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DTSTART;TZID=America/Los_Angeles:20260110T190000
DTEND;TZID=America/Los_Angeles:20260110T230000
DTSTAMP:20260409T023340
CREATED:20251213T203528Z
LAST-MODIFIED:20260109T204400Z
UID:9244-1768071600-1768086000@www.h-r.la
SUMMARY:Memory Saw x Silt | Iris Ipsum | C_Robo | Cyka | Munki
DESCRIPTION:This Saturday Jan 10thLive sets & performance – experimental // electronic // noise-y \n\n\n\nMEMORY SAW & SILT (NY)Collab set from electronic music duo MEMORY SAW and performance artist SILT@memorysaw x @si.l.t \n\n\n\nC_ROBOLived coded / deconstructed dance music@c_robo_ \n\n\n\nIRIS IPSUMSpectral ambient idm@irisipsum \n\n\n\nCYKA @_zvzdaIndustrial post soviet product \n\n\n\nMÜNKI @pious_global“hypergrunge” \n\n\n\nVisuals @postfemale \n\n\n\nLights @whiterabbitelectric \n\n\n\nAdvance tickets are available here. \n\n\n\n$15 NOTAFLOF
URL:https://www.h-r.la/event/memory-saw-x-silt-iris-ipsum-c_robo-cyka-munki/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:music/sound
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260113T200000
DTEND;TZID=America/Los_Angeles:20260113T223000
DTSTAMP:20260409T023340
CREATED:20260107T221513Z
LAST-MODIFIED:20260107T221517Z
UID:9294-1768334400-1768343400@www.h-r.la
SUMMARY:Tzotzona | Anna Luisa Petrisko | 01168
DESCRIPTION:$10 tickets
URL:https://www.h-r.la/event/tzotzona-anna-luisa-petrisko-01168/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260117T190000
DTEND;TZID=America/Los_Angeles:20260117T203000
DTSTAMP:20260409T023340
CREATED:20251216T190826Z
LAST-MODIFIED:20251229T204643Z
UID:9250-1768676400-1768681800@www.h-r.la
SUMMARY:Raquel Gutiérrez - Southwest Reconstruction book launch
DESCRIPTION:A night of readings and sounds to celebrate the release of Raquel Gutiérrez first collection of poetry\, Southwest Reconstruction published by Noemi Press Books. \n\n\n\nRaquel will be joined by Heidi Andrea Restrepo Rhodes\, Joshua Escobar\, Farrah Rosefang\, Gabie Strong and Hidhawk. \n\n\n\nRSVP
URL:https://www.h-r.la/event/raquel-gutierrez-southwest-reconstruction-book-launch/
CATEGORIES:reading
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260118T200000
DTEND;TZID=America/Los_Angeles:20260118T220000
DTSTAMP:20260409T023340
CREATED:20260113T221246Z
LAST-MODIFIED:20260114T001609Z
UID:9313-1768766400-1768773600@www.h-r.la
SUMMARY:LAWWSS (Los Angeles Wood Wind Skill Share) & LAFRC (Los Angeles Field Recording Club).
DESCRIPTION:LAWWSS (Los Angeles Wood Wind Skill Share) LP release & LAFRC (Los Angeles Field Recording Club). \n\n\n\nTickets \n\n\n\nOn Jan 18th the Los Angeles Wood Wind Skill Share (LAWWSS) is celebrating the release of their first Studio recorded LP (titled STUDIO on Radical Documents) with a concert at Human Resources.  \n\n\n\nJoining LAWWSS in celebration will be the Los Angeles Field Recording Club who will be presenting their recordings of LAWWSS in person.  \n\n\n\nPreceding the concert there will be screening of Neil Cloaca Young’s (dir. Milford Graves Full Mantis) new film Wind Journal (prominently featuring LAWWSS) at 3pm at 2220 Arts and Archives.  \n\n\n\nAbout the participants: \n\n\n\nThe Los Angeles Wood Wind Skill Share is a horizontally-organized wood wind learning effort that operates entirely through free improvisation. Started in 2020 as a wood wind practice/accountability group of three friends it has since grown to an informal group of more than 30 people\, all struggling to play wood winds together.  \n\n\n\nThe Los Angeles Field Recording Club is a collective focused on recording and presenting the sounds of Los Angeles. Members document environments across the city — natural\, industrial\, and everyday — and share these recordings through listening sessions\, concerts\, and exhibitions. In a gallery context\, the work treats field recordings as primary artistic material\, offering an immersive portrait of place through sound.
URL:https://www.h-r.la/event/lawwss-los-angeles-wood-wind-skill-share-lafrc-los-angeles-field-recording-club/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260120T190000
DTEND;TZID=America/Los_Angeles:20260120T220000
DTSTAMP:20260409T023340
CREATED:20251231T184636Z
LAST-MODIFIED:20251231T184638Z
UID:9285-1768935600-1768946400@www.h-r.la
SUMMARY:bed crumb show - audioginary cinema
DESCRIPTION:audioginary cinema\, a night where we bring musicians together to reimagine catagory within film though sound improvisations. Each mysterious short will be live scored by 3 different ensembles/musicians:  \n\n\n\nBlack NASA  \n\n\n\nMountain Monastery Choir \n\n\n\nEduardo Soto + Ce Tochtli + grump  \n\n\n\nwith sounds by bed crumb show* resident DJs \n\n\n\nEvent is hosted by LA based radio station bed crumb show\, a freeform radio and mixed media platform dedicated to curiosity\, music\, film and events in the world of experimental  \n\n\n\nTickets $10 (half of the proceedings will be donated to Esperanzas Immigrant Rights) \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nBlack NASA photo credit to Sean Deyoe \n\n\n\n2nd photo Eduardo Soto \n\n\n\n3rd photo grump
URL:https://www.h-r.la/event/bed-crumb-show-audioginary-cinema/
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/12/audioginary-flyer-scaled.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260121T190000
DTEND;TZID=America/Los_Angeles:20260121T203000
DTSTAMP:20260409T023340
CREATED:20251223T190646Z
LAST-MODIFIED:20251223T190902Z
UID:9255-1769022000-1769027400@www.h-r.la
SUMMARY:A World Without The World Cup
DESCRIPTION:Lafayette Park\, Michael Wells\, featured in Municipal de Fútbol (2011)\n\n\n\nA lecture and forum for our community as we stare down the impending World Cup.  \n\n\n\nFIFA (the international body that governs soccer) is often described as the world’s largest criminal organization. What does it mean for arts and culture workers to engage with this event\, which operates explicitly as a bread & circus diversion from the global crisis of the collapse of democracy? How do we address the colonization of our attention by what is at once a dynamic\, engrossing spectacle\, a container for ecstatic communion\, and a festival of the worst our world has to offer? \n\n\n\nJennifer Doyle will share thoughts on the World Cup and discuss ideas for tactics that arts and culture workers might use to resist the epic levels of gaslighting that characterize the marketing of this event.
URL:https://www.h-r.la/event/a-world-without-the-world-cup/
CATEGORIES:forum
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260123T000000
DTEND;TZID=America/Los_Angeles:20260125T235959
DTSTAMP:20260409T023340
CREATED:20260112T230155Z
LAST-MODIFIED:20260113T213016Z
UID:9302-1769126400-1769385599@www.h-r.la
SUMMARY:RECITAL (EPILOGUE) - AMMA
DESCRIPTION:Tickets  \n\n\n\nFriday – 8pm \n\n\n\nSaturday – 8pm \n\n\n\nSunday Matinee – 3pm \n\n\n\n\nThis iteration of RECITAL was created during a development residency at MOCA Geffen Warehouse in the summer of 2025. Over the course of 6 weeks\, AMMA expanded the piece first presented at WIP LA in July of 2024. Now\, from AMMA’s sweat and tears comes RECITAL (EPILOGUE). \n\n\n\nAMMA has entered its chapter of lore building. Mysticism and fun have entered the chat. \n\n\n\nRECITAL (EPILOGUE) brings its audience into the pit of the pop-star arena\, where tickets cost $$$$ before taxes and fees. Dance has never felt this good to watch; every cent of your rent money is well spent here. \n\n\n\nPop stars are not regular people. They’re sexy angels fallen to the stage\, synchronized and syncopated. They slice through the music with their bodies\, hot knives through grass-fed butter. You’re crying\, dizzy\, screaming for more. \n\n\n\nThen\, the floor of the pit opens and you fall through. Bodies crash into each other\, the pop stars have come unglued. You came for a RECITAL\, but this is the (EPILOGUE)\, and it’s dirtier down here. More dangerous\, too. You won’t always like what you see. \n\n\n\nThe work will be presented at Human Resources Los Angeles\, January 23rd\, 24th & 25th\, 2026. \n\n\n\n\n\n\n\nAMMA (Alexsa Miles Miles Alexsa) is a run-on sentence in the form of a choreographic practice by artists Alexsa Durrans and Miles Brenninkmeijer. Established in 2018\, their dances are inspired by the spectacle of movement performed in the context of arena concerts\, halftime shows\, synchronized swimming\, etc. Previous performance presentations include Recital (Arena Tour) at WIP LA (2024)\, EQ at Eden (2023)\, The Halftime Show at Pieter Performance Space (2019)\, and Bye Bye Bye at Weekend At Berenice (2018).  \n\n\n\nAlexsa Durrans (b. Vancouver\, Canada\, 1994) is a Los Angeles based artist working in the fields of performance\, visual art and experimental dance.  \n\n\n\nMiles Brenninkmeijer (b. São Paulo\, Brazil\, 1993) is a dancer and choreographer based in Los Angeles working across live performance and on-screen movement.  \n\n\n\n\n\n\n\nAll photographs by Kobe Wagstaff and wardrobe by Hardeman \n\n\n\nWriting by Dante Matero
URL:https://www.h-r.la/event/recitalepilogue-amma/
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2026/01/amma.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260127T190000
DTEND;TZID=America/Los_Angeles:20260127T210000
DTSTAMP:20260409T023340
CREATED:20260119T202638Z
LAST-MODIFIED:20260119T212623Z
UID:9322-1769540400-1769547600@www.h-r.la
SUMMARY:WINTER SALON
DESCRIPTION:Tickets – Suggested donation $7-$15 \n\n\n\nCOREY’S WINTER SALON is a pop-up blast-up event\, collecting multivalent\, multimodal local artists into one eclectic night. An unusual\, adventurous cocktail. A cross-polynation of interests and friend-groups.  \n\n\n\nFeaturing performances of text\, noise\, sound installations\, tarot\, and food & object offerings. \n\n\n\nEMJI SAINT SPERO is a writer\, performer\, and pervert living in Los Angeles. They are curious about the potential of creative intimacies. Their practice a series of approaches: documentation\, personal ephemera\, and somatic ritual. Through movement and collaborative performance they seek to queer the familiar\, mapping the boundaries of collective engagement. \n\n\n\nELDER SISTER is the materialisation of incantations voiced from the marrow of broken bones\, human DNA\, ancestral imprints\, whispers of hope from other dimensions and future triumphs\, channeled through unpredictable songs of delayed guitars\, vocal loops\, and collected transmissions of everyday sounds. Elder Sister is Jane Paik who persists as an artist\, musician and healer for creatives\, mystics and misfits.  A wanderer by nature and forever situated in duality\, she now resides between her hometown of Los Angeles and longtime home in the City of Magic – Torino\, Italy.  A dig into the past will unearth the Janet Pants Dans Theeatre\, a pioneering experimental dance troupe that booked and toured like a band in the independent music scenes of the 90s/2000s.  An easy stroll across the way will reveal the flip side of Elder Sister as the vocalist in the art-damaged\, no wave\, folk band Muscle Beach. \n\n\n\nSHELLY BADAL works within a sensory practice to cultivate sites for relatedness and presence via performance\, sound\, light\, video\, language\, and community organizing. Her work examines will\, connection\, and their plasticity under various conditions. Ongoing research in prosocial behavior and nonlinear expressions of time serves as the basis for her experiential response to theory. Her audiovisual works blend color abstraction with vérité footage and field recordings using analog and digital processes\, often incorporating reflective materials and projection. Drawing on inherited tradition from the Caucasus Mountains\, she engages with presence as a material. Her writing and workshops offer metaphor as a tool for navigating the self.  Badal’s work has been exhibited at Human Resources\, Navel\, Coaxial\, MOCA\, OPaf\, the Wolford House\, and Flowerhead Gallery. Her films have been shown in Los Angeles\, Moscow\, San Francisco\, and Seattle. \n\n\n\ntarot readings by ANGI BRZYCKI – – \n\n\n\nCOREY FOGEL \n\n\n\nCorey Fogel (b 1977) is: a composer\, drummer\, and artist; occasionally teacher; researcher; curator\, based in Los Angeles. Fogel works across genres and mediums to explore many facets of improvisation. He approaches sound\, textile\, collaborators\, gestures\, and objects as viable materials for spontaneous\, time-based experimental performance\, often fusing sculpture\, video\, musical traditions\, theatricality\, and ritual.
URL:https://www.h-r.la/event/winter-salon/
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2026/01/jan27-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260129T200000
DTEND;TZID=America/Los_Angeles:20260130T000000
DTSTAMP:20260409T023340
CREATED:20251229T205413Z
LAST-MODIFIED:20260129T202319Z
UID:9271-1769716800-1769731200@www.h-r.la
SUMMARY:The End of the World
DESCRIPTION:8pm-midnightdj Eva Myra Mayplaying vintage analogue electronic music by women \n\n\n\nperformances byHuntrezzMehregan PezeshkiBARRGraeae \n\n\n\nhosted byPage Person \n\n\n\nWhat does it mean to live in an analog world? One parallel to the world we find ourselves in; relating to signals or information represented by continuously variable physical quantities such as spatial position or changes in voltage. A world that is infinitely variable rather than tied to discrete\, fixed values. We are looking back at the era of pure research\, when women working in the sciences were able to experiment with the emerging field of electronics to establish themselves as composers of experimental music. Our soundtrack pays homage to the pioneers of electronic music such as Daphne Oram\, Delia Derbyshire\, Wendy Carlos and Suzanne Ciani not out of nostalgia\, but as a history lesson in dreaming up creative solutions to building a new world in the face of the collapsing political institutions of late-stage capitalism. \n\n\n\nThe End of the World is a monthly performance party started in the studio of Page Person; conceived as a hybrid between underground queer dance parties and variety shows that invite performers of all genres to share their work to an energized audience built around community organizing. Born out of desperation with a crackdown on free speech\, End of the World defiantly insists on the values of DIY grassroots world building. We reject the surveillance state and offer a vision for a culture based on in-person connections\, love and a celebration of our diverse viewpoints. \n\n\n\nAnything is possible. \n\n\n\nABOUT THE ARTISTS: \n\n\n\nEva Myra May is an intersex musician\, producer and vinyl DJ\, channeling emotional statements about identity\, vices and virtue through an ever-expanding list of genres. She also runs EVAMM\, a queer music collective and radio\, highlighting the intimate\, everyday practice and experimenting that DJs do when they’re not performing. \n\n\n\nHuntrezz Janos is a Black Afro-Hungarian Angeleno transmedia artist working across XR\, sculpture\, architecture\, performance\, spoken word and animation. Her work was recently featured at LACMA\, and she holds a BFA in Experimental Animation from CalArts (2018) and an MS from USC (2025). \n\n\n\nBARR is the longrunning music project of artist Beatrix Fowler. \n\n\n\nGraeae is an experimental audiovisual voyager\, creating immersive musical experiences from field recording\, sampling\, live analogue electronics\, sound-based installations and performance.  \n\n\n\nPage Person is a visual and performing artist. Her work has been displayed and performed at the Hammer Museum\, the New Museum\, DESTE Foundation\, Peres Projects\, Stuart Shave/Modern Art\, Deitch Projects\, Noon Projects as well as gay bars and underground rave spaces in Los Angeles and Mexico City.
URL:https://www.h-r.la/event/the-end-of-the-world/
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/12/EotW-AW.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260130T203000
DTEND;TZID=America/Los_Angeles:20260201T223000
DTSTAMP:20260409T023340
CREATED:20251231T183241Z
LAST-MODIFIED:20260129T202111Z
UID:9280-1769805000-1769985000@www.h-r.la
SUMMARY:Dicky Bahto
DESCRIPTION:Note: January 30’s program is cancelled in honor of the national strike. We encourage people to participate in this strike and to support organizations like CHIRLA\, who are doing front-line work in our communities. See below for revision of this weekend’s program. \n\n\n\nA three  two-night survey of moving image and performance works by Dicky made in the last 5 years. \n\n\n\n $15 for both nights – No one turned away for lack of funds \n\n\n\n“His varied and complex engagement with moving image and photographic media is steeped in a deeply felt humanity and empathy\, manifesting through his inspired photographic eye and frequently direct interaction with and appreciation of the material vitality of film and cinema. His films achieve heightened emotional states of great intimacy and poetry\, often channeling the uniquely aleatory qualities of film to carry a sensuality and spirituality hovering in the space between loving depiction and vaporous abstraction.” (Mark Toscano) \n\n\n\nFriday\, January 30th Saturday\, January 31 at 8:30 pm – short films of Dicky Bahto \n\n\n\nThis programs features recent short films by Dicky Bahto\, none of which have previously screened in Los Angeles\, including his most recently completed film\, a portrait of the Argentine-French artist Cesar Cofone\, two recent music videos for Grouper and Tashi Wada\, and an excerpt from his three-hour long collaborative work Music for a Bellowing Room with composer Sarah Davachi. Plus maybe a special surprise or two! \n\n\n\nprogram: \n\n\n\n\nA portrait of Cesar Cofone (2025) 20.5 minutes\, Super 8 to HD\, color & b/w\, music by Marco Baldini\n\n\n\nClose Cloak (2025) 9 minutes\, Super 8 to HD\, b/w\, music by Grouper\n\n\n\nGrand Trine (2024) 6.5 minutes\, Super 8 to HD\, b/w & color\, music by Tashi Wada\n\n\n\nMusic for a Bellowing Room (2023) (excerpt) 28 minutes\, Super 8 to HD\, b/w & color\, music by Sarah Davachi\n\n\n\n\nPortrait of Cesar Cofone (2025)\n\n\n\nSaturday\, January 31 Sunday\, Feb 1 at 2:30 pm – Dicky Bahto’s Hivernale \n\n\n\nThe Los Angeles premiere of Dicky Bahto’s new hour-long film Hivernale\, accompanied by composer Sarah Davachi’s work Double Reeds.  \n\n\n\nprogram:Hivernale (2025) 60 minutes\, Super 8 and 35mm to HD\, color & b/w\, music by Sarah Davachi \n\n\n\nHivernale (2025)\n\n\n\nRescheduled date TBA Sunday\, February 1 at 2:30 pm – Dicky Bahto\, Corey Fogel\, Tashi Wada \n\n\n\nAn afternoon of performance work for still and moving images and sounds by Dicky Bahto\, Corey Fogel\, and Tashi Wada. The performance will be approximately one hour and change\, and may or may not include several different works that overlap or transition from one to another and back again with or without warning. \n\n\n\nDicky Bahto\, Corey Fogel\, Tashi Wada\n\n\n\nDicky Bahto has exhibited work utilizing still and motion picture photography\, sound\, and performance at a variety of museums\, galleries\, microcinemas\, film festivals\, conferences\, alternative spaces\, and scenic locations spanning the Northern Hemisphere\, from the Museum of Modern Art in New York to a series of nooks\, crannies\, and underbrush along and under Sunset Boulevard. He has works in the permanent collections of The Getty Museum and the Huntington Library\, Museum\, and Gardens. He frequently collaborates with musicians\, both as a performer and as a visual artist\, including Sarah Davachi\, Liz Harris\, Julia Holter\, and Tashi Wada\, as well as with his lover\, Patrick Londen\, and their cats Simone and Katoosh. \n\n\n\n \n\n\n\nBottom image: Hivernale\,
URL:https://www.h-r.la/event/dicky-bahto/
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2025/12/Portrait-of-Cesar-Cofone.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260206T120000
DTEND;TZID=America/Los_Angeles:20260208T180000
DTSTAMP:20260409T023340
CREATED:20260122T183800Z
LAST-MODIFIED:20260207T012141Z
UID:9336-1770379200-1770573600@www.h-r.la
SUMMARY:Espera
DESCRIPTION:Espera (2017) is a short documentary of an intimate conversation between Quevedo and an ex-lover on the eve of their separation. As the end grows nearer the two men struggle to reconcile their desires with the reality of their lives. For this one-weekend presentation at Human Resources Los Angeles\, Espera will be screened as a video installation playing on loop during regular hours (12pm-6pm).  \n\n\n\nEspera (the audio version) premiered at First Look Festival at The Museum of the Moving Image (London\, UK) in 2018 as a part of Radio Atlas. The audio work screened at Open City Documentary Festival (London\, UK) \, Locust Project (Miami\, FL)\, and the Banjuoja Audio Festival (Vilnius\, Lithuania). Espera is the winner of the 2018 Third Coast / Richard H. Driehaus Directors’ Choice Award and was shortlisted for the Hearsay International Audio Arts Festival ‘Celebrate’ and GanBéarla awards in 2019. \n\n\n\nEspera at Human Resources Los Angeles is organized by Azul Silverio. \n\n\n\nAbout the Artist  \n\n\n\nSayre Quevedo is a documentary artist. He works across mediums to tell stories about intimacy\, identity\, and human relationships. His work has been featured on NPR\, Marketplace\, BBC Short Cuts\, Love Me on the CBC\, McSweeney’s and Radio Atlas. In 2018 his audio documentary short Espera received the Third Coast/RHDF Directors’ Choice Award and his audio documentary feature “The Quevedos” was nominated for a Best Audio Documentary award by the International Documentary Association (IDA). The following year he won the 2019 Third Coast/RHDF Gold Award for Best Documentary for “The Return.” That feature was also nominated for a Best Audio Documentary award by the IDA\, his second nomination two years in a row. In 2022 Quevedo was nominated twice by the IDA for Best Stand-Alone Audio Documentary\, winning the award for “Documenting a Death by Euthanasia.” Quevedo was the Fall 2019 Podcaster-In-Residence for the San Francisco Museum of Modern Art. He was an Associate Producer for The Daily at The New York Times and NPR’s Latino USA\, and a Producer for VICE News. He is currently an adjunct professor at Columbia University’s Oral History Master of Arts program and New York University’s Journalism Masters program. He is also a founding editor at Sound Fields\, a journal dedicated to the art and craft of audio documentary. \n\n\n\nAbout the Curator  \n\n\n\nAzul Silverio is a researcher\, curator and cultural worker based in Tovangaar (Los Angeles). They are invested in championing and building community with artists\, curators\, creatives and cultural workers from LGBTQ+ and communities of color across the city and beyond. Formerly the Assistant Director of Programming at LACE (Los Angeles Contemporary Exhibitions)\, Juan joined LACE in 2019 as an apprentice and later ran all exhibitions\, programs\, and operations. With LACE\, they co-curated ABUNDANCE (2024)\, an interdisciplinary and performance art festival held at the L.A. Dance Project. With LA River Arts\, Juan co-curated “Ki’king with the River” (2025)\, a public programming series of performances and workshops highlighting LA-based queer artists in conversation with the LA river. They joined the arts and culture field by way of the Getty Marrow Undergraduate Internship program\, holding curatorial internships throughout Southern California at the Getty Research Institute\, Self-Help Graphics & Art\, and the 18th Street Arts Center. Juan was awarded a Leadership Institute fellowship in Visual Arts with the National Association of Latino Arts & Culture (NALAC) (2023) and was an AllPaper Seminar inaugural fellow at the Benton Museum of Art\, Pomona College\, Claremont\, CA (2022). A member of the National Performance Network (NPN) Board of Directors\, Juan contributed writing to the 60th Venice Biennale exhibition and catalogue\, Stranieri Ovunque/Foreigners Everywhere (2024)\, curated by Adriano Pedrosa\, and co-edited the LACE publication for CAVERNOUS: Young Joon Kwak and Mutant Salon (2018). 
URL:https://www.h-r.la/event/espera/
CATEGORIES:screening
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260213T200000
DTEND;TZID=America/Los_Angeles:20260213T233000
DTSTAMP:20260409T023340
CREATED:20260122T184634Z
LAST-MODIFIED:20260211T184216Z
UID:9340-1771012800-1771025400@www.h-r.la
SUMMARY:the body draws the room
DESCRIPTION:the body draws the room is a performance by Carmen Argote that transforms the gallery space into an immersive drawing environment through the body. Using a combination of shaving cream and black oil paint\, Argote creates large-scale marks on walls and floors as she moves through the space by crawling on her back and tracing the perimeter. Argote performs the physical act of pushing up against the walls of the gallery with her feet\, turning movement\, endurance\, and presence into a material record of the room itself.  \n\n\n\nThis performance marks Argote’s return to HRLA where she exhibited My Father’s Side of Home in 2014. the body the draws the room reflects the artist’s ongoing exploration of architecture\, psychology\, and embodiment\, offering audiences an opportunity to witness the physical and conceptual scope of her work.  \n\n\n\nTickets are $15 and available on Withfriends. No one will be turned away for lack of funds. \n\n\n\nThis project was supported\, in part\, by a Foundation for Contemporary Arts Emergency Grant.
URL:https://www.h-r.la/event/the-body-draws-the-room/
CATEGORIES:performance
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260221T140000
DTEND;TZID=America/Los_Angeles:20260221T160000
DTSTAMP:20260409T023340
CREATED:20260216T201543Z
LAST-MODIFIED:20260216T201740Z
UID:9409-1771682400-1771689600@www.h-r.la
SUMMARY:Tom Marioni – ACTION AND TALK
DESCRIPTION:Free rsvp \n\n\n\nA progenitor of West Coast conceptual art\, Tom Marioni will present a critical re-engagement with the ontological foundations of California’s avant-garde. Marioni\, the founder of the Museum of Conceptual Art (MOCA) in San Francisco (1970–1984)\, will perform two definitive “actions” that collapse the boundaries between temporal duration and physical residue: Out of Body Free Hand Circle (on prepared wall)\, a wall-based manifestation of Zen-influenced persistence\, and One Second Sculpture (1969). The latter\, described as a “drawing in space\,” involves the release of a coiled metal tape measure to produce an instantaneous fusion of sound\, line\, and gravity. \n\n\n\nMarioni’s performative lecture is presented by Society of Art and Living Archives (SALA) and Human Resources Los Angeles (HRLA) and in partnership with the Performance Art Museum (PAM). The project is organized by SALA founder Alberto Cuadros.Marioni’s deep-rooted connection to the Southern California conceptual art scene includes a significant solo exhibition at the Newport Harbor Art Museum (now OCMA)\, a survey at the Hammer Museum\, and his inclusion in the landmark exhibition Out of Actions at MOCA Los Angeles. Marioni has collaborated with and curated many artists\, including Marina Abramović\, Chris Burden\, John Cage\, Terry Fox\, Paul Kos\, Linda Montano\, Bruce Nauman\, and Barbara T. Smith. This upcoming performance in Los Angeles is a live archival activation of a transformative period of experimental art in California. \n\n\n\nAbout the ArtistTom Marioni (b. 1937\, Cincinnati\, Ohio) is an influential figure in the history of American conceptual art and a primary architect of the West Coast’s “social sculpture” movement. After moving to San Francisco in 1959\, Marioni fundamentally challenged the traditional boundaries of the art object\, shifting the focus from the production of static things to the creation of “idea-oriented situations.”In 1970\, Marioni founded the Museum of Conceptual Art (MOCA) in San Francisco. Through his work at MOCA and his earlier tenure as curator at the Richmond Art Center (1968–1971)\, Marioni provided a radical platform for ephemeral\, sound-based\, and body-oriented “actions” by artists such as Chris Burden\, Bruce Nauman\, and Terry Fox. Marioni is perhaps most widely recognized for his ongoing social artwork\, The Act of Drinking Beer with Friends Is the Highest Form of Art (first staged at the Oakland Museum in 1970). This piece\, which involves a weekly salon where the social exchange is the medium and the resulting debris is the “artifact\,” has been acquired into the permanent collection of the San Francisco Museum of Modern Art (SFMOMA) and performed globally. Marioni’s work is held in the permanent collections of the Museum of Modern Art (New York)\, the Centre Pompidou (Paris)\, and the Stadtische Kunsthalle (Mannheim). He remains a central figure in the San Francisco art community\, where he continues to lead the Society of Independent Artists and collaborate with Crown Point Press. \n\n\n\nAbout the CuratorAlberto Cuadros is an artist\, curator\, and independent art historian based in California\, and the founder of SALA (Society of Art and Living Archives). Originally established in 2020 as Society of Art Los Angeles\, the organization expanded into San Francisco in 2025. Cuadros’s work through SALA is characterized by a “socially engaging” approach\, often using his extensive network of artists and cultural leaders to create immersive experiences that address the current realities of the urban environment. \n\n\n\nSALA is a 501(c)(3) nonprofit dedicated to telling the stories of overlooked California art in site-specific exhibitions\, talks\, salons\, and programs.The organization focuses on California’s cultural history\, dating back to the 1840s\, to connect traditional practices with contemporary creativity. Based in San Francisco\, SALA is inspired by the inclusive nature of “salon culture” and aims to bring together art and daily life closer through exhibitions\, workshops\, city-wide tours\, and experimental programming. SALA’s 2026 programming (titled Living Archives: San Francisco) interprets intersectional Bay Area art histories and the specific sites where they unfolded.
URL:https://www.h-r.la/event/tom-marioni-action-and-talk/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260222T170000
DTEND;TZID=America/Los_Angeles:20260222T203000
DTSTAMP:20260409T023340
CREATED:20260208T211746Z
LAST-MODIFIED:20260219T210401Z
UID:9356-1771779600-1771792200@www.h-r.la
SUMMARY:A World Without FIFA's World Cup (Part 2)
DESCRIPTION:Hansen Dam Park\, Los Angeles. Photo by Michael Wells\, 2006.\n\n\n\n“Nobody earns a thing from the crazy feeling that for a moment turns a man into a child playing with a balloon\, a cat toying with a ball of yarn\, a ballet dancer flying through the air with a ball as light as a balloon or a ball of yarn\, playing without even knowing he’s playing\, with no purpose or clock or referee.” — Eduardo Galeano\, Soccer in Sun and Shadow \n\n\n\nFollowing up on last month’s World Without a World Cup event — join us for a mixer & forum designed to spotlight fútbol communities & countercultures\, FIFA and Olympic refuseniks\, league historians\, players\, poets and artists. The aim is to make connections between scenes\, spaces of play\, dial into the challenges of this moment and share how we show up for each other. \n\n\n\nWe’ll have libations and snacks\, and will encourage people to mingle\, chat\, cruise for game. \n\n\n\nAttending/presenting: members of Dyke Soccer\, NOlympics\, People’s FC\, South El Monte Arts Posse\, artist-poet Nico Avina\, historian of Latinx women’s leagues in LA Kathy Pululpa (check out her article\, “Nos Vemos en la Cancha”)\, and public historian\, UCR Prof. and moderator Jorge Leal. Hosted by HRLA members Advik Beni & Jennifer Doyle.   \n\n\n\n5pm: Doors open for mixer + slide show\, short sport-video art (available on-line\, curated by Jennifer Doyle).  \n\n\n\n6pm: Presentations & discussion \n\n\n\nPhoto: Hansen Dam Park\, Los Angeles. Michael Wells\, 2006. \n\n\n\nFree\, RSVP or just show up!
URL:https://www.h-r.la/event/world-without-a-world-cup-part-2/
CATEGORIES:forum,panel/conversation
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260223T190000
DTEND;TZID=America/Los_Angeles:20260223T220000
DTSTAMP:20260409T023340
CREATED:20260211T234719Z
LAST-MODIFIED:20260218T235225Z
UID:9380-1771873200-1771884000@www.h-r.la
SUMMARY:David Dove • mattie barbier • Rowell/Bell/Shook
DESCRIPTION:On Monday\, February 23rd\, David Dove – the Houston-based improviser\, composer\, and trombonist – makes his Los Angeles solo debut at HRLA at a show pulled by UPEND. \n\n\n\nVia drones\, heavy and deep\, Dove will tap into the architectural resonances of Human Resources with Subwoofer Trombone\, his improvisational project that explores sub-bass frequencies using trombone\, pitch shifters\, effect pedals\, and… subwoofer. \n\n\n\nStarting with his refined palette of ‘bone timbres\, Dove moves between jazz inflections and minimalist abstractions\, feeding into a system that slackens time and stretches sound into a slow-moving expanse. This low-frequency undercurrent opens a space where Dove can explore further resonant interplay and even weave in passages of others’ repertoire\, sparking subtle dialogues across time and tone. \n\n\n\nThis Monday evening sound salon will also feature a set from LA-based musician and composer mattie barbier\, and a trio set from double-bassists Sam Rowell and Georgia Bell\, with saxophonist Wilson Shook. \n\n\n\nAdvance tickets are available via [withfriends] \n\n\n\n\n\n\n\nBased in Houston\, Texas\, David Dove is a trombone player\, composer\, improviser\, facilitator\, and curator. Dove has focused on acoustic playing for most of his career\, developing a style that draws influence from jazz\, 20th-century composition\, electronic music\, and free improv among other sources. A devoted improviser\, Dove has collaborated with scores of artists over the decades\, including his mentor Pauline Oliveros\, Joe McPhee\, Carmina Escobar\, Tom Carter\, Thomas Lehn\, Jawwaad Taylor\, and Lucas Gorham. Venues where Dove has performed include The Arches in Glasgow\, Scotland; DOM Cultural Center in Moscow\, Russia; Chinati Foundation in Marfa\, Texas; and the Menil Collection in Houston\, Texas. \n\n\n\nDove is also the founder of Nameless Sound – a crucial Houston arts organization that – for 25 years – has presented adventurous musicians from around the world\, fostered the local experimental music community\, and remained focused on a mission to educate through creative music practice. The organization and its artists work directly with young people in public schools\, community centers\, and homeless shelters to promote creativity\, diversity\, and improvisation.
URL:https://www.h-r.la/event/david-dove-mattie-barbier-rowell-bell-shook/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260227T180000
DTEND;TZID=America/Los_Angeles:20260301T170000
DTSTAMP:20260409T023340
CREATED:20260217T233956Z
LAST-MODIFIED:20260219T231552Z
UID:9418-1772215200-1772384400@www.h-r.la
SUMMARY:Lynne Marsh: after-lived
DESCRIPTION:Friday\, February 27 –Opening Performances 6–9 pm \n\n\n\nSaturday\, February 28 –Performances 1–5 pm \n\n\n\nSunday\, March 1 –Performances 1–3 pm\, Conversation 3–5 pm \n\n\n\nThese poor nymphs of the present\, distorted by the endless screens they must pass through before finding themselves in something resembling “the real world.” Unaccustomed to the weight of what we might call reality\, they fall out of an infinite space-time into the brutal pull\, or rather push\, of gravity. \n\n\n\n–Hannah Sage Kay\, Poor Nymphs Poorer Selves* \n\n\n\nafter-lived unfolds over three days at Human Resources Los Angeles as an exhibition-based performance. Performers work through gestures learned from a motion-capture animation archive: they embody\, repeat\, reorient\, and endure them. Each performer trains with an avatar generated from a digital scan of their own body\, set in motion as if possessed. What begins as data becomes flesh\, altered by the screens it has passed through. \n\n\n\nThe archive carries its own residue: combat loops\, evasions\, falls\, and impacts. Gestures circulate in a dense image economy\, detached from their original conditions and optimized for reuse. Here\, however\, they meet the weight of gravity. Slowed down and enfleshed\, a fall is no longer seamless. Impact registers. Repetition produces strain. \n\n\n\nThe title after-lived names a condition in which systems persist beyond their declared obsolescence\, continuing to operate even after their logic has been exhausted. In this state\, gestures survive their contexts. They loop\, mutate\, and return. The body becomes the site where these loops are absorbed\, tested\, redirected\, and possibly exited. \n\n\n\n*excerpt from exhibition text for Standing Death Backward at council_st\, June 2025 \n\n\n\nLynne Marsh is a Canadian artist based in Los Angeles and Associate Professor at UC Riverside. Her practice questions the status of the image through mediation\, technology\, and production. Ideas central to Marsh’s research include offstage space\, production-in-production\, affective and cultural labor\, music as a framing device\, and the Brechtian revealing of the mechanics of cultural and theatrical production. \n\n\n\nPerformers \n\n\n\nAbriel Gardner (aka bob) is an artist. She has a background in dance and works in many media. She currently lives in New York. \n\n\n\nJobel Medina is a Filipino-American dancer and choreographer based in Los Angeles. His work spans the United States and France\, and he has collaborated with artists including Tino Sehgal\, Benjamin Millepied\, Dimitri Chamblas\, Alex Prager\, Kim Gordon\, Simon McBurney\, Shahar Binyamini\, Danielle Agami\, and Tom Weinberger. His choreography has been presented at institutions such as the Philharmonie de Paris (with LA Dance Project)\, The Broad\, the Museum of Contemporary Art\, the Musée d’Orsay\, and the Institute of Contemporary Art. \n\n\n\nRyan OByrne is an artist and MFA candidate in Studio Art at The University of California\, Riverside. His work antagonizes the compulsive circulation of conventional terms of logic\, investing in the poetic potential of neologisms that might interrupt repetitions of violence\, extraction\, and exploitation. He is a graduate of The Juilliard School’s Drama Division. \n\n\n\nCecilia Slongo is an interdisciplinary artist from Argentina\, based in Los Angeles. She investigates the body as an archive and its relationality with the material and non-material realms. Cecilia is currently exploring the intersection of media\, corporeality and memory. \n\n\n\nIn conversation with \n\n\n\nAmy Skjerseth is Assistant Professor of Popular Music at University of California\, Riverside. She researches media\, music\, material culture\, and technology. Her books Preprogrammed: How Electronic Presets Changed Music and Media (UC Press) and the coedited volume The Routledge Companion to Voice and Identity will be out later this year. \n\n\n\nJudith Rodenbeck is an art and cultural historian whose research focuses on intermedial art practices since 1945. She trained at Yale\, Columbia\, and the Massachusetts College of Art & Design\, and is currently a Professor of Media & Cultural Studies at the University of California\, Riverside. \n\n\n\nLynne Marsh would like to acknowledge the support of the UC Riverside Center for Ideas and Society and the UC Humanities Research Institute.
URL:https://www.h-r.la/event/after-lived/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260307T160000
DTEND;TZID=America/Los_Angeles:20260322T180000
DTSTAMP:20260409T023340
CREATED:20260215T200413Z
LAST-MODIFIED:20260318T170041Z
UID:9388-1772899200-1774202400@www.h-r.la
SUMMARY:*autonomous together
DESCRIPTION:a proposition about autonomies and their meanders by gloria galvez\, fran ilich and clara lópez menéndez – with contributions from the larger Los Angeles organizing community \n\n\n\nOpening March 7th\, 4 – 8pm \n\n\n\nFor all related public programs please see bottom of this page \n\n\n\nautonomous together* \n\n\n\nautonomy is an act in motion\, a practice\, an attitude and approach to experience\, but one that is not pursued alone. autonomy is a perpetual joyous negotiation of the conditions of our shared freedom from the mandates of colonization\, commodification\, exchange\, dehumanization\, and the destruction of nature. \n\n\n\nlike ants move by sensing other ants\, tracing their routes through walls\, around trees\, and into the earth\, we move towards our desired autonomy following the trails that others have left behind in its quest.  \n\n\n\nworks throughout this exhibition study various social and political practices that move away from dominant systems that deprive the many and\, instead\, build towards collective\, non-hierarchical people and earth-centered infrastructures. together we seek to invite the audience to co-imagine a new commons\, because\, as some friends said over ten years ago\, we owe each other everything.** And liberation is not a solitary practice\, but an interdependent one. \n\n\n\n∞∞∞∞∞∞ \n\n\n\nProgramming \n\n\n\nMarch 7 at 6pm Tumbleweed Soup Kitchen & Recipe Share session with Community Chef Chris Rodriguez \n\n\n\nOur knowledge of our surrounding edible environment has been intentionally severed by the dominant systems that seek to keep us dependent on their low wages and commodities. Tumbleweed soup is a generations-old recipe that has been passed on by indigenous communities and shared amongst people as a survival food during the Great Depression and Dust Bowl period. Chris Rodriguez\, a mutual aid chef of Mexican-Indigenous and Iberian ancestry\, will continue the culinary lineage of this soup and share with attendees a bowl of soup and his recipe for how to make it. \n\n\n\n∞∞∞∞∞∞ \n\n\n\nMarch 15 – Urban Foraging session with Community Chef Chris Rodriguez\, Atlakatl Ce Totchli and clara lópez menéndez \n\n\n\nIn this session attendees will learn how to i.d. and harvest tumbleweed from Chef Chris Rodriguez. Through the hike to forage the plants Chris\, Atlakatl Ce Totchli and clara lópez menéndez will share stories about how traditional knowledge of foraging medicinal and edible plants around the world has actively suppressed as a means of status quo control. \n\n\n\n∞∞∞∞∞∞ \n\n\n\nMarch 20\, 7m to 9pm Autonomous Convening with Skira Martinez – Cielo\,  Kruti Parekh – Youth Justice Coalition\, and Marta Escudero – Alcove Learning Center. Food served by M.A.A.L.A. \n\n\n\nThis convening invites the community to share a meal and strategies for building resilient autonomous communities. The convening will be facilitated by community organizers who work in housing\, community safety\, and arts projects that practice community autonomy. They will  share strategies from their work and facilitate a conversation that explores how we can together build the world we desire. Food will be provided by Mutual Aid Action Los Angeles.  \n\n\n\n∞∞∞∞∞∞ \n\n\n\nMarch 21\, Reclaiming Presence – Saturday March 21st\, 5pm onward                    \n\n\n\nClosing gathering for autonomous together* –– join us for an evening that explores autonomy through storytelling\, film\, text\, and shared body movement  \n\n\n\n5:30pm – Amelia Bande\, will present a performance that is also a conjuring for us to orally weave counter narratives together. \n\n\n\n7:30pm – Screening Fences to Freedom (45min\, 2025) –– In 2021\, Gustavo Otzoy and his neighbors found themselves surrounded by hundreds of LAPD officers in the midst of the controversial raid on the Covid-era Echo Park homeless encampment. Fences to Freedom is the untold story of what led to the encampment forming\, its eventual eviction\, and the consequential effects on Gustavo’s life thereafter. Stick around after the screening for a Q&A with director Ian Midgley and community organizer Joann Swann. \n\n\n\n9 – 9:30pm – Bite & Write –– Grab a slice of pizza\, browse a book on autonomy\, and write down\, on the table\, a meaningful book quote for others to encounter \n\n\n\n10pm – closing – Music to celebrate\, reclaim collective presence and dancing with rhythms by DJ Adam O and DJ Swann \n\n\n\n∞∞∞∞∞∞ \n\n\n\n* in 2017 virgil b/g taylor made a series of screen printed t-shirts that said “autonomous together”\,  as a commemoration of virgil’s friends’s traumatic experience as part of the counter-rally that gathered in Charlottesville\, Virginia\, in August 2017. As an expression\, “autonomous together” articulates a form of reciprocity that resonated deeply with ourselves and the ethos of this project. So we asked if we could summon it for the title of this show. \n\n\n\n** Fred Moten and Stephano Harney in the Undercommons\, 2013. \n\n\n\n∞∞∞∞∞∞ \n\n\n\ngloria galvez is an artist\, educator\, organizer\, and nature steward whose artistic practice zig-zags across drawing\, video\, sculpture\, and communal experiences — while every so often interweaving into these forms and their making\, community organizing and citizen science insights and frameworks. within this practice\, her current focus invokes alternate and simultaneous realities that prompt rebellious and revealing questions to the current social-political conditions of things – both living and nonliving things – both human and non-human things. and her work offers people physical and abstract spaces of learning\, recollection\, possibility\, self-determination\, and imagination. \n\n\n\nFran Ilich is an artist and writer based in NYC. His practice deals with narrative media\, economy\, games and hacktivism. For instance\, the creation of collective wealth and alternative financial flows\, inventing unorthodox ways to fund and maintain social infrastructures. He draws on ancient modes of exchange\, and uses narrative and creative devices to forge organizational models that transform capitalist systems into solidarity platforms. Rather than reject existing financial tools and capitalist mechanisms\, such as banks\, bonds\, hedge funds\, and capital accumulation\, he shuffles them around in such a way that they instead can foster community building enterprises and non-vertical economies. He is the author of 3 novels and the book-long essay Another Narrative is Possible. His works range from interactive web telenovelas to alternate reality games and utopian experiments in social organization\, like the Diego de la Vega Coffee Co-op and Spacebank\, a virtual community investment bank. \n\n\n\nclara lópez menéndez is an art worker practicing in the fields of curating\, pedagogy\, writing and performance. Among her recent projects are The Awakening\, Antoni Hervas’ solo exhibition at Human Resources LA\, and HRLA Studies\, a series of free classes. She is regular faculty in the Art Program at CalArt’s School of Art.
URL:https://www.h-r.la/event/autonomous-together/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260328T200000
DTEND;TZID=America/Los_Angeles:20260328T235900
DTSTAMP:20260409T023340
CREATED:20260227T194647Z
LAST-MODIFIED:20260326T225740Z
UID:9433-1774728000-1774742340@www.h-r.la
SUMMARY:SHAME
DESCRIPTION:$15 tickets \n\n\n\nSHAME is a deliberately subversive nightlife concept created by curator Peter Kalisch after stepping away from booking Queerspace LA. Framed as a reaction against the excess\, vanity\, and image-driven culture of Los Angeles nightlife\, the party rejects hedonism and performative self-indulgence in favor of introspection\, discomfort\, and raw authenticity. Rather than offering escapism\, “Shame” confronts attendees with the emotional undercurrents often masked by club culture—inviting a space where vulnerability replaces spectacle. \n\n\n\nGirl Pusher “With a streamlined set up of just vocals from Gabby Giuliano and drums (both electronic & acoustic) from Jarrod Hine\, Girl Pusher is punk just the way we like it – futuristic and uncompromising” – Deathbomb Arc \n\n\n\nSRSQ (pronounced seer-skew) is the solo project of Kennedy Ashlyn. SRSQ explores nuance\, nostalgia\, reflection\, and reconciliation\, manifesting in the aural landscape of her 2018 debut album Unreality. \n\n\n\nDiesel Dudes is an Oakland-based “musclewave” or electro-punk band specializing in high-energy\, sweat-soaked music paired with body-building themes. Known for intense live performances involving muscle-bound dancers\, the group blends EBM (Electronic Body Music) with punk energy\, focusing on themes of strength\, lifting\, and humor. \n\n\n\nDagger Wound – a noise masochist bringing abrasive sounds with a strong political message and a cathartic performance style that slices through reality. \n\n\n\nDVVSK – (pronounced Dusk) is a non-binary drag queen based in Los Angeles\, known for their performances and artistry. with shoutouts from notable figures like Alaska Thunderfuck.
URL:https://www.h-r.la/event/shame/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260411T160000
DTEND;TZID=America/Los_Angeles:20260426T180000
DTSTAMP:20260409T023340
CREATED:20260331T015123Z
LAST-MODIFIED:20260408T155015Z
UID:9450-1775923200-1777226400@www.h-r.la
SUMMARY:Cumbia de mi Tierra
DESCRIPTION:Gallery Hours: Friday- Sunday\, April 12th – April 26th\, 12pm – 6pm \n\n\n\nOpening event on Saturday\, April 11 from 4pm – 9pm. \n\n\n\n \n\n\n\nOpening event on Saturday\, April 11 from 4pm – 9pm \n\n\n\nRSVP \n\n\n\nDance performance by Club Inspiración Mexico. \n\n\n\nSonidero performances by Sonido La Rumba and El Tropical San Pancho. \n\n\n\nLive music by cumbia group Dolores y su Conjunto. DJ sets by Ganas\, El Kevin and Sonido Dolores. \n\n\n\nRecord store pop-up by Innovation Records and Discos Rolas. \n\n\n\nCeviche by Correas Mariscos. \n\n\n\n \n\n\n\nFilm screening on Saturday\, April 18 at 6pm \n\n\n\nTickets \n\n\n\nScreening of Sonidero Metropólis and Kumbia Net\, both directed by Alvaro Parra  \n\n\n\nGrupo Kual? Musica de Barrio\, directed by Discos Rolas. \n\n\n\nDJ sets by Noche Romantica\, Que Madre\, Dave Salvaje\, Sonido Sapo\, Kumbia Net\, Space Primo\, Discos Rolas\, Xandao and Ganas. \n\n\n\nQ&A with director Alvaro Parra. \n\n\n\nRecord store pop-up by Innovation Records and Discos Rolas. \n\n\n\n \n\n\n\nClosing Celebration on Saturday\, April 25 from 4pm – 9pm. \n\n\n\nTickets \n\n\n\nDance performance by Cali All-Stars. \n\n\n\nSonidero performances by Rafael Pamatz and Tropical San Pancho. \n\n\n\nDJ sets by Ritmo Santanero\, Discos Rolas\, Mas Exitos. \n\n\n\nRecord store pop-up by Innovation Records and Discos Rolas. \n\n\n\nMore related programs to be announced. \n\n\n\nCumbia de mi Tierra is an art exhibit and installation that celebrates cumbia music from Mexico through ephemera\, material culture\, and art. From humble beginnings at family gatherings in Tepito and Peñon de los Baños\, Mexican cumbia transformed the folkloric\, regional dance music style from Colombia as it took roots in Mexico City and Puebla and in the diaspora in New York\, New Jersey and LA. Independent labels including Discos Dancing\, Discos Room\, and Discos Lambda released records of Mexican cumbia groups alongside bootleg compilations of South American cumbia. Sonideros such as La Changa\, La Conga\, Sonido Samurai and thousands of others not only set up mobile soundsystems throughout Mexico but also DJ their vast collections and perform saludos (shout-outs). Groups such as Super Grupo Colombia and Los Angeles Azules emerged in Mexico City innovating the cumbia by imitating the bass-heavy and mediated sound of cumbia sonidera.  \n\n\n\nCurated by artist Gary Garay\, the exhibit brings together collector\, Jose Hernández\, photographer Stefan Ruiz\, and artist Yair Sarmiento. Drawing on the extensive collection of Jose Hernández\, Gary Garay tells a story of cumbia sonidera in Mexico through curation and the creation of new work based on this archive. Consisting of flyers\, posters\, stickers\, sonidero business cards\, and cassette mixtapes and cassette recordings of specific bailes from the 1980s and 1990s Mexico City constitute a counter-history of print and graphic design. With its wild appropriation of Looney Toons\, Hannah Barbera\, Betty Boop\, this visual vernacular helped transform cumbia from rural folkloric popular dance music from Colombia into a modern\, urban\, soundsystem-based culture. From the printing press to the record press\, typewritten and Xeroxed cassette covers\, screen printing\, this fast-paced\, inexpensive independent media culture of the marginalized masses.  \n\n\n\nDancer and record collector\, Hernández is an organic archivist of the cumbia sonidero scene who grew up in Mexico City and in the 1980s and 1990s and built his massive collection around the various ephemera of the scene. Garay documented\, archived\, and curated Hernández’s vast collection—which had been spread between California and his mother’s house in Mexico City.  Inspired by the collection\, Garay’s new work amplifies details that matter to diggers—record label logos\, album cover photographs of dancers and sonideros—by screen printing on materials such as silver\, tarps\, and brick. The metallic color recalls platinum records\, Mexican silver mines\, Pop Art\, and roll-up galvanized metal shop doors for places like Sonoramico Records and Discos Cali. Long part of Garay’s art practice\, the tarp acknowledges improvisation\, making do\, hiding\, and taking care—a temporary roof or wall at swap meets\, alleys\, bailes\, and Hélo Oiticica’s Tropicália. \n\n\n\nFinally\, Stefan Ruiz will have five large-format photographs from his 2011 photo essay documenting the “Cholombiano” street style of young cumbia and vallenato fans in Monterrey\, Mexico. 
URL:https://www.h-r.la/event/cumbia-de-mi-tierra/
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DTSTART;TZID=America/Los_Angeles:20260413T200000
DTEND;TZID=America/Los_Angeles:20260413T223000
DTSTAMP:20260409T023340
CREATED:20260407T230910Z
LAST-MODIFIED:20260407T230911Z
UID:9472-1776110400-1776119400@www.h-r.la
SUMMARY:SPRINGCLING
DESCRIPTION:SPRINGCLING is the latest experiment in curation by local percussionist-artist Corey Fogel\, challenging & augmenting what fits in a gallery\, on a “music program”\, within an acoustic setting\, and at an event. “Salon” may best describe this happening that marries artists from all corners of the country; of Corey’s creative friend circle; of the media sphere. Proceeding these prepositions is a preposterously proposed presentation of presumably preferred praxes. P’rhaps we’ll see you there!  \n\n\n\nsound\, saxophone\, food\, voice\, bass\, drama\, poetry\, percussion\, food\, projection\, electronics\, performance\, text\, noise.  7:58 PM \n\n\n\nTickets \n\n\n\nSam Weinberg is a saxophonist\, composer\, and improviser from New York City. His work attempts to forge and develop a distinct intervallic lexicon which is both mutable and structurally coherent.He has released three records for trio since 2023: Implicatures (Astral Spirits\, with Chris Lightcap and Tom Rainey)\, and two with his long-standing group with Henry Fraser and Jason Nazary (Plays Quarter Notes and Other Notes\, and Of Peeling Passage: Live at Sisters). Weinberg has also focused heavily on solo work in the last several years\, which has resulted in the albums Academy\, My Druthers\, Live at the Oche\, with another forthcoming in 2025. \n\n\n\nHeidi Ross is a private chef and multidisciplinary artist who creates culinary performances\, installations\, and dinners for private events\, galleries\, public and outdoor spaces. Heidi uses food as visceral communication through communion—exploring sentience and interspecies connection through sound\, touch\, taste\, and new media. \n\n\n\nCordey Lopez is an experimental musician and audio engineer currently based in Los Angeles\, CA. Through original composition and collaborative projects\, such as Gong Gaada and the Berkeley Gamelan\, his work currently explores intersections of electronics and Indonesian gamelan music. Cordey also performs solo under the moniker Baby Aspirin DVD using modular synthesizer to deconstruct and recontextualize cultural aesthetics of death metal. As an audio engineer\, Cordey tours internationally as Front of House with other experimental artists and is the lead engineer at Gnarnia Studios. \n\n\n\nMeg Shevenock is a writer\, artist and private teacher.Meg’s debut poetry collection\, The Miraculous\, Sometimes\, won the Marystina Santiestevan first book prize\, judged by Bob Hicok for Conduit Books & Ephemera. Her poems and essays have appeared in such places as Times Literary Supplement\, Lana Turner\, Best New Poets\, Denver Quarterly\, Ninth Letter\, jubilat\, and Kenyon Review blog. She is a recipient of a writer’s grant from The American Academy of Arts and Letters and an Ohio Arts Council Individual Excellence Award winner in Poetry. She is an occasional “reader” and researcher for internationally acclaimed visual artist Ann Hamilton. \n\n\n\nJudith Berkson is a composer\, vocalist\, and pianist. Her multi-disciplinary work explores tuning as it relates to memory and perception. She explores small spaces between similarity and difference as in her String Quartet 1 where each instrument is tuned a syntonic comma apart. Her solo project\, Liederkreis\, draws on 19th century German lieder\, noise\, and electroacoustic performance. She is also a Cantor and officiates traditional liturgical chanting. She has been featured in the Wall Street Journal\, The New York Times\, The New Yorker\, and on NPR. She has collaborated with the Kronos Quartet\, City Opera\, Laurie Anderson and has worked with ensembles including Mivos Quartet\, Wet Ink\, Yarn/Wire\, Experiments in Opera\, and the Boston Microtonal Society. She has recorded for ECM Records\, has written two operas. She is currently based in Los Angeles. \n\n\n\nCorey Fogel (b 1977) is a composer\, drummer\, and artist based in Los Angeles. He works across genre and medium to explore many facets of improvisation. He approaches sounds\, textiles\, collaborators\, gestures\, and objects as viable materials for spontaneous\, strategized\, time-based experimental performance\, often incorporating sculpture\, video\, music traditions\, theatricality\, and ritual. Fogel performs and composes in many rock\, jazz\, noise\, folk\, and chamber music capacities. He can be heard on over one hundred recordings as a percussionist. His compositions range from collaborative media scores to aleatoric ensemble compositions which use a combination of traditional and novel notation. For two decades\, he has worked with alternative music notation\, creating innovative and novel systems that encode and visualize the behaviors that comprise musicians’ improvisational vocabulary. His scores use digital design techniques to represent sonic trajectories\, relational dynamics\, and situationism in space. Once an exclusive transaction between composer and performer\, this work has grown into site-specific\, immersive mural paintings for an expanded audience. This creative activity became the subject of his doctoral dissertation\, entitled Graphic Score On Trial – The Utility and Emergence of a Transciplinary Linguistic. \n\n\n\nEllenberg is an academic and artist who works across the disciplines of film/video\, performance and theater. She began her career as filmmaker and video artist\, screening her films widely at international venues\, since creating her first film at Ocularis Collective\, in Williamsburg in 2000. Her creative practice centers around a re-imaging of the gendered subject within contemporary American popular culture and mythology. In the 2000’s\, she curated a range of multi-media events and screenings at venues including Monkeytown\, Anthology Film Archives\, Galapagos and The Horse Hospital (London). Ellenberg’s short films and art installations have been exhibited internationally at venues such as The Collectif Jeune Cinéma\, LA Freewaves\, LACMA\, Gallery SC (Zagreb)\, Issue Project Room\, Migrating Forms\, La Di Da Film Festival\, Art in General and EMAF (Osnabrueck). Recent Press; Art F City\, Art in America\, Bomb\, LA Weekly and Hyperallergic.
URL:https://www.h-r.la/event/springcling-2/
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