Mira Billotte as White Magic (Los Angeles\, CA)\, Hermione Johnson (Auckland\, New Zealand)\, Zahra Killeen Chance (Auckland\, NZ)\, Jo Burzynska as Stanier Black-Five (Christchurch\, New Zealand)\, Helen Greenfield as Mela (Christchurch\, New Zealand)\, Joan Sullivan (Baltimore\, MD)\, twelve anonymous artists (Tabriz\, Iran)\, Jessika Kenney (Los Angeles\, CA)\, Pauline Lay and Ang Frances Wilson (Los Angeles\, CA)\, and more as the series continues. \nThe publication of this project was made possible\, in part\, by a recently awarded Foundation for Contemporary Arts Emergency Grant. \n__________________________ \nHelga Fassonaki is a multi-disciplinary artist and curator of Iranian-Azeri decent\, born and currently residing in Los Angeles. Her work crosses fields of nature\, sound\, video\, performance\, and installation. She performs solo as yek koo\, a project begun in 2006\, exploring the body as a vehicle for the movement of sound and duo in Métal Rouge (with Andrew Scott)\, formed in 2005.  In 2017\, Fassonaki founded untune\, a socio-curatorial project with a series of programming dedicated to the term “Social“. Her work solo and in collaboration\, has been presented at MOCA (Los Angeles)\, LACA (Los Angeles)\, Whitney Museum of American Art (as part of the Whitney Biennial 2014)\, LACE galleries (Los Angeles)\, Human Resources (Los Angeles)\, Audio Foundation (Auckland)\, Blue Oyster gallery (Dunedin)\, Box Gallery (Los Angeles\, CA)\, Disjecta (Portland)\, Zebulon (Los Angeles)\, Café Oto (London)\, Vox Populi (Philadelphia) among many others.  Fassonaki is currently working on an ongoing series called 100’ Circles\, which attempts to address the changes/transitions/cycles (historic\, social\, natural\, environmental) of specific land masses around the world. So far she has created a 100’ Circle in Vanier Park\, Vancouver;  Joshua Tree\, California; and the Berkshires\, Western Massachusetts. URL:https://www.h-r.la/event/khal/ LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012 CATEGORIES:exhibition ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2020/02/KHAL_COVER.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20200319T190000 DTEND;TZID=America/Los_Angeles:20200319T230000 DTSTAMP:20260408T013305 CREATED:20200305T020006Z LAST-MODIFIED:20200327T054309Z UID:5087-1584644400-1584658800@www.h-r.la SUMMARY:Khal Launch - Performances (cancelled/postponed) DESCRIPTION:image credit: video still from Angel Chirside’s performance of score “Hypocrisy”\, videotaped by Paula Booker\, 2015\n\nThis event is postponed until further notice. \n7pm – Doors/Launch Preview (gallery will also be open from 11am – 5pm)\n8pm – Performances \nSwing State (Angel Chirnside and Helga Fassonaki) will perform Khal score Hypocrisy\nJessika Kenney will perform Khal score Outside In\nWhite Magic (Mira Billotte) with Kathleen Kim on violin will perform Khal score Hum Hum Hum Hum Hum\nPauline Lay and Ang Frances Wilson will perform Khal score Armour  \n \nSwing State’s brazen punk-jazz intention emerged in the lull of summer 2010\, somewhere between a pink beginning and a meditative ending. Over the past decade the notions have only accumulated. Angel Chirnside\, the original recipient of the Khal score “Hypocrisy”\, presented Swing State with an opportunity to reinterpret the score and rehearse live as duo for the first time. \nJessika Kenney is an award-winning vocalist\, composer\, sound artist\, and teacher\, working for the last 25 years in realms of the subtle melody\, with attention to the physicality of sound\, translation processes\, and perceptions of context. Kenney’s music can be heard on Ideologic Organ\, Black Truffle\, Weyrd Son\, SIGE\, and bandcamp. She has performed her own compositions and those of many colleagues\, as well as music of Annea Lockwood\, Hossein Omoumi\, Morton Feldman\, Simone Forti\, Giacinto Scelsi\,  Jarrad Powell\, Trimpin\, Nartosabhdo\, and many others\, informed by the atmospheres and techniques absorbed through the practice of Javanese sindhenan and Persian radifs. Kenney’s ongoing collaborations with Eyvind Kang have been described as “serious\, refined music” by the New York Times. Her involvements in noise\, metal\, electronic music and minimalism include work with Lori Goldston\, Wolves in the Throne Room\, ASVA\, Alvin Lucier\, and on the Sun City Girls last record. Her 2015 gamelan-based LP “ATRIA” was released by the avant-metal SIGE label\, alongside a large-scale\, site-specific and interactive sound\, calligraphic score\, sculpture\, and video installation filling five rooms at the Frye Art Museum in Seattle. Kenney taught from 2007-2015 at her alma mater Cornish College of the Arts in Seattle. She studied sindhenan with Hajjah Nyi Supadmi in Central Java from 1997-2000\, Tembang Sunda with Hajjah Ibu Euis Komariah in 2009\, and since 2004 studies radifs with Ostad Hossein Omoumi (UC Irvine) \, with whom she recorded ‘Voices of Spring’ 2007. Kenney received the James Ray Distinguished Artist Award in 2014\, as well as the Stranger Genius Award in 2013 and the Korean American Coalition of Washington Artistic Achievement Award with Eyvind Kang in 2014\, and the Lionel Hampton Festival Best Jazz Vocalist Award in 1992. Kenney is a VoiceArts adjunct faculty member at California Institute of the Arts since 2017. \nWhite Magic is artist\, vocalist\, and composer Mira Billotte\, performing with accompaniment or solo\, the sound ranges from psychedelia to meditative\, drifting from traditional to experimental folk\, a soulful\, mystic music.  Billotte’s composition for Hum\, Hum\, Hum\, Hum\, Hum involves a meditative improv to open the textural landscape of cycling sound \nPauline Lay is an instrumentalist\, composer\, and events organizer in Los Angeles. Apart from her solo improvised violin and electronics performances\, she currently performs and collaborates with other musicians in varying iterations and genres from duets to larger ensembles.\nAngela Frances Wilson is a Los Angeles born composer\, with a practice built at the intersection of healing art\, and improvisational music. Using modern digital and analog mediums\, they investigate modes of perception\, and the impact of hybrid space. \nUsing minimal and intentional affecting of violin\, amp\, feedback\, flute\, and synth\, Ang & Pauline investigate modes of perception and the impact of uncertain space. \n  URL:https://www.h-r.la/event/khal-launch-opening-performances-march-19/ LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012 CATEGORIES:one-time event at HR ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2020/03/hypocrisy_video_still_angel_chirnside_videotaped_paula_booker.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20200320T190000 DTEND;TZID=America/Los_Angeles:20200320T230000 DTSTAMP:20260408T013305 CREATED:20200305T064516Z LAST-MODIFIED:20200327T054128Z UID:5105-1584730800-1584745200@www.h-r.la SUMMARY:Khal Launch - Performance + Dinner (cancelled/postponed) DESCRIPTION:This event is postponed until further notice. \n7pm – Doors (gallery will also be open from 11am – 5pm)\n7:30pm – 8 Pillars – A Free Score performed by Jessika Kenney and Helga Fassonaki\n8-10pm – Dinner \nThe two-day Khal publication launch will conclude on March 20th with a special performance of 8 Pillars – A Free Score and a celebratory feast marking the beginning of spring and the Persian holiday of Nowruz. \n\n\n\n\n \nWorking with the idea of a score as a living force containing the power to shape and reshape what enters our senses\, Helga Fassonaki reinterpreted one of her scores 8 Pillars (originally created for New Zealand artist Rachel Shearer) into a performance composition for seven women. It was filmed on Independence Day 2015 in a forested area in Oldwick\, New Jersey. The women (each representing a pillar) move in a slow and deliberate motion mirroring their meditative wordless humming of the “Star Spangled Banner” as they form a circular shape around the forest trees. The cameraperson is also one of the pillars whose motion and view is revealed through another camera frame that remains still\, documenting the process of a composition being created but never finished. The group voices fade as one voice (the missing eighth pillar) continues chanting the anthem until the song becomes unrecognizable. \nPresented as a kind of paradox\, the 8 Pillars film composition explores two sides of freedom: personal vs. political\, whilst stripping content from song until the sacredness of a singular voice is revealed. A solo voice whether banned by political law or censored by our own fears is a vessel for a powerful recalcitrant freedom\, one that is always vulnerable to attack no matter how “free” a country is. \nThe film will be screened during the launch and features Yasi Alipour\, Julia Santoli\, Gabie Strong\, Nazanin Daneshvar\, Laura Sofia\, Suki Dewey\, Helga Fassonaki\, and Julia Santoli \n \nJulia Santoli and Helga Fassonaki performed the second iteration of the 8 Pillars – A Free Score at Disjecta in Portland\, Oregon in September of 2015.  Santoli humed the “Star Spangled Banner”\, anthem until it became further unrecognizable as the notes were abstracted into solid tones of color while a spool of connected red\, white\, and blue fabric was transferred from Santoli’s body onto Fassonaki’s. \n7:30pm \nJessika Kenney will join Helga Fassonaki for a third iteration of 8 Pillars – A Free Score at Human Resources. \n8 – 10pm \nDinner will be served buffet style and include traditional Persian foods with vegetarian\, vegan\, and meat options.  Refreshments and desert are included with the dinner. URL:https://www.h-r.la/event/khal-launch-performance-dinner/ LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012 CATEGORIES:one-time event at HR ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2020/03/HR_web.png END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200516 DTEND;VALUE=DATE:20200630 DTSTAMP:20260408T013305 CREATED:20200502T211526Z LAST-MODIFIED:20200502T213401Z UID:5190-1589608800-1593410399@www.h-r.la SUMMARY:Online Seminar: Life In the Iron Mills\, or\, Marxism for (Anti-racist\, Feminist) Artists DESCRIPTION:Join Jennifer Doyle for a series of online seminars on Marxist thought\, as it applies to the life of the artist. This seminar will combine the slow\, close reading of Rebecca Harding Davis’s short story\, “Life In the Iron Mills” (1861) with the study of key concepts in Marxist studies\, accessed through David Harvey’s wonderful series of lectures on Marx’s Capital. The only requirements for this seminar are reading (or listening to) Davis’s story\, and watching Harvey’s lectures. \nRebecca Harding Davis was from Wheeling\, in what is now West Virginia. West Virginia is the only state in the country to have formed by seceding from the Confederacy: it was\, previously\, a part of Virginia. Western Virginia\, at the dawn of the Civil War\, was one of the most intensely industrialized regions in the Americas. It was also home to anti-slavery and pro-labor activism: the region has a fascinating history. One might argue that West Virginia has been paying a price for that — it sits in the American imaginary as the very image of all things backwards and yet has a history of fierce opposition to worker exploitation and unchecked greed. (See\, for example\, John Sayles’s stunning film Matewan). \nWe will focus our discussions on Davis’s story\, unpacking details to access key concepts in Marxist thought. You can’t look at this story\, however\, through traditional Marxist frameworks alone. This is a story in which Blackness figures powerfully and yet obliquely — slavery is the background against which the story of the hyper-exploitation of free-labor is told. Furthermore\, almost all of the immigrant workers in this story have what one might call weird gender. The story is narrated by a figure whose gender is never made legible; it centers on a sculpture of an intensely muscular nude woman which\, to characters viewing it\, can barely be described as womanly. Why? \nThe intention is to sit with the really intense contradictions that shape work in the arts\, and to foster a conversation which supports each person’s sense of their intentions\, their labor and their work\, and which creates a deeper understanding of the ways that Marxist\, anti-racist\, feminist and queer political and creative work inform each other. \nRegister to get a provisional syllabus; a meeting time (on Saturday or Sunday mornings) will be established depending on participant schedules. Meetings will be conducted via password-protected zoom. \nRegister HERE. URL:https://www.h-r.la/event/seminar-life-in-the-iron-mills-or-marxism-for-anti-racist-feminist-artists/ ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2020/05/ARTatBerlin-Das-Eisenwalzwerk-Adolph-von-Menzel-1379074446.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20200802T160000 DTEND;TZID=America/Los_Angeles:20200802T193000 DTSTAMP:20260408T013305 CREATED:20200724T191107Z LAST-MODIFIED:20200724T191107Z UID:5242-1596384000-1596396600@www.h-r.la SUMMARY:CONTEXT-CON Book Launch: Alexandro Segade’s The Context  DESCRIPTION:Please join us for a CONTEXT-CON\, an online book launch (in the form of a Comic Con) event celebrating Alexandro Segade’s new graphic novel The Context\, published by Primary Information in 2020. Register here! \nInterpreting The Context’s superheroes\, special guests include: \nEi Arakawa as Drives \nJennifer Doyle as The Body \nJonah Groeneboer as Form \nMary Kelly as Cathexis \nJennifer Moon as Barelife \nTavia Nyong’o as Objector \nDavid Velasco as Biopower \n  \nFollowed by Alexandro Segade in conversation with scholar andré carrington \nAnd live drawing with graphic novelist Luciano Vecchio \nCo-hosted by Human Resources\, Los Angeles and Participant Inc.\, New York. \n— \nAbout The Context \nThe Context reimagines the superhero comic book as a queer parable of belonging. The story follows six powerful beings from different worlds who find themselves inexplicably adrift together in an otherwise lifeless void: Biopower\, Cathexis\, Barelife\, Objector\, Drives\, and Form. The characters\, each named for a concept drawn from critical theory\, engage one another in skintight fight scenes that often look like sex scenes\, and philosophical debates masked as exposition. \nAs a lifelong fan and a more recent critic of the superhero genre\, artist and performer Alexandro Segade approached his first graphic novel as a solo performance\, acting out all the roles: writer\, penciller\, inker\, colorist and letterer. The Context considers the form of the graphic novel through conceptual\, minimalist\, op art\, and constructivist aesthetics\, while paying homage to the great cosmic comics of the 1970s and ’80s: Silver Surfer\, Legion of Super Heroes\, Green Lantern\, Adam Warlock and X-Men (to name a few). A meditation on group dynamics\, composed of foreshortened figures in flight set against an endless field of stars\, The Context illustrates a vastness that extends past the boundaries of different art forms and ways of being. \nAlexandro Segade is an interdisciplinary artist whose projects span video\, performance\, writing\, drawing\, and comics. Often collaborating with Malik Gaines\, Segade uses genre and theatricality to construct group identities in collectives such as My Barbarian\, A.R.M. and Courtesy the Artists. He is assistant professor of art at Cornell University. alexandrosegade.net \nFor more information\, or to purchase a copy\, visit Primary Information here. You can explore The Context thanks to Artforum. \n— \nBios: \nEi Arakawa is a performance artist based in New York. \nandré carrington is the author of Speculative Blackness: The Future of Race in Science Fiction (Minnesota\, 2016). \nJennifer Doyle is the author of Campus Sex\, Campus Security (2015)\, Hold it Against Me: Difficulty and Emotion in Contemporary Art (2013)\, and Sex Objects: Art and the Dialectics of Desire (2006). \nJonah Groeneboer is an interdisciplinary artist based in New York. \nMary Kelly is an American conceptual artist\, feminist\, educator\, and writer. \nJennifer Moon is an interdisciplinary artist based in Los Angeles. \nTavia Nyong’o is the author of The Amalgamation Waltz: Race\, Performance\, and the Ruses of Memory (Minnesota\, 2009)\, and Afro-Fabulations: The Queer Drama of Black Life (NYU Press\, 2018). \nLuciano Vecchio is based in Argentina. He is the artist of Marvel Comics’ Ironheart\, written by Eve Ewing\, and is the author and artist of Sereno. \nDavid Velasco is a New York-based writer and editor-in-chief of Artforum. \n  \n  \n  \n  \n  URL:https://www.h-r.la/event/context-con-book-launch-alexandro-segades-the-context/ CATEGORIES:online event ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2020/07/THE_CONTEXT_CON_GROUP_SHOT-smaller-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200821 DTEND;VALUE=DATE:20210402 DTSTAMP:20260408T013305 CREATED:20200821T173345Z LAST-MODIFIED:20200914T180506Z UID:5257-1597989600-1617256799@www.h-r.la SUMMARY:Time Space Money Artists in Residence DESCRIPTION:HRLA is pleased to announce the list of artists for the Time Space Money artist in residence program! Between August 2020 and March 2021 we are offering 22 residencies at HRLA and at Actual Size. We received over 200 applications\, and wish we could do more to support the large community of artists who have defined HRLA since we opened our doors in May 2010! \nOur physical space will not be open to the public during this period; we will however\, share a range of projects online and some work will be viewable from the sidewalk outside Actual Size. We are deeply grateful to Actual Size for sharing their space with these artists. \nAimee Goguen\n \nAimee Goguen is a video artist who combines analog video with animation elements. Goguen’s video work is often imaginably about bullying and putrefaction. Goguen co-curated Afterglow: Summer Video Series with Harry Dodge. She has been included in such anthologies as Dirty Looks Volume 4 The Pink Place: On Aimee Goguen’s ‘Tongue Job’ by Dodie Bellamy and The Oxford Companion to Queer Cinema reviewed by William J. Simmons. Goguen has participated in several group shows including ec.dy.sis\, CASSTL\, Antwerp\, Accidentally on Purpose\, Panel LA\, Protuberances\, LAXART\, Things: a queer legacy of graphic art and play\, Participant Inc\, and Escape from Witch Mountain\, White Columns\, NY. She earned her BFA in Film/Video and MFA in Fine Arts at California Institute of the Arts. She lives and works in Los Angeles. \nhttps://aimeegoguen.com \nAmelia Bande + Rachel Higgins\nDrift/Do I Live Inside A Miracle?\, 2019\, collaborative performance with Amelia Bande on a raft Higgins built\, August 08\, 2019\, Fire Island.\nAmelia Bande is a writer\, performer\, music maker and language teacher originally from Chile. She uses text and visuals to create live capsules of intimacy and low-fi musicals. Her solo and collaborative work has been shown at Artists Space\, The Poetry Project\, Storm King Arts Center\, Participant Inc.\, BOFFO Performance Festival\, EFA Project Space and more. She has been an artist in residence at WORM Filmwerkplaats\, The Shandaken Project\, FIAR and Yaddo. She was co-editor of Critical Correspondence\, an online publication of Movement Research. Find me @meliosmelios \nRachel Higgins is an artist and builder based in L.A. She creates sculpture and participatory events using construction materials and the language of corporate design to re-imagine social space. Higgins received an MFA from Hunter College in 2010. Her solo and collaborative work has been shown at Kristen Lorello Gallery NY\, Socrates Sculpture Park\, the Hammer Museum\, EFA Project Space\, among many others. She has been awarded residencies at Socrates Sculpture Park\, Lower Manhattan Cultural Council’s Workspace Program\, Real Time & Space in Oakland\, CA\, Fire Island Artist Residency\, and Tinkledy Springs in Abiquiu\, New Mexico. \nhttps://meliosmelios.tumblr.com/\nhttp://rachelhiggins.com/\nAndrea Carrillo Iglesias\n \nAndrea Carrillo Iglesias (Tijuana\, 1986) is a Mexican artist and graphic designer. Her work combines research and production practices in relation to the political and ethical implications in the production of the image\, exploring the relationship between image\, power\, and knowledge\, and its effects on the ways in which our reality is socially and aesthetically produced. Her practice takes on the form of moving image\, immersive installations\, performance\, and alternative narrative forms. \nCarrillo holds a Master in Design Studies in Art\, Design and the Public Domain from the Harvard Graduate School of Design where she also co-directed FortyK gallery. In 2015 she finished a year of Graduate Studies in Visual Arts at Sandberg Instituut\, Amsterdam. Carrillo has exhibited in Mexico\, Netherlands\, and the United States. Her most recent exhibitions have been; Flat Affect at Deslave Galería\, Califas: Art of the US-Mexico Borderlands at the Richmond Art Center\, An Island of Simulation at the Sackler Museum\, and Parkour by Heart at Massachusetts Institute of Technology. She is currently a member of Coopia\, a trans/in-disciplinary cooperative for the transformation of the territory through explorations of direct democracy. \nhttps://acarrillo.info \nAUSTYN RICH\n \nAUSTYN RICH is from Smyrna\, Georgia. He works bi-coastally. He has performed for d. Sabela grimes\, Lula Washington\, Bill T. Jones and William Forsythe. Austyn is currently presenting his work\, STAY SANE\, a drive-in performance under the current conditions of stay at home. His upcoming work\, 021\, will be created while in residence at HRLA. \nhttps://AUSTYNRICH.COM \nTinkel Binkel Corp \n \nFounded in autumn 2019 AD and before they were born\, Tinkel Binkel Corp.® is a registered trademark of the present times. During a two week slow-train journey through China\, the founders\, BK and AK\, developed a 10-point Manifesto born from their experiences of longing\, communication errors\, and the freeing limitations that come from being stuck to the rail. Using this finely-tuned Manifesto as a foundation and springboard for relating to one another and the whirled at large\, Tinkel Binkel Corp. hopes to proliferate their rhetoric in as many spheres as possible. The Corp. works in several mediums of life\, including conversation\, interview\, identity-switch\, film\, novel\, song\, meal-creation and poem. Their primary means of gathering content is via spying — the fly on the wall talks back! \nhttps://flatjournal.com/flat/geshlider-ko \nChristal Pérez and Karla Ekatherine Canseco\n \nThe performances of Karla Canseco and Christal Perez are situated as rhizomatic investigations – at times taking on the position of a deconstruction of language – the signifiers\, symbols\, bastard associations\, the creation and (eventual) destruction of the Anthropocene\, the analysis of their respective cultures that follow lineages that migrate out of the global south into the deceitful embrace of (necro)capitalism\, the (dis)logic of multiculturalism as a quantifier of change – progress – optimism all while in dialogue (even if refuting\, recapitulating\, rupturing) the myths of aesthetics\, (meta)(sub)culture and (post)(anti)modernism. \nhttps://karlachristal.net \nChristina Catherine Martinez\n \nChristina Catherine Martinez is a writer\, actor\, and comedian based in Los Angeles. The Comedy Bureau has described her live act as “a great bridge between many different disciplines\, including performance art\, stand up\, and clowning”. Her writings on art and culture appear regularly in Artforum\, Texte Zur Kunst\, Art Agenda\, and MOMUS. Her television work includes a series of short films for FX titled “Two Pink Doors” and creative consulting for The Eric Andre Show on Adult Swim. Her book of essays on art\, comedy\, and illness\, titled “Aesthetical Relations” was published in 2019 by Hesse Press. She has received the 2013 Georgia Fee Artist/Writer Residency in Paris\, France\, the 2015 Warhol Foundation International Art Critics Association Art Writing Workshop Grant\, a 2018 inaugural Bar-Fund Artist Grant\, and a 2018 Creative Capital / Warhol Foundation Arts Writers Grant for Short-Form Writing. She has been named a Comic to Watch in 2020 by TimeOut LA. Despite the institutional tone of the previous sentences\, joy and stupidity remain cardinal elements of her work (practice?) \nhttps://christinacatherine.info \nCorey Fogel\n \nCorey Fogel (b. 1977) is a drummer and artist living in Los Angeles\, CA. His practice is based around momentary encounters between music and objects\, textiles\, foods\, and other collaborators. Corey engages the viewer to consider sound as a medium on par with paint and cellulose. He challenges us to consider the contexts in which we create\, store\, and understand sound in performance. \nHis works have been presented at Machine Project\, Los Angeles; Los Angeles County Museum of Art\, Human Resources\, Los Angeles; Redling Fine Art\, Los Angeles; The Wulf\, Los Angeles; The Hammer Museum\, Los Angeles; the Museo de Arte Contemporaneo de Oaxaca\, REDCAT; Los Angeles; and New Music for Strings Festival: Reykjavik. His performance work was also included in J. Paul Getty Museum’s Pacific Standard Time Performance and Public Art Festival and West of Rome’s Trespass Parade. Corey was awarded The California Community Foundation 2014 Fellowship in Visual Arts. Fogel also performs and composes in many rock\, jazz\, noise\, folk\, and chamber music capacities. Recent collaborations include: Julia Holter\, Tashi Wada\, Patty Waters\, Abigail Levine\, Simone Forti\, Raven Chacon\, Yoshi Wada\, Michael Winter\, Robert Blatt\, Maya Dunietz\, John Butcher\, John Russell\, Todd Barton\, Misha Marks\, Brian Allen\, Alexander Bruck\, Patrick Shiroishi\, Liz Glynn\, Chris Speed\, Mark Dresser\, Kathleen Kim\, Ezra Buchla\, Tony Malaby\, John Dieterich\, Carlin Wing\, Sam Mickens. He is currently pursuing his Ph.D in the Integrated Composition\, Improvisation\, and Technology program at UC Irvine. \nhttps://coreyfogel.com \nHande Sever\nImage from “2 or 3 Things I Know About Her\, 2020”\nHande Sever is a research-based artist\, writer and educator who was raised in Istanbul\, Turkey. Her work often takes up her family’s history of persecution to explore divergent lines of inquiries\, including issues of exile and postcoloniality. Sever’s works have been presented at Hauser & Wirth Somerset\, UK; CICA Museum\, Gyeonggi-do\, South Korea; the Museum of Contemporary Art Chicago\, IL; Flux Factory and A.I.R. Gallery in New York; Human Resources\, Visitor Welcome Center and BOX Gallery in Los Angeles\, CA. As a writer\, Sever is committed to articulating the histories and conceptual undertakings of artists and cultural producers belonging to the Majority World\, with a focus on contemporary artistic and architectural practices originating from indigenous communities within Turkey. Her writing has been published by the Getty Research Journal\, the Journal of Arts & Communities\, the Stedelijk Studies journal\, and X-TRA Contemporary Art Quarterly\, among others. She currently teaches at the California Institute of the Arts as part of the Photography and Media Program. \nhttps://handesever.org \nHea-Mi Kim\n \nHea-Mi Kim is an artist working in video\, installation\, and sound. Her work informs power structures around systemic racism and gender roles inhibited by Western society. Born in Seattle\, WA in but raised in the suburbs of Detroit\, MI as a second generation Korean-American\, she was early on exposed to the consequences of her intersectional identity. She is currently exploring how her assimilated identity has informed the mundane vis-à-vis colonization and Asian American history. She received her BFA in Studio Art in New York City from Parsons School of Design in 2018\, and she will be graduating in 2020 with an MFA from the University of California Los Angeles specializing in the New Genres department. \nhttps://heamikim.com \nJackie Amézquita\n \nJackie Amézquita (b. 1985) is a bi-national artist/activist. Amézquita was born in Quetzaltenango\, Guatemala\, and migrated to the United States in 2003. She holds a Bachelor’s degree in Fine Arts from ArtCenter College of Design and an Associate degree in Visual Communications from Los Angeles Valley College. She is an MFA Candidate in the New Genres program at the University of California\, Los Angeles (UCLA) 2022. She is currently living and working in Los Angeles\, California. \nAmézquita’s work explores the psycho-socio-geographical and political interactivity of different ethnic groups. She is interested in exploring the impact that two opposing cultures create on their social environment and how socioeconomic differences between cultures affect the social structure. The types of jobs people do\, the amount of money they can earn\, and the quality of land they occupy are factors which play a role in defining racial groups in society\, each with its own concerns\, interests\, values\, and attitudes. \nAs a result of her experiences as an immigrant woman\, her practice has been influenced by her relationship to borders and the interaction with different cultures around the world. The artist has incorporated the use domestics and construction making techniques to explore a visual language that rebalances the power of socio-political relationships. This practice has allowed her to intertwine historical and contemporary references. \nhttps://jackieamezquita.com \nJackie Beckey\, Rachel Blomgren\, Paul Borman\, Evan Burrows\, Tynan Kerr\, and Sophie Weil\n \nJackie Beckey\, Rachel Blomgren\, Paul Borman\, Evan Burrows\, Tynan Kerr\, and Sophie Weil are multidisciplinary artists and musicians who live and work in LA. The group shares an affinity for creating community-engaged music\, and more often than not appear in non-commercial venues- DIY spaces\, public parks\, infoshops\, community theaters. Their residency at Human Resources will enable their first audio-visual collaboration together\, an ad hoc fruition representing more than a decade of creative affiliation and cross-pollination under many guises. \nhttps://dove-cove.com/ \nhttps://florina.bandcamp.com/ \nhttps://tynankerr.com/ \nhttps://olgaa.bandcamp.com/ \nJasmine Orpilla\n \nJASMINE ORPILLA is an Ilocana/x-American\, performance artist and composer of experimental theatrical sound installations\, in which she activates her living traditional practices of music\, dance and family rituals within the contemporary\, yet ever-eroding frame of her own 1st-generation schism from both Imperialist history and the U.S. military culture of her childhood. An awarded international performer who takes space with renown art\, theatre and opera directors on stages worldwide\, her voice continues to disrupt the status-quo institutions of genre\, gender- and racial- stereotypes she encounters in those spaces today. \nhttps://JasmineOrpilla.com \nJi Soo Chung\n \nJisoo Chung is an L.A.-Seoul based artist working primarily through video\, installation and performance. Her work navigates physical and psychological relationships between individual and systems that are reflected on daily based technology. Influenced by the failure in technology such as linguistic mistranslations and cultural misinterpretations\, Chung uses these failures as a blueprint to subvert the occupied linguistic\, sociocultural systems. Born in Seoul\, South Korea\, Chung received MFA from the University of California Los Angeles in the area of New Genres in 2019\, and BFA from Seoul National University\, Seoul\, in the department of Paintings. Chung’s work has been shown in Los Angeles and Seoul including Monte Vista Project\, L.A.; Tiger Strikes Asteroid LA\, L.A.; Durden and Ray\, L.A.; 1748 adams\, L.A.; Seoul National University Museum of Art\, Seoul; CICA Museum\, Seoul; Dongduk Women’s University\, Seoul; and Dong-shi-sangyoung Screening Project\, Seoul. She was nominated as ArtSlant Prize showcase winner in the New-media category in 2017 and commissioned by Los Angeles County Metropolitan Transportation in 2019 for the New Digital CIPs project. Her work will be presented in a group exhibition held at Korean Culture Center Los Angeles art gallery in 2021. \nhttps://chungjisoo.com \nJorge Espinosa\nphoto credit: Ivonne Guzman 2020\nJorge Espinosa is a Los Angeles based artist\, musician\, educator and designer born in Quito\, Ecuador. He is interested in creating sonic and visual scenarios where he can explore ideas of power\, and the context where such dynamics happens. This is an opportunity for him to reflect on who he is\, and where he stands regarding certain topics. Even though he sometimes uses accurate historical facts as a source\, he is also interested in the fictional side of history. He is not pretending to document a conflict\, but to model a scenario with found elements where a new one can be created. His work is equally informed by radio soap operas and news reports\, and navigates in between music exploration\, the recreation of personal and collective memories through soundscapes and visual scenarios. \nSome of this work is very specific to certain places or audiences since it draws from particular codes and references. Not all pieces should function the same everywhere\, making it interesting to see how they could change depending on who’s the audience and where it’s presented. \nhttps://jorgeespinosam.com \n  \nM. Page Greene \n \nM. Page Greene is a person living in Los Angeles and an interdisciplinary artist. Their drawings and paintings have been exhibited at galleries including Peres Projects\, Stuart Shave/Modern Art and AltCtrlDel as well as institutions including The UCLA Hammer Museum\, The New Museum and Kunsthalle Schirn\, Vienna. Disillusioned by the mechanics of the art market\, they started performing live in alternative venues and producing A/V works under the name Page Person in 2017. \nhttps://www.instagram.com/tv/CDwT27OlttU/?igshid=u4gbxh3rz4x0 \nMar Citlali\, Anthony Robles\, and Frank Gil\n \nMar Citlali\, Anthony Robles\, and Frank Gil are three Mexican-American artists from three different regions of Southern California (The Inland Empire\, Los Angeles\, and Orange County.) Their independent work revolves around vastly different mediums and worlds but they find common ground in collaboration and shared passions for humor and absurdity. \nMar Citlali is an interdisciplinary artist focused primarily on self portraiture and storytelling through writing and different mediums such as food or soundscapes. \nAnthony Robles is a filmmaker and multimedia artist whose work re-imagines both his and his family’s memories of growing up in Wilmington and the surrounding Harbor Area of Los Angeles\, California. He is constant in his reveries that celebrate his family’s legacy. \nFrank Gil is a hairstylist whose practice questions the thresholds of beauty and exaggerates the human form. He is currently a creative director at luxury brand Sassoon but is working toward bringing stylistic freedom outside of the confines of the traditional salon environment. \nvimeo.com/delroble \nMiddle Ear Project\n \nMiddle Ear Project (Los Angeles) was founded by Jennifer Bewerse and Cassia Streb\, a design team who has been performing\, curating\, and producing concerts together since 2014. We are endlessly fascinated by the discourse created when pieces of music are thoughtfully juxtaposed\, and how exploring different artistic answers to the same question can illuminate interesting complexities instead of straightforward solutions. We find real satisfaction in coordinating concerts that are rich and complex\, something that listeners can dig their ears into. \nOver the years\, we’ve gained a tremendous amount of experience working with performing ensembles\, presenting organizations and venues\, often working with many of these within a single project. We launched this concert design project in order to join forces and make our skills available to artists beyond those already involved in our personal ventures. \nWe share a focused work ethic\, a deep dedication to our work and musical communities\, and we recognize that the success of our events is built around a community of artists and presenting organizations. By putting different composers\, compositions\, and performance techniques in conversation with the social structures of a concert\, we help create a sum that is greater than its parts. In short: better concerts. \nhttps://middleearproject.com \nNick Flessa\n \nNick Flessa hails from Cincinnati but has spent the better part of his life in Los Angeles. Nick’s work has shown in places like REDCAT\, Echo Park Film Center\, UCLA and the University of Puget Sound. From late 2016 to mid 2019 he helped guide programming and printing at Los Angeles Contemporary Archive\, where he presented his solo exhibition Death Production: The Archive of Janna Flessa (executed by Nick Flessa) in 2018. His book Case Number: 87-447 can be found in national and international library collections. Flessa is an active musician/performer and the editor of the Wende Museum’s Historical Witness Project. \nhttps://nickflessa.com \nPanteha Abareshi\n \nPanteha Abareshi is a 21-year old artist based in LA. Her work is rooted in her existence as a chronically ill/disabled body existing with multiple medical illnesses\, at the root of which is sickle cell zero beta thalassemia- a genetic blood disorder that causes debilitating pain\, and bodily deterioration that both increase with age. Through her work\, she aims to discuss the complexities of living within a body that is highly monitored\, constantly examined\, and made to feel like a specimen. Taking images that are recognizable as “human” forms\, and reducing them to the gestural is a juxtaposition of her own body’s objectification\, and dissection. Through her performance work\, she pushes her body to\, and often beyond\, the limits of its ability. The radicalized abjectification of her own corporeal form allows for a continued examination of her bodily deterioration\, and its connection to a larger context of universal fragility fear\, pain and mortality. In her video work and installations\, she aims to make the viewer hyper-aware of their own body\, and actively employ accessibility as a tool\, both withholding and over-extending it as a means of casting light onto the ill/disabled experience. With every piece\, her practice traces and documents her body’s malfunction\, and its disintegration. With this deterioration comes implantation of medical devices\, prosthetics\, and the use of mobility aids. Her body is the primary medium in her practice\, and these materials become vital to the visual language of her work. Currently\, she is contemplating the prosthesis\, and simultaneous abstraction. \nhttps://PANTEHA.COM \nSarah Gail Armstrong\n \nMy Inspiration comes from experiencing life\, and the many emotions that come with existing.There is a colorfulness and boldness to my work\, that reflects how I view and relate to the world. Oftentimes\, my art is a representation of a fantasy\, dream\, or vision I’ve had; thus\, giving me permission to further explore my dreams\, and fantasies. General themes in my work include nature\, sexuality\, racism\, romance\, spirituality\, gender\, and self-expression. \nMy existence as a dark-skinned\, Black\, nonbinary\, femme is constantly under attack. Thriving and creating work that stems from a goal of a pro-Black peaceful future actively combats the white cis hetero male patriarchy. Being vulnerable enough to bear myself to the world empowers me\, and others like me to live a life of our choosing. In much of my work\, I take advantage of my privilege and use art to speak out against local and/or global injustices that are occurring. \nSeren Sensei\n \nSeren Sensei is an artist\, cultural critic\, filmmaker\, and writer. Her cultural criticism has been printed in such publications as Riot Material\, The Crisis Mag and NYLON\, and referenced in Jacobin Mag\, Vulture\, Complex\, Newsweek\, AJ+\, People\, Netflix\, Vice\, and more. Specializing in race\, culture\, and sociopolitical theory\, she facilitates an active community with over 7 million views on her YouTube channel\, where she has released two seasons of the docuseries ‘The [Black] Americans\,’ dedicated to archiving and exploring the cultural narratives of Black Americans – Descendants of American Chattel Slavery. In 2015\, she released her first book\, entitled ‘So\, About That… A Year of Contemporary Essays on Race and Pop Culture.’ She is also a panelist\, public speaker\, and lecturer\, speaking on such platforms as ‘For The Record’ podcast at Genius; at George Washington University; and at California State University\, Bakersfield. Seren was a 2016-2017 fellow for at lands edge\, a Los Angeles-based pedagogical program for cultural producers wishing to combine art and activism\, and a 2018-2019 cohort with the Urban Agriculture Beginner Farming Training Program by Future Harvest CASA in Washington\, D.C. She was most recently named a 2020 Indie Memphis Black Filmmaker Resident for her screenplay\, ‘Kitt.’ \nhttps://www.youtube.com/channel/UCzTTM7g6KJ1lFF9wuJCdvTg URL:https://www.h-r.la/event/residents/ CATEGORIES:Artist in Residence ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2020/08/Jisoo-Chung--scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200822 DTEND;VALUE=DATE:20200928 DTSTAMP:20260408T013305 CREATED:20200730T210452Z LAST-MODIFIED:20200730T225644Z UID:5248-1598076000-1601186399@www.h-r.la SUMMARY:Marxism for Artists\, Pt. 2 DESCRIPTION:Participants in HRLA’s online seminar\, Life in the Iron Mills/Marxism for Artists (organized by Jennifer Doyle and concluded in early July)\, expressed a desire to keep going — and so we will! \nOur next session will center on Marxist thinking about kinship\, collectives\, society and social transformation\, and will run from August 22 until the end of September. If you would like to participate\, please sign up here. \nOur readings will move across distinct areas in Marxist critical thought — Friedrich Engels’s The Origins of Family\, Private Property and the State\, Gayle Rubin’s “The Traffic in Women: Notes on the Political Economy of Sex\,” excerpts from Glen Coulthard’s Red Skin\, White Masks: Rejecting the Colonial Politics of Recognition\, Saidiya Hartman’s Wayward Lives\, Beautiful Experiments: Intimate Histories of Social Upheaval\, and Cedric Robinson’s Black Marxism. We will discuss Black cooperatives with Dr. Irvin Hunt (University of Illinois)\, author of the forthcoming Dreams of the Present: Time\, Aesthetics and the Black Cooperative Movement. \nA preoccupation with philosophies of history are defining features of Marxist critical theory — the turn to the past expresses a need to understand change — to push against a sense of the always-already ongoingness and inevitability of oppression. To refuse the way things are\, we grapple with the possibilities of what might have been. In Marxist critical theory\, these lines of inquiry are braided with a turn to cultural anthropology — this is particularly important to Marx’s writing about primitive accumulation\, and to The Origins of the Family\, which was developed from Marx’s notes on 19th-century anthropological writing about Indigenous societies in North America and the Pacific. These writings were really important to Marx and Engels – and to the latter’s ideas about kinship and family structures\, and the relationship between the rise of Capital and the organization of production/consumption around the patriarchal\, monogamous family. Collectively\, this reading explores the origin of Capital and white heteropatriarchy and begins to suggest other ways of living and working together. \nMarxism for Artists is a weekly reading and discussion group intended to support the development of our understanding of key texts in Marxist thought\, especially as they might support artists’ practices. While students/scholars are welcome\, this group is formed as an alternative to the vibe which tends to dominate academic settings. This group is meant to make space for people often pushed out by the turn to “theory” — not because they do not have the competency to contribute\, but because the culture around Marxist critical theory\, in particular\, is often overtly hostile to the perspectives of BIPOC\, women\, queer and trans folks.  The very rich tradition of feminist\, queer\, Indigenous and anti-racist engagement with Marxism has\, historically\, been marginalized within art and art history — the effect is to reinforce a conceptual apartheid which divides work concerned with race\, gender and settler-colonial contexts and work concerned with the status of the art object\, within Capital. This was never OK; today more and more contemporary art contexts are reckoning with that fact. \nThese conversations are meant to be a space for working-through our shared interests in learning more\, and also for\, in a sense\, doing some repair-work. It is a chance for people to read and think together because it feels good. \nIf this sounds to you like it would feel good to you\, please consider joining us. \nThese events are hosted on zoom thanks to Jennifer Doyle’s professional home\, The English Department at UC Riverside. URL:https://www.h-r.la/event/marxism-for-artists-pt-2/ LOCATION:Online CATEGORIES:online event ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2020/07/Fourier-Table-of-the-Progress-of-Social-Movement.png END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20200828 DTEND;VALUE=DATE:20200901 DTSTAMP:20260408T013305 CREATED:20200828T222634Z LAST-MODIFIED:20200828T223331Z UID:5296-1598594400-1598853599@www.h-r.la SUMMARY:Seren Sensei DESCRIPTION:Friday\, August 28th – Sunday\, August 30th \nHRLA presents 2 videos by Time Space Money artist-in-residence Seren Sensei at Actual Size\, which can been seen from the sidewalk\, any time of day or night: The [Black] Americans EXTRAS: Detroit and Five Years Since Ferguson \n \n \nFrom the artist: ‘I’m Seren Sensei\, and I am a filmmaker\, writer\, cultural critic and artist. My work is dedicated to archiving and exploring the cultural narratives of Black Americans – Descendants of American Chattel Slavery (BA-DACS); my cultural criticism has been printed in such publications as Riot Material and NYLON\, and referenced in Jacobin Mag\, Vulture\, Complex\, Newsweek\, AJ+\, People\, Netflix\, Vice\, and more. I was recently named a 2020 Indie Memphis Black Filmmaker Resident for my screenplay\, ‘KITT.’ As an anti-capitalist and anarchist\, I am also constantly seeking out ways to dismantle the hegemonies of systems of racism\, sexism\, classism\, homophobia\, able-bodiedness\, and the like. Specializing in race\, culture\, and sociopolitical theory\, I also facilitate an active community of over 43\,000 subscribers and 7 million views on my YouTube channel (https://www.youtube.com/c/senseiaishitemasu)\, where I have released two seasons of the documentary web series ‘The [Black] Americans.’ \nThe [Black] Americans EXTRAS: Detroit features a conversation on Black American Detroit culture as well as an example of ‘ballrooming\,’ which is a cultural dance. Five Years Since Ferguson is a short documentary on my return to Ferguson\, MO\, where Mike Brown was murdered and the BLM movement kicked off\, five years after I was last there in 2014 for the protest. Both pieces will be on display at Actual Size. \nFind me on instagram: @sensei_aishitemasu URL:https://www.h-r.la/event/seren-sensei/ LOCATION:actual size\, 741 New High St.\, Los Angeles\, CA\, CA\, 90012 CATEGORIES:off-site event ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2020/08/Seren-Sensei.png END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20201023 DTEND;VALUE=DATE:20201027 DTSTAMP:20260408T013305 CREATED:20201014T165717Z LAST-MODIFIED:20201014T170106Z UID:5350-1603432800-1603691999@www.h-r.la SUMMARY:Dawn of the New Age DESCRIPTION:HRLA Time Space Money artist-in-residence Sarah Gail presents their painting\, Dawn of the New Age on Oct 23-25 at 7pm\, at Actual Size Gallery (741 New High St. Los Angeles\, CA 90012). They will be showing their piece with performance art and music to accompany it. This presentation has been created in an effort to inspire all to look within and discover the world that they desire to live in\, to believe that a harmonious world can exist\, and to put forth the effort into making that happen. URL:https://www.h-r.la/event/dawn-of-the-new-age/ LOCATION:actual size\, 741 New High St.\, Los Angeles\, CA\, CA\, 90012 CATEGORIES:Artist in Residence ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2020/10/Sarah-Gail-Armstrong-Dawn-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20201101 DTEND;VALUE=DATE:20210202 DTSTAMP:20260408T013305 CREATED:20200131T000031Z LAST-MODIFIED:20211228T050428Z UID:5317-1604210400-1612159199@www.h-r.la SUMMARY:Stoking The Flame DESCRIPTION:Stoking The Flame brings together DJs\, Poets\, Artists\, Musicians whose work invokes new worlds imagined and forged within nightlife.  \nStoking The Flame aligns itself with artists who wield the allure and radicality of nightlife to experiment and amplify new sounds\, moves\, and ways of being with one another amidst the on-going state violence.  \nStoking The Flame will feature one artist per week over the span of the last months of 2020. In a combination of mixes\, videos\, interviews\, and other virtual experiments Stoking The Flame stages a site to add onto nightlife’s constant forging of other worlds\, of more nights\, and ways of being. \nDJ Erika Kayne \nBAE BAE \nGemma Castro \nSebastian Hernandez \nKelman Duran \nJasmine Nyende \nXina Xurner \nElliot Reed \nKaili \n  URL:https://www.h-r.la/event/stoking-the-flame/ LOCATION:Online CATEGORIES:exhibition,online event ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2020/10/image000000-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20201127T080000 DTEND;TZID=America/Los_Angeles:20201210T170000 DTSTAMP:20260408T013305 CREATED:20201222T224140Z LAST-MODIFIED:20210120T195451Z UID:5624-1606464000-1607619600@www.h-r.la SUMMARY:Hande Sever: 2 or 3 Things I Know About Her DESCRIPTION:2 or 3 Things I Know About Her \nHande Sever \n  \nBefore dawn on September 12\, 1980\, a right-wing military junta took power in Turkey. During the nine years that followed\, the Turkish Armed Forces persecuted over three million people from the revolutionary movement. Between 1980 and 1985\, the military government arrested 750\,000 of them; blacklisted 1\,683\,000; tried 230\,000 in 210\,000 lawsuits; sentenced 7\,000 to death; revoked the citizenship of 17\,000; and denied 388\,000 the right to obtain a passport. The government admits that 400 people disappeared (the true number is certainly higher); another 400 died in prison. This coup was leveraged by the Carter administration\, and then supported through military aid by the Reagan Administration. \n2 or 3 Things I Know About Her is an exhibition by artist Hande Sever\, who recalls her mother’s experience of the junta in Turkey through reconstructed memories\, walnut frames\, and oral history. After the coup\, prisons became synonymous with torture centers – the most notorious of which were Metris\, Diyarbakır and Ulucanlar. The artist’s mother was kept in the Metris Military Prison – now known as Metris Closed Penitentiary. Taking up her mother’s memories of being a political prisoner\, the work tackles subjects such as military violence\, censorship\, and mass incarceration. Turning to the past in order to make sense of the present\, 2 or 3 Things I Know About Her unearths the historical processes that led to the extermination of a generation\, and\nreplaces within the scale of bodies the violence perpetrated by US-backed political interests in West Asia\, reminding its audience of the consequences of actions taken by military officials for national domination\, and what the dominated was left to witness. \n  \n \n“They would give me a batch of flyers. The flyers contained anti-facist and anti-imperialist information. My task was to get to a crowded public square\, or preferably to a bus\, then toss the flyers in the air. I would run away as the flyers dropped on the floor. I needed to get out of there before the cops arrived. We aimed to find new allies and supporters through this. They would find us through the flyers.” \n— from a conversation with the artist’s father. \n  \n  \n \n“I was first imprisoned in Selimiye Military Prison in 1980\, then\, in 1981\, I was transported to Metris Military Prison. Selimiye was barracks hurriedly converted into a detention center to accommodate the mass incarceration of political dissidents. You know Ataol Behramoğlu. The poet. I was in the same ward with his partner. She believed that we would be released quickly because they couldn’t find enough evidence to press charges against me. It cost me four years of being detained. At the end of four years I was released.” \n— from a conversation with the artist’s mother. \n  \n  \n \n“Once I read that there are over one million victims of military torture in Turkey. I thought\, what an understatement. The number is definitely higher. After I was detained I was immediately blindfolded and handcuffed by the military. They left me for hours like that. What they called “Palestinian hanging” was the most common torture method the military used againt political dissidents. I couldn’t stop thinking about the torturers. Did they have loved ones? Can someone with such an appetite for cruelty have loved ones?” \n— from a conversation with the artist’s mother. \n  \n  \n \n  \nThis exhibition was hosted by Actual Size\, as part of HRLA’s TSM Residency program URL:https://www.h-r.la/event/hande-sever-2-or-3-things-i-know-about-her/ LOCATION:actual size\, 741 New High St.\, Los Angeles\, CA\, CA\, 90012 CATEGORIES:Artist in Residence,off-site event ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2020/12/2-or-3-Things-I-Know-About-Her_v06-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20201212T130000 DTEND;TZID=America/Los_Angeles:20201212T150000 DTSTAMP:20260408T013305 CREATED:20201205T230033Z LAST-MODIFIED:20201206T200209Z UID:5508-1607778000-1607785200@www.h-r.la SUMMARY:October\, November and MARCH: How Has the Weather Changed? DESCRIPTION:October\, November and MARCH: How Has the Weather Changed? \nA Roundtable Discussion on Art & Strategy + MARCH 01 Issue Launch\nSaturday\, December 12 @ 1PM PST/4pm EST/9pm GMT\nThis event is free and online: RSVP\n\n“We are in the period of November\, when revolution seems to be over\, and peripheral struggles have become particular\, localist and almost impossible to communicate. In November\, the former heroes become madmen and die in extra-legal executions somewhere on a dirty roadside and information about it is so diffused with predictable propaganda\, that hardly anyone takes a closer look.” \nIn a scene from Hito Steyerl’s November (2004)\, we hear these words distinguish between the revolutionary days of October and “ours” as the artist is seen participating in a protest against the US and allies’ invasion of Iraq. Yet\, that ‘present’ is now sixteen years old and separated from our present by a pandemic which has caused over 1.5 million deaths worldwide\, global uprisings in defense of Black lives\, massive deportations and barring of asylum seekers\, major housing and student debt crises\, drone assassinations and proxy wars\, oil spills and environmental catastrophes – alongside  ever louder calls for the abolition of the institutions of capitalism: the police\, the prison and the military\, among others.  \nIn its inaugural print edition\, MARCH: a journal of art & strategy occupies the first issue of October (itself a direct reference to the 1917 October Revolution) in order to reopen an inquiry into the relationship between revolutionary practice\, theoretical inquiry and artistic innovation in our time. Through this process we ask: Can publication (the act of making public) be an act of protest (public making)? Can publication be thought of spatially and materially as a consequential conspirator? Incendiary insurrection? What strategies do (and can) we employ? Towards what goals? Can an abolitionist framework be applied to the institution of art? Can we avoid the pitfalls of allegorical thinking? \nThe conversation brings together perspectives from Nora N. Khan\, Serubiri Moses\, Zoé Samudzi\, Andrea Steves\, MARCH founders Sarrita Hunn and James McAnally\, and is moderated by Gelare Khoshgozaran with Human Resources for the occasion of MARCH: a journal of art & strategy’s inaugural print edition.  \n***\nHuman Resources was founded in 2010 by a team of creative individuals who seek to broaden engagement with contemporary and conceptual art\, with an emphasis on performative and underexposed modes of expression. Human Resources is not-for-profit and seeks to foster widespread public appreciation of the performative arts by encouraging maximum community access. Human Resources also serves as a point of convergence for diverse and disparate art communities to engage in conversation and idea-sharing promoting the sustainability of non-traditional art forms. We are a volunteer organization. https://www.h-r.la/ \n  \nMARCH: a journal of art & strategy embraces publishing as an act of protest to address the critical social and political issues of our time. MARCH was founded in 2020 by Sarrita Hunn and James McAnally as an expansion of their previous publication\, Temporary Art Review (2011-2019). MARCH features an annual print edition alongside an active online platform commissioning essays\, interviews\, and experimental critical writing with a global perspective. https://march.international/ \n\nSarrita Hunn is an interdisciplinary artist\, editor\, curator and web developer whose often collaborative practice focuses on the culturally\, socially and politically transformative potential of artist-centered activity. She is the co-founder and editor of MARCH\, a journal of art & strategy; artistic coordinator for Saas-Fee Summer Institute of Art; and managing editor of artbrain.org. Additionally\, she is a founding member and co-chair of Liebe Chaos Verein e.V. and founding member of the queer cyberactivist collective Cypher Sex. \n  \nNora N. Khan is a critic\, an educator\, and a curator. She is on the faculty of Rhode Island School of Design\, in Digital + Media\, and has two short books: Seeing\, Naming\, Knowing (The Brooklyn Rail\, 2019)\, on machine vision\, and with Steven Warwick\, Fear Indexing the X-Files (Primary Information\, 2017). Forthcoming this year is The Artificial and the Real\, through Art Metropole. She is currently an editor of Forces of Art: Perspectives From a Changing World\, alongside Serubiri Moses and Carin Kuoni.  \n  \nGelare Khoshgozaran is an undisciplinary artist and writer who\, in 2009 was transplanted from street protests in a city of four seasons to the windowless rooms of the University of Southern California where aesthetics and politics were discussed in endless summers. Gelare is a keyholder at Human Resources. \n  \nJames McAnally is a strategic critic and dependent curator based in St. Louis\, MO. He is the co-founder and editor of MARCH: a journal of art & strategy\, the co-founder and director of The Luminary\, an expansive platform for art\, thought\, and action\, and a founding member of Common Field\, a national network of independent art spaces and organizers. McAnally is a recipient of the Creative Capital | Andy Warhol Foundation Arts Writers Grant for Short-Form Writing. \n  \nSerubiri Moses is a writer\, editor\, and curator\, and currently Adj. Asst. Professor in the Art and Art History Department at Hunter College. He is co-curator of the 5th perennial contemporary art survey\, Greater New York (2021)\, founded in 2000 at MoMA PS1\, Long Island City\, and previously was on the curatorial team of the 10th Berlin Biennale of Contemporary Art (2018). His current research focuses on theories in African visual art and art exhibitions.  \n  \nZoé Samudzi is a writer and doctoral candidate in Medical Sociology at the University of California\, San Francisco. Her writing has appeared in The New Republic\, Art in America\, The New Inquiry\, The Funambulist\, and other places\, and she is a contributing writer at Jewish Currents. Along with William C. Anderson\, she is the co-author of As Black as Resistance: Finding the Conditions for Our Liberation (AK Press\, 2018). She is currently a fellow with Political Research Associates. \n  \nAndrea Steves is an artist\, curator\, researcher\, and organizer currently based in Brooklyn. Her recent projects deal with museums and public history\, monuments and memorials\, and the complex legacies of the Cold War. Andrea also works in the collective FICTILIS and the Center for Hydrosocial Studies\, and is co-founder of the Museum of Capitalism. She is currently a visiting scholar at the Center For Capitalism Studies at The New School. \n\nimage caption: Hito Steyerl. November (still)\, 2004. See: https://vimeo.com/88484604 URL:https://www.h-r.la/event/march/ CATEGORIES:one-time event at HR,online event ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2020/12/steyerl-november-header.png END:VEVENT END:VCALENDAR