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X-WR-CALDESC:Events for Human Resources
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DTSTART;VALUE=DATE:20161112
DTEND;VALUE=DATE:20161114
DTSTAMP:20161110T201146Z
CREATED:20161103T200051Z
LAST-MODIFIED:20161110T201146Z
UID:2284-1478930400-1479016799@www.h-r.la
SUMMARY:(de) Color-Es / Primera Generación Dance Collective
DESCRIPTION:(de) Color-Es is an event that seeks to cultivate community amongst artists of color of first (and second) generational experience in the United States through the coalition of art. Beyond the artist\, (de) Color-Es is designed to revel within el desmadre (messiness) that is being an artist of color new to this country\, to spaces\, and to each other\, thus pushing towards a centering of who we are within environments void of us. This overall vision is produced by Primera Generación Dance Collective and their goal to promulgate a community held between the experience of marginalization that seeks visibility and mobility; sociality that includes where they come from\, where they are\, and where they are going. \nFeatured artists: Pavel Acevedo\, Jobel Medina & Joey Navarrete\, Nhu Nguyen\, Yanina Orellana\, Myrrhia Rodriguez\, Crystal Sepúlveda\, and Primera Generación Dance Collective. \n(de) Color-Es literally translates to “of color is”\, and moves towards the celebration of first generational bodies of color interested in who they are\, what our community can be\, and what this all is/es. \nAudiences will be encouraged to navigate the multifaceted space at human resources as performances and durational art exhibits take place. \nPerformances at 6:00pm and 8:30pm — doors open 30min before the show\nDicounted Tix $15 before 11.7.16 with code: “pgdc”; General Tix $18\nPurchase advance tickets here
URL:https://www.h-r.la/event/de-color-es-primera-generacion-dance-collective/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/11/aa.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20161111T200000
DTEND;TZID=America/Los_Angeles:20161111T220000
DTSTAMP:20161107T040055Z
CREATED:20161106T210220Z
LAST-MODIFIED:20161107T040055Z
UID:2295-1478894400-1478901600@www.h-r.la
SUMMARY:BODY TECHNIQUE: Waverly Mandel\, Rin Johnson\, Juri Onuki and Si Istwa
DESCRIPTION:IN THE AGE OF DISEMBODIED COMMUNICATION\, THE MEANING AND SIGNIFICANCE AND EXPERIENCE OF THE BODY IS UTTERLY TRANSFORMED AND DISTORTED.\n– Eric McLuhan \nBODY TECHNIQUE is a program of performance that elaborates on the theme of communication and it’s relationship to the body. \nWorks include: \nBody Technique (Reasons For Sex A – Z) by Waverly Mandel. Featuring Fabienne Gstottenmayr and Midori Mukai. \nSKETCH by Juri Onuki. \nSiam2\, Rash2 by Si Istwa. A piece written for two scratched records\, one broken record player and space. There are no control variables other than her voice. \nDeviations. A reading of new poems by Rin Johnson.
URL:https://www.h-r.la/event/body-technique/
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/2016/11/Screen-Shot-2016-11-04-at-8.14.35-PM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20161108T200000
DTEND;TZID=America/Los_Angeles:20161108T200000
DTSTAMP:20161218T200644Z
CREATED:20161030T233200Z
LAST-MODIFIED:20161218T200644Z
UID:2272-1478635200-1478635200@www.h-r.la
SUMMARY:FUPU (Fuck You Pay Us)
DESCRIPTION:Doors at 8PM \nFUPU at 8:30 SHARP \n$5 OBO \n 
URL:https://www.h-r.la/event/fupu-fuck-you-pay-us/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/10/14877039_10210532050954341_691509847_n.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20161106T193000
DTEND;TZID=America/Los_Angeles:20161106T210000
DTSTAMP:20161103T210614Z
CREATED:20161019T192013Z
LAST-MODIFIED:20161103T210614Z
UID:2252-1478460600-1478466000@www.h-r.la
SUMMARY:Jack Smith Rushes
DESCRIPTION:Jack Smith scholar Josh Lubin-Levy will introduce never-before-seen 8mm film rushes and improvised compositions\, featuring Mario Montez\, Tally Brown and Smith\, alongside his short film ‘I Was A Male Yvonne DeCarlo’ (1967 – 1970s). Ranging from the late 1960s to the late 1970s\, the featured films present a glimpse into significant period of Smith’s career in which his work began to turn from photography and film towards live performance.  \nJack Smith\, ‘I Was A Male Yvonne De Carlo\,’ 16mm on DV\, 1967 -1970s\nJack Smith\, ‘Gems\, Clips and Shorts\,’ 8mm on DV\, 1968 – 1977\nJack Smith\, ‘8mm Rushes\,’ 8mm on DV\, 1970s \n$8 suggested donation\n\n\n\nOrganized in conjunction with Barbara Gladstone Gallery\, presented by Dirty Looks.\n\n\n \nUzi Parnes\, I Was a Male Yvonne Decarlo for the Lucky Landlord Underground (Photo)\, 1982
URL:https://www.h-r.la/event/jack-smith-rushes/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/10/unnamed-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20161105T190000
DTEND;TZID=America/Los_Angeles:20161105T210000
DTSTAMP:20161106T211927Z
CREATED:20161030T232251Z
LAST-MODIFIED:20161106T211927Z
UID:2270-1478372400-1478379600@www.h-r.la
SUMMARY:Spirit Quest: L.A. Premiere
DESCRIPTION:Spirit Quest: L.A. Premiere\nNovember 5\n7pm-9pm\n\n\nLos Angeles premiere of Spirit Quest\, a movie by Colin Read. Free admission. A journey through nature\, time\, and space. Featuring Jimmy Lannon\, Quim Cardona\, Marty Murawski\, Bobby Worrest\, Zach Lyons\, Jesse Narvaez\, Vincent Touzery\, Ryan Barlow\, Matt Town\, Leo Gutman\, Taylor Nawrocki\, Carlos Young\, Alex Fogt\, Chris Jones\, Connor Kammerer\, Hiroki Muraoka\, and many more from around the world. Presented by Monochrome.
URL:https://www.h-r.la/event/spirit-quest-l-a-premiere/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/10/unnamed-1-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20161029T120000
DTEND;TZID=America/Los_Angeles:20161029T210000
DTSTAMP:20161026T224611Z
CREATED:20161026T224302Z
LAST-MODIFIED:20161026T224611Z
UID:2259-1477742400-1477774800@www.h-r.la
SUMMARY:John Wiese: Battery Instruments
DESCRIPTION:BATTERY INSTRUMENTS\n• 4-channel video/4-channel sound (2016 version) *Debut\n• 4-channel video/2-channel sound (2012 version)\n• 8-channel sound (2009 version) \nOpen from noon to 9pm. Reception from 7 to 9pm.\nFree \nEditions available at the event. More info TBA. \n  \n  \nThe cinema of ‘pure means’: John Wiese’s Battery Instruments as history lesson.\nBruce Russell \nJohn Wiese’s Battery Instruments is a work that provokes a lot of thought. And ?rst among these thoughts for me is to consider what it might mean to designate him\, on the evidence presented in this installation project\, as a ?lm maker. \nThere was a tedious fashion a few years ago for composers to produce sound tracks for imaginary movies. Barry Adamson did a few once he had no gainful employment while waiting for the new wave of New Wave to pick up Magazine again. In a cultural sense this kind of thing is pure ‘makework’\, like setting the unemployed to dig holes and ?ll them again. It’s also in my opinion an illegitimate extension of one art form into the territory occupied by another\, and moreover one that tends to arise from a ‘narrative’ understanding of music. This seems to me one of the most pernicious pretensions of a jumped-up art form — the idea that music can communicate narrative meaning is pure Wagner\, and that way lies\, if not madness\, at the very least the Nuremburg Rallies. \nBut if\, on the other hand\, we are willing to let sounds ‘be what they are’ — what can be ‘said’ — what can be ‘said’ with them? \nOne way to approach an answer to this question begins by ‘unpacking’ Battery Instruments to reveal what deeper meanings may be implicit beneath its austere surfaces. This process begins with the experience of getting into a box in which a media work is presented. This is what got me thinking about the cinema in the ?rst place. \nOnce inside this ‘magic lantern show’ of sound; the stuttering\, glooping\, belching and tapping that comprise the radically edited phonemes of the piece (circulating in their eight channels like planets in an endless dance of conjunction and epicyclical enjambment) instantly evoked references to both sound poetry\, and then (when considered alongside Wiese’s practice as a typographer) one of the twentieth century’s less well-known but unimpeachably radical aesthetics of rejection — Lettrism. \nAnd the business of Lettrism\, apart from provoking scandals in a time when this was still possible\, was mainly concerned with poetry and the cinema. Their approach to both was instructively thorough-going. As Serge Berna put it in 1952 with regard to film: \nToday\, faced with the imperatives imposed upon us by the cinematographic tradition\, we must smash the double magic circle that protects this citadel. The ?rst is the sacred barrier within which one guards the credo: ‘Cinema-is-images’. \nThe radicality of these questions posed to art forms and media by the ?rst Lettrists remains substantially un-recouped in 2009. Isidore Isou’s strict requirement remains in force: that after its initial elaboration in the ‘amplic phase’\, every form of expression should be puri?ed by ‘chiselling’ out the content of the form in order to reveal what is truly essential in it. And very clearly what is least essential to the cinema is the image. \nOf course this kind of paradoxical mangling of concepts is easily done — saying that an artist unconcerned with moving images is engaged with the cinema! What pish — it’s the conceptual equivalent of shooting ?sh in a barrel: which is proverbially understood to be opposite of meaningful sport. But my sport here is decidedly meaningful\, as will become apparent when we consider what really constitutes what we call ‘media’. \nUnderstanding the process through which media arise is the key to Berna’s ‘smashing of the double magic circle’. Jonathan Sterne’s magisterial work The Audible Past examines exactly this question: ‘what makes media?’ \nThis is so basic it is almost never asked\, or even understood to be question-able. Sterne makes plain the way that what we accept as media appear to be so natural precisely because they are uniquely pervasive forms of rei?cation. And rei?cation is only perceptible as such by a somersault of the mind precisely because it has the appearance of natural inevitability. These social realities may not be questioned precisely because the prevailing social and economic relations assert that they can ‘be’ in no other way. \nWe generally assume that media are identical with technologies. Yet as Sterne makes plain\, media are much more than this\, they are “recurring sets of contingent social relations and social practices” which cohere around technologies. In Bourdieurian terms they are technologies in association with a speci?c habitus. \nSterne explicates this by showing how sound technologies in their earliest phases have very loose connections with media — the telephone\, for instance\, at some periods was used for broad.casting and seemed to have a great future in that realm. At the same time the radio was used primarily for point-to-point communication\, and even once it became articulated within broadcasting networks\, it had an almost complete allergy to recorded music — to a degree which today seems quite inexplicable. Yet today we cannot conceive of a broadcasting telephony or a point-to-point radio network — which is why cell phones and Blackberry-type PDAs are considered ‘phones’ (albeit with additional characteristics)\, even though they are actually radios\, because the social practices that structure their use make them so. Witness the branding of one of the most fully-featured and least ‘telephone-like’ of these devices as the iPhone. The actual technology which makes these work is not constitutive of their social reality qua media\, but their ‘mode of use’ is — in this case point-to-point communication in a telephone network. \nMy point here is that Isou’s Lettrists (and by extension\, John Wiese) are historically vindicated in conceiving a cinema which is not visual — for quite some time in the nineteenth century the sound recording was socially received as a concert performance media analogous to the soon-to-be-invent.ed cinema. People gathered together to hear phonographic performances. This tradition was of course revived in France following the invention of electro-acoustic music. And much later a group of French mavericks promoted a series of recorded works on the Metamkine label as ‘Cinema for the Ear’. Their meaning was not that these were ‘soundtracks’ or adjuncts to visual narratives\, but that they were\, in and of themselves; ?lms. \nWhich brings us back to Battery Instruments. The other characteristic of Wiese’s work that stakes its claim as cinematic is its emphasis on editing and repetition. Giorgio Agamben has written of Debord’s cinematographic work that its virtue lies in its wholehearted emphasis on the real core of cinema\, which he de?nes as montage. In this Debord exposes his debt to his ?rst master\, Isidore Isou. And what\, Agamben asks\, are the ‘transcendental conditions’ (to borrow a Kantian terminology) on which montage relies? They are: ‘repetition and stoppage’. \nAnd the same may be said of Wiese himself. His work to date has proven that he is an ‘editor’s editor’ — he builds by dissection\, cutting down to tiny blocks of sound which he then reassembles to create sound work which cannot in reality exist. Sounds don’t behave acoustically the way they behave in the work of John Wiese. Like all great artists he makes the world conform totally to his vision — or perhaps I should say: to his audition. \nAnd this is certainly true of Battery Instruments. By recon?guring the classic audible elements of a rock band: guitar\, bass\, drums and voice — into independent channels of tightly edited ‘phonemes’\, which chance then remixes into an impossible sound ?eld of sequential spatially distributed noise events presented within the miniature auditorium that is his cinematheque\, Wiese simultaneously evokes the Lettrist cinema without images\, and its reduction of poetry to far less even than words or syllables — to letters. And as Agamben has also observed: “stoppage shows us that cinema is closer to poetry than to prose”. It can counter syntactical limits with acoustic and metrical limits\, as poetry does. \nAnd as Battery Instruments does. Dissolving the form of rock music in the acid of montage\, it then precipitates it again into the form of a poetic cinema of the ear. This is the cinema that Agamben has argued is a ‘pure means’ because\, contrary to the prevailing Hegelian conception that the medium must disappear into the expression\, it uses repetition and stoppage to draw attention to the medium\, to prevent the false disappearance of the image into the absolute. \nAnd John Wiese’s work is his medium — sound — rather than any illegitimate message grafted onto the waves which carry it to us. The message\, which is shown in the form rather than signi?ed in the content\, is the time-dissolving wager of audition itself\, the kinematos which is implicit in all life. \n(Essay from the original 2009 Battery Instruments monograph) \nJohn Wiese “Battery Instruments” (Score\, 2009)
URL:https://www.h-r.la/event/john-wiese-battery-instruments/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/10/battery-instruments-poster.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20161027T193000
DTEND;TZID=America/Los_Angeles:20161027T220000
DTSTAMP:20161218T203606Z
CREATED:20161003T000316Z
LAST-MODIFIED:20161218T203606Z
UID:2241-1477596600-1477605600@www.h-r.la
SUMMARY:Dorian Wood + String Quartet : A Dios
DESCRIPTION:Of us\, repeatedly staring down into the precipice of fleeting consciousness; of milk and lust; of the breadth of celebrity death…an evening of music by Dorian Wood and conductor/arranger Danny Graziani\, with art direction by Eduardo Alvarez (director of Wood’s video “O”).\n \n\n“A fearless artist and performer whose voice inhabits a room like a choir of ghosts” (LA Weekly)\, Dorian Wood seeks to glorify both the sanctity and irreverence of intimacy. Through the use of his corpulent body and distinct vocalization\, Wood revels in challenging the artist-audience separation\, using subject matter informed by his own position in society as a queer man of color and an autodidact without a formal college education nor a strong alliance to any particular community. His work has been showcased in institutions such as LACMA (Los Angeles)\, The Stone (NYC)\, Kulturhuset (Stockholm)\, and Hebbel am Ufer (Berlin). As a musician\, he has released over a dozen recordings. His two most recent back-to-back albums\, Rattle Rattle and Down\, The Dirty Roof\, showcase a series of doomsday-themed songs that incorporate over 60 musicians. He is currently working on a new album\, XALÁ\, set for release in 2017. Tickets: $15 in advance; $20 at the door. Purchase advance tickets here!\n\n\n\nhttps://www.youtube.com/watch?v=y8vMUzj80Zs
URL:https://www.h-r.la/event/dorian-wood-string-quartet-a-dios/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/10/dwhr2016.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20161023T200000
DTEND;TZID=America/Los_Angeles:20161023T200000
DTSTAMP:20161021T231707Z
CREATED:20160926T233517Z
LAST-MODIFIED:20161021T231707Z
UID:2236-1477252800-1477252800@www.h-r.la
SUMMARY:Southland Ensemble: John Cage 1975-77
DESCRIPTION:A program that explores three compositions by John Cage from the mid to late 1970’s – Child of Tree\, Cheap Imitation and Renga. \nThese three works range from iconic (Child of Tree) to rarely performed (Renga)\, and feature three of Cage’s primary notational styles – text\, graphic\, and traditionally notated – yet are all equally pioneering and adventurous in nature. \nChild of Tree\ncomposed in New York City 1975 \nCheap Imitation for violin solo\nedited by Paul Zukofsky\ncomposed in New York City 1977 \nRenga\ncomposed in New York City\, Caracas\, Cuernavaca\, Toronto\, Perth\, Sydney\, Adelaide\, Canberra\, Kyoto\, Tokyo & Sapporo September 1975-April 1976 \nSouthland Ensemble is:\nCasey Anderson  Jennifer Bewerse  Eric KM Clark  Orin Sie Hildestad  James Klopfleisch  Jonathan Stehney  Cassia Streb  Christine Tavolacci
URL:https://www.h-r.la/event/southland-ensemble-john-cage-1975-77/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/09/renga_sample.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20161020T190000
DTEND;TZID=America/Los_Angeles:20161020T210000
DTSTAMP:20160926T233112Z
CREATED:20160923T014537Z
LAST-MODIFIED:20160926T233112Z
UID:2231-1476990000-1476997200@www.h-r.la
SUMMARY:Keywords for Radicals: L.A. Launch and Discussion
DESCRIPTION:In Keywords (1976)\, Raymond Williams devised a “vocabulary” of culture and society that reflected the vast social transformations marking the post-war period. Following Williams\, Keywords for Radicals asks: what vocabulary might illuminate the social transformations marking our own contested present? How do these words shape the political imaginary of today’s radical left? \nBringing together the insights of dozens of scholars and committed troublemakers\, Keywords for Radicals constellates a vocabulary of contested words that shape today’s political landscape. More than a glossary\, Keywords for Radicals makes clear that contests over word usage and meaning are themselves meaningful. By forcing words to reveal the underlying social contradictions they symptomatically express\, the contributors to this volume provide an important new vantage on the terrain—and the stakes—of contemporary struggle. \nJoin special guest Robin D.G. Kelley and Keywords for Radicals editor Clare O’Connor to explore the meaning and significance of the worlds within our words! \nROBIN D.G. KELLEY is is the Gary B. Nash Professor of American History at UCLA. His research has explored the history of social movements in the U.S.\, the African Diaspora\, and Africa; black intellectuals; music; visual culture; contemporary urban studies; poverty studies and ethnography; colonialism/imperialism; organized labor; constructions of race; Surrealism\, Marxism\, nationalism\, among other things. \nCLARE O’CONNOR is a contributing editor of Keywords for Radicals and a doctoral student in Communication at USC. She is former Coordinator of the Public Interest Research Group (Toronto) and cofounder of the activist training program Tools for Change. Between 2007 and 2013 she served on the editorial committee of Upping the Anti: A journal of theory and action. \nFor more information about the book\, visit:\nhttps://www.akpress.org/keywords-for-radicals.html
URL:https://www.h-r.la/event/keywords-for-radicals-l-a-launch-and-discussion/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/09/14372396_781374875336235_5395554754568885145_o.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20161015T210000
DTEND;TZID=America/Los_Angeles:20161015T210000
DTSTAMP:20161003T024827Z
CREATED:20161003T024827Z
LAST-MODIFIED:20161003T024827Z
UID:2243-1476565200-1476565200@www.h-r.la
SUMMARY:Robert Beatty • John Wiese/Mitchell Brown • Smokey Emery
DESCRIPTION:live in concert \nROBERT BEATTY\nJOHN WIESE / MITCHELL BROWN\nSMOKEY EMERY \ndonate eight\n_ _ _ _ _ _ _ \nRobert Beatty (Lexington\, Kentucky) \nConcurrent to crushing noise-rock norms and jockeying shattered electronics in Hair Police\, Robert Beatty has – over a decade and a half – also cut a solo path of pulses and tricks under the guise of Three Legged Race. These underground sounds have been spooled by tape labels crucial to their times: Gods of Tundra\, Night People\, NNA\, and Vitrine. More frequent live appearances and Beatty’s Soundtracks for Takeshi Murata have brought his sounds to more ears and his name to more lips. An apparent insistence on cassette and vinyl for physical releases hint at the technology-stretch at play in all of his work. Like the globally recognizable album art Beatty has created for others\, his own electro-sonics blur the line between analog artifact and digital method. And this ambiguity is intrinsic to his era-less weirdness: mystery mindscapes that can evoke The Residents or alternately offer a fully twisted take on contempo fake-techno. This is Beatty’s first show in Los Angeles in three years and his first in town since shedding the Three Legged Race moniker for live performances in favor of his own name. \nJohn Wiese / Mitchell Brown \nCuts and folds and layers of sound; abstractions that suggest referent but defy recognition. Words fail\, but still these here do loosely approximate audio aspects of two perennial figures of experimental music activity in Los Angeles. Mitchell Brown’s seemingly ubiquitous presence performing live has brought his analog alchemies and head expansion techniques to the front of the class as Professor Cantaloupe and as a next-gen LAFMS exponent. John Wiese’s digital incisions and perpetual bricolage have laid a concrète path from the extremities of the American underground\, around the earth\, and to the studios of INA-GRM. Duo collaborations are core to each of these system-riggers\, and – of course – they are no strangers: the Superstitious cut on Wiese’s mid-career chronicle Deviate from Balance documents an early aughts meeting between the two\, and they have collabed live with each other in various Spacek ensembles and Smegma connected jams. Yet\, the two haven’t paired up for a live action in nearly a dozen years. Come hear the air tear. \nSmokey Emery \nBarely within sight\, darkness swallows a shadow at the far end of a long corridor\, leaving only a cascade of echoes. Such are the dank dreamstate atmospherics conjured by Smokey Emery\, a long running project of Houston-born artist Daniel Hipólito. An itinerant accumulator of sound\, he coaxes a mix of soundscape fragments and material decay from prepared tape loops snaking through a apparatus of vintage dictaphone\, reel-to-reel\, and cassette decks. Synthesis and rhythm also work their way into the flow\, as has been captured on recent releases on Holodeck and Chondritic Sound. With Hipólito’s re-location to Los Angeles from Texas\, Smokey Emery has begun to be more readily visible diffusing sound into rooms around town.
URL:https://www.h-r.la/event/robert-beatty-%e2%80%a2-john-wiesemitchell-brown-%e2%80%a2-smokey-emery/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/10/hr_interim_horizontal.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20161007
DTEND;VALUE=DATE:20161025
DTSTAMP:20161001T084942Z
CREATED:20160928T231157Z
LAST-MODIFIED:20161001T084942Z
UID:2238-1475820000-1477288799@www.h-r.la
SUMMARY:Seduction of a Cyborg
DESCRIPTION:Exhibition Dates: October 7-23\, 2016\nOpening Reception: Saturday\, October 8\, 7-10pm  \nSeduction of a Cyborg explores intimacy\, sex\, and desire as related to technocratic fantasies of futurity\, (re)production of bodies\, and fractured selfhood in the digital age. The fictional and the virtual intersect\, exposing narratives that activate\, transform\, and deconstruct our understanding of the networked and plugged-in subject. The exhibition springs from an engagement with the work of Lynn Hershman Leeson\, a foundational feminist artist whose work has explored selfhood and technology for over fifty-years. The exhibition places special focus on Hershman Leeson’s feature-length film Teknolust (2002)\, in which a female bio-geneticist downloads her own DNA to produce cyborgnetic clones that subsist on sexually obtained Y-chromosomes and act as “portals” on the internet where users fulfill fantasies and dreams. \nSeduction of a Cyborg considers this and other early works by Hershman Leeson as a point of inception in examining a range of practices by artists\, which include video\, photography\, installation\, and web-based projects. The exhibition presents historical and contemporary works that call on critical ideas of and around technofeminism\, queer theory\, and disembodiment. The erotic innuendo inherent in the politics and possibilities of nascent technologies\, as well as a longing for an era of low-fi and analogue\, mark points of interest that extend from the 1990s to today. Other works realize fantastical and futuristic (gender) identities\, presenting body parts that have been biotechnologically produced and avatar identities that assume mutable identities online. In the realm of the virtual\, the imaginary knows no limits. \nArtists in the exhibition include: Sadie Benning; Hannah Black; Johanna Breiding; Shu Lea Cheang; Linda Dement; Ricardo Dominguez\, Francesca da Rimini\, and Michael Grimm; Deanna Erdmann; Lynn Hershman Leeson; Faith Holland; Juliana Huxtable; Martine Neddam; Alexei Shulgin; Vertical Blanking (Kim McKillip and Michael J. Masucci); and Pinar Yoldas.\nSeduction of a Cyborg is curated by David Evans Frantz\, Hannah Grossman\, and Simone Krug\, 2017 MA Candidates in Curatorial Practices and the Public Sphere Program at the USC Roski School of Art and Design. \nGallery hours are Wednesday through Sunday\, 12-6pm\, October 7 – 23\, 2016. An opening reception will be held on October 8 from 7-10pm. \nA screening of Lynn Hershman Leeson’s film Teknolust (2002)\, presented in collaboration with a shorts program curated by Dirty Looks LA\, will be held at Human Resources on Sunday\, October 16 from 6-8pm.
URL:https://www.h-r.la/event/seduction-of-a-cyborg/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20160927
DTEND;VALUE=DATE:20161004
DTSTAMP:20161106T211936Z
CREATED:20160914T040628Z
LAST-MODIFIED:20161106T211936Z
UID:2224-1474956000-1475474399@www.h-r.la
SUMMARY:Jakob Brugge
DESCRIPTION:Laoshou Mountain in southwestern China was quarried for more than two decades. Shortly after the quarry’s closure\, the Funnin County Forestry department decided to reconcile the barren mountainside with its surrounding foliage. The conclusion they reached was to paint the mountain. Workers sprayed the section of land a bright\, vaguely chemical green\, tracing the exact outline of the quarry. This decision\, whether simply a dishonest attempt at “greening” or the result of a more substantial bureaucratic drama\, presents a startlingly incongruous failure of representation\, but also\, perhaps\, a development in the potential of authenticity and redescription. The true reasons behind Funnin County’s decision are largely unknown; however\, they provide a methodology of well reasoned foolishness through which to view this exhibition. \nThe exhibition consists of the failed execution of a DIY design and the ensuing attempts to reconcile its deficiencies. A set of Adirondack furniture was mistakenly built out of drop ceiling tiles\, accidentally broken\, and then recast out of plastic to ensure its structural stability. This reformatting establishes a logic of compromise from which the rest of the work emerges. Each element appears in mediated and codependent forms\, functioning ultimately as a staging of uncertainty. \nJakob Brugge (b. 1990\, Los Angeles) Studied at Washington University in St. Louis and the Gerrit Rietveld Academie (Amsterdam\, NL). \nOpening: September 27th\, 7—10pm\nExhibition on view from September 28th—2nd October (12pm-6pm daily)
URL:https://www.h-r.la/event/jakob-brugge/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160927
DTEND;VALUE=DATE:20161004
DTSTAMP:20160917T214130Z
CREATED:20160909T202312Z
LAST-MODIFIED:20160917T214130Z
UID:2216-1474956000-1475474399@www.h-r.la
SUMMARY:Lina Hermsdorf “A Biologically Immortal Living Being Can Still Die”
DESCRIPTION:Performed by Henry Babbage\n\nPerformance September 27th\, 8pm\nExhibition on view from September 28th—2nd October (12pm-6pm daily) \nHydras never die of old age. In the ancient Greek myth\, the Hydra is a multi-headed serpent\, with a specific organic talent. As soon as one of its heads is decapitated\, the serpent regenerates the missing body part. Hydra is also the name of a freshwater animal with similarly extraordinary regenerative abilities. Stem cells from this genus of Hydra have a capacity for indefinite self-renewal. \nIn the multidisciplinary exhibition “A Biologically Immortal Living Being Can Still Die“ at Human Resources Los Angeles\, Frankfurt-based artist Lina Hermsdorf examines the varying philosophical and scientific meanings of ageing and confronts them with the seemingly ubiquitous desire for eternal youth. \nHermsdorf is concerned with rhetorical strategies and modes of narration. Through employing intertextuality as a device\, she hints at the very foundation of language and the instability and unreliability of the voice of the artist. She uses the exhibition space as a stage on which language\, the mind and the body exercise\, testing ways that one perceives and processes information as a cognitive being in stimulation-rich environments.\nHer ongoing interest in the characteristics of living organisms as systems that receive\, store\, exchange energy and information in all forms – food\, oxygen\, heat\, signals and are subject to the irreversible time of the second law\, since they are dying entities\, has also shaped the form and content of this exhibition. \nOriginally commissioned by BlockUniverse\, London\, this iteration of the work will open with a lecture performance on September 27th\, 8pm and transform into an exhibition\, surveying the subliminal structures regarding questions of preservation\, ageing and temporality at the intersection of performative and object-based practices. \n“What is an organism? A sheaf of times. What is a living system? A bouquet of times.”\n– Michel Serres \nLina Hermsdorf studied Theatre at the University in Giessen and Fine Arts at the Städelschule in Frankfurt. Her performative works and installations have been shown at Museum Abteiberg Mönchengladbach (2016)\, BlockUniverse\, London (2016)\, Minibar\, Stockholm (2015)\, Yvonne Lambert\, Berlin (2015)\, Kunsthalle Baden-Baden (2015)\, Rowing\, London (2015)\, and Taylor Macklin (2015)\, Zurich among other venues. Upcoming and current projects include: Salon Kennedy\, Frankfurt\, Atlas Economy at Mélange\, Cologne and Rowing\, London (2017). She will be Artist in Residence at Gasworks\, London from October 2016 on. \nProduction Assistant Carl Marion \nsupported by Goethe-Institut\, Munich \n 
URL:https://www.h-r.la/event/lina-hermsdorf-a-biologically-immortal-living-being-can-still-die/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160918
DTEND;VALUE=DATE:20160926
DTSTAMP:20160913T021723Z
CREATED:20160913T012717Z
LAST-MODIFIED:20160913T021723Z
UID:2221-1474178400-1474783199@www.h-r.la
SUMMARY:Noon Tran & Hannah Mjølsnes: Road River Gust
DESCRIPTION:After driving for hundreds of miles\, \npast mountains\, cliffs\, boulders\, and gravel \ndust\, you will find a field of white dunes surrounded by blue mountains. \nCurrents of wind move through this landscape\, continuously shaping and rearranging it. When lakes and rivers dried out due to climate changes\, the wind swept up the exposed bottom sediment of dry sand. The sand brushed against cliffs and rocks\, before piling up at the foot of a mountain ridge that barricaded it from traveling further with the winds. For the past 2\,500 years or more\, fine grains of golden quartz and feldspar have accumulated into 600 feet tall dunes. \nYour feet sink into the side of the dune and soften the sound of your steps\, but as thousands of small rocks begin cascading down\, you can hear them reverberating around you. You leave clear imprints in the surface but as you look back at your tracks they have already been smoothed over by the wind and are almost gone. The booming echoes fade back into complete silence. \nThroughout our work with the site\, a migration of materials occurs. Ceramic sculptures are taken to the site and field recordings are brought back. The materials break apart before coming together in a new form. The site is compressed by the act of recording it\, and reassembled in the gallery. The recordings are altered through digital processes that mirror the natural process of erosion. \nAudio recordings are adapted using granular synthesis: a method by which sounds are broken into tiny grains\, smaller samples of sounds are then redistributed and reorganized to form other sounds. \nThe soundscape is a five-channel sound piece that is experienced differently according to your position in the space. Individual sound recordings from ceramic vessels set up an acousmonium of collected recordings. \nThe video component of the installation uses software that employs an optical flow algorithm to read the motion of the sand. This data is subsequently fed into a video feedback system that resynthesizes the footage. \nƨɘnƨloႱM ʜɒnnɒH bnɒ nɒɿT nooИ         ƚƨuᎮ bɒoЯ ɿɘviЯ \nƨɘlim ʇo ƨbɘɿbnuʜ ǫnilɘvɒɿƚ ɿɘƚʇA\nɒ bniʇ ɘw \,ƚƨub lɘvɒɿǫ bnɒ \,ƨɿɘbluod \,ƨʇʇilɔ ʜǫuoɿʜƚ\n.ƨniɒƚnuom ɘuld yd bɘbnuoɿɿuƨ ƨɘnub ɘƚiʜw ʇo blɘiʇ \n.ɘqɒɔƨbnɒl ɘʜƚ ƚuo ɘvɿɒɔ ƨƚnɘɿɿuɔ bniW\nɘʜƚ ƚuo bɘiɿb ɘǫnɒʜɔ ɘƚɒmilɔ nɘʜw \,ƚɒʜƚ wonʞ ɘW\nƨniɒɿǫ ɘniʇ \,ƨɿɒɘy 005\,2 ɘdyɒm ɿoᖷ .ƨƚnɘmibɘƨ\nmoɿʇ bɘƚɒlumuɔɔɒ ɘvɒʜ ɿɒqƨblɘʇ bnɒ zƚɿɒup ʇo\n.ƚɘɘʇ 006 ƨɒ llɒƚ ƨɒ\,ƨɘnub ƚnɒiǫ mɿoʇ oƚ noiƨoɿɘ\n\n\,ƨɘnub ɘʜƚ ǫniʞlɒw ƚɿɒƚƨ ɘw ƨA\nllɒmƨ ʇo ƨbnɒƨuoʜT .bnɒƨ ɘʜƚ oƚni ʞniƨ ƚɘɘʇ ɿuo\nnɒɔ ɘW .ƨɘnub ɘʜƚ nwob ɘbɒɔƨɒɔ oƚ niǫɘd ƨɘnoƚƨ\nllɒmƨ ɘʞil ƨu ʜƚɒɘnɘd ɘƚɒɿɘdɿɘvɘɿ ƨɘnoƚƨ ɘʜƚ ɿɒɘʜ\nɘɿuƨ ɘʞɒm ɘw oƧ .ʞɘɘƨ-bnɒ-ɘbiʜ ǫniyɒlq ƨlivɘb\n\,ǫnolɒ oǫ ɘw ƨɒ bnɒƨ ɘʜƚ ni ƨƚniɿqƚooʇ ɿuo ʞɿɒm\nbɘqqoƚƨ ɘv’ɘw wonʞ ƨlivɘb yɘnoƚƨ ɘʜƚ oƨ ƚƨuႱ\n.ǫniʜɔɿɒm ɘɿɒ ɘw ɘʞil ƨʞool ƚi \,ɿɒʇɒ moɿᖷ .yf\nbɘʞool bɒʜ ɘw ʇi \,ƚɒʜƚ ƨi ƚɘy wonʞ ƚ’nob ɘw ƚɒʜW\n.ƨʞɔɒɿƚ ɿuo ʇo ynɒ nɘɘƨ ɘvɒʜ ƚ’nbluow ɘw \,ʞɔɒd\nƨɘiɔnɘbnɘƚ ɔiƚƨilɒiɿɘqmi ɿuo ʇo ƨuoiɔƨnoƆ\nƨbniw ɘʜƚ \,ƨlivɘb yɘnoƚƨ ɘʜƚ moɿʇ qlɘʜ ɘlƚƚil ɒ ʜƚiw\nɿuo bɘwɘivɘɿ bɒʜ ɘw ʇI .ƨƚniɿqƚooʇ ɿuo ǫniʇluǫnɘ ɘɿɒ\n⁏ƨqɘƚƨ ɿuo noiƚƨɘup oƚ bɘƚɿɒƚƨ ɘvɒʜ bluow ɘw \,liɒɿƚ\nɘno ɘʜƚ ƨuƨɿɘv \,ʞooƚ ɘw ƚʜǫuoʜƚ ɘw ʜƚɒq ɘʜƚ\nbluow ɘw ƚʜǫuoʜƚ ɘw ɘno ɘʜƚ ɿo \,ʞooƚ yllɒɘɿ ɘw\n\,ɘɔɒq ɿuo ǫninoiƚƨɘup bɘƚɿɒƚƨ ɘvɒʜ bluow ɘW .ɘʞɒƚ\nnɘvɘ ⁏ʜƨɘlʇ ɿuo ʇo yɔnɘɿɒqƨnɒɿƚ ɘʜƚ \,ƚʜǫiɘw ɿuo\n\,noiƚɒɔol ɿuo ƚnioqniq oT .ƨɘibod ɿuo ʇo yƚivɒɿǫ ɘʜƚ\nɘʜƚ ni ƨʞɿɒmbnɒl ɿoʇ bɘʞool ɘvɒʜ bluow ɘw\nǫniƨoqmoɔɘb ɘmoƨ ɿo ʜƨud yɿb ɒ ɿoʇ ɘdyɒm \,ƨɘnub\n.ɘɔnɘƚƨixɘ ɿuo ƚɿoʇmoɔ oƚ ǫniʜƚynɒ \,ʜƨɒɿƚ \nƚnɘmɘlƚƚɘƨ ɒ ɘʞɒm oƚ ɘbiɔɘb ɘw bɒɘƚƨnI\nbɘiʇƨiƚɒƧ .ɿɘʜƚɿuʇ nɘvɘ ɘƚiƨ ɘʜƚ ƚidɒʜni bnɒ\nɘƨoqoɿq ɘw \,ƨɘnub ɘʜƚ ʇo ǫniʞɿɒm ɿuo ʜƚiw\nwɘn ƚɿoqmi bnɒ ɘƚiƨ ɘʜƚ moɿʇ ƨlɒiɿɘƚɒm ƚɿoqxɘ oƚ\nƨɘɿuƚqluɔƨ ɔimɒɿɘɔ ǫniǫniɿd ɘniǫɒmi ɘW .ƚi oƚ ƨɘno\nɿoʇ quɘʞɒm oƚ ǫniɿɘʇʇo nɒ :ɘǫnɒʜɔxɘ nɒ ƨ’ƚI .ɘɿɘʜƚ\n\,llɘw \,bnɒ \,ƨɘɿuƨɒɘɿƚ ɿiɘʜƚ ǫniƚool \,ƨɘnub ɘʜƚ ǫniziɘƨ\nɘɘɿǫɒ ƨu ʇo llɒ ƚoИ .ƨlivɘb yɘnoƚƨ ɘʜƚ ǫnidɿuƚƨib\nƨbniw ɘʜƚ bnɒ lliƚƨ bnɒƚƨ ƚ’nƨɘob ɘmiƚ ƚud ƨiʜƚ oƚ  .ƚoʜƨ ɒ ƚi ɘviǫ oƚ ɘbiɔɘb ɘw \,oƨ ⁏ɿɘǫnoɿƚƨ woɿǫ \n.ƨɘqɒʜƨ wɘn ni ƨɘnub ɘʜƚ ɘǫnɒɿɿɒɘɿ ɘW\nɘƚiƨ ɘʜƚ ʇo ƨƚɘɿɔɘƨ ɘʜƚ ɿɘʜƚɒǫ ɘW\nɘǫɒnɒm ɘw ʇi \,ƚɒʜƚ bɘɔnivnoɔ \,ƨǫnibɿoɔɘɿ ʜǫuoɿʜƚ\nɘvɘiʜɔɒ bnɒ mɘƚƨyƨ oibuɒ ɘƚɒɿodɒlɘ nɒ ƚɔuɿƚƨnoɔ ɘW\n\,”ǫninɘƚƨil ɘɿuq oƚ bɘƚovɘb ɒiqoƚu wɘn“ ɿɘwɘn ɒ\n’muinomƨuoɔɒ‘ ƨ’ɘlyɒᙠ yd bɘnoiƨivnɘ ƨɒ\nƨǫnibɿoɔɘɿ ɿɘʜƚɘǫoƚ ǫniɿd lliw ɘW .ƨbnuoƨ ʇo\nylƚnɘɿɘʇʇib bɿɒɘʜ ɘɿɒ ƚɒʜƚ ƨlɘƨƨɘv ɔimɒɿɘɔ moɿʇ\nɿɒlunɒɿǫ ǫniƨU .ɘɔɒqƨ ni noiƚɒɔol ɿuo oƚ ǫnibɿoɔɔɒ\n\,ƨniɒɿǫ yniƚ oƚni ƨbnuoƨ ƨʞɒɘɿd ƚɒʜƚ \,ƨiƨɘʜƚnyƨ\n.bnuoƨ ʇo ƨɘlqmɒƨ ɿɘllɒmƨ ɘɿuǫiʇnoɔɘɿ lliw ɘw\n.noiƚɒllɒƚƨni bnuoƨ ɿuo ɿoʇ ƨoɘbiv ɘƚɒɘɿɔ ɘW\nɘƨnɘƨ ƚɒʜƚ ƨmʜƚiɿoǫlɒ wolʇ lɒɔiƚqo ɘƨu ɘW\n.ƨɘʞɒm ƚi ɘƨion ɘʜƚ bnɒ bnɒƨ ɘʜƚ ʇo noiƚom ɘʜƚ  \nʜǫuoɿʜƚ noiƨiv ɿuo ǫniɘɘƨ ɿɘƚʇA\n\,nɒlq bnɒɿǫ ɿuo oƚ ƨɘnub ɘʜƚ ǫniƚɔɘႱduƨ bnɒ\n.ƨɘnub ɘʜƚ ʇo ƨɘiɿɘƚƨym ɘʜƚ bɘʞɔɒɿɔ ɘvɒʜ lliw ɘw  \noƚ ǫnivom ɘd bluow ɘw ƨA\nɘɔnɘƨƨɘ ɘʜƚ ɘɿoƚƨ bluow ɘw \,ƨɘɿuƚnɘvbɒ ƚxɘn ɿuo\nɘmoƨ ƚƨɒɘl ƚɒ ɿo( ɘɔɒqƨ yɿɘllɒǫ ɿuo ni ƨɘnub ɘʜƚ ʇo\nɘnoɘmoƨ liƚnu \,ɘmiƚ ɘmoƨ ɿoʇ )ƨlivɘb yɘnoƚƨ ƨƚi ʇo\nmɿɘƚ-ǫnol ɒ bɘɘn ƚʜǫim ɘw \,ɿɘƚɒ⅃ .ƨniɒlqmoɔ\nǫnizɘɘupƨ ɿo ƚinu ɘǫɒɿoƚƨ ɒ ǫniƚnɘɿ ɘdyɒm \,nɒlq\n.yɿoƚƨ ɿɘʜƚonɒ ƨi ƨiʜƚ ƚuᙠ .ƨɘxod bɿɒodbɿɒɔ ɘbiƨni ƚi \nƚɒʜW\nɘw ƨɒ \,ƚɒʜƚ ƨi ɿɘdmɘmɘɿ oƚ ǫniƨƨɘɿq ɘɿom ɘd ƚʜǫim\nbnɒƨ ɘʜƚ ǫniʞɿɒm \,ƨɘnub ɘʜƚ ʜǫuoɿʜƚ ǫniʞlɒw ɘɿɒ\n.ʞɔɒd bɘʞool ƚ’nɘvɒʜ lliƚƨ ɘw \,ƨƚniɿqƚooʇ ɿuo ʜƚiw\nƨƚɿoʇʇɘ ɿuo ƚɒʜƚ nwonʞ ɘvɒʜ bluow ɘw \,bɒʜ ɘw ʇI \n.ɘɘɿʇ ƚɘƨ nɘɘd ǫnol ɘvɒʜ ƨɘnub ɘʜƚ :niɒv ni ɘɿɒ \n  \nNoon Tran and Hannah Mjolsnes \nContributors: Daniel Hynds\, Michael Leisz\, Chenhui Mao\, Sara Gomez\nOpening Sunday\, September 18th 7 – 9pm performance at 8:30pm\nGallery hours everyday: 2 – 8pm
URL:https://www.h-r.la/event/noon-tran-hannah-mjolsnes-road-river-gust/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160915T200000
DTEND;TZID=America/Los_Angeles:20160915T200000
DTSTAMP:20160910T223419Z
CREATED:20160909T195846Z
LAST-MODIFIED:20160910T223419Z
UID:2214-1473969600-1473969600@www.h-r.la
SUMMARY:Marisa J. Futernick “13 Presidents” Book launch and artist’s talk\, in conversation with Steve Kado
DESCRIPTION:In 2014\, Marisa J. Futernick drove nearly ten thousand miles across America\, visiting all thirteen of the country’s Presidential libraries along the way. 13 Presidents is the result: an artist’s book that combines photographs from the journey with a suite of short stories. Mixing fact and fiction\, each President from Herbert Hoover to George W. Bush is a protagonist in this collection of unexpected portraits. \nThe photographs\, shot on analogue film\, depict the everyday details of the towns that these men are from\, including the homes where they were born\, and their final resting places. 13 Presidents weaves together personal narrative with wider cultural observation\, forming a vision of America that is both invented and true. \nMarisa J. Futernick is an artist and writer based in London. She was born in Detroit\, Michigan and raised in Hartford\, Connecticut. Futernick has published several books\, including How I Taught Umberto Eco to Love the Bomb (RA Editions and California Fever Press\, 2015) and The Watergate Complex (Rice + Toye\, 2015). She has exhibited widely\, at venues including the Whitechapel Gallery\, London; Royal Academy of Arts\, London; Jerwood Space\, London; Arnolfini\, Bristol\, England; and Yale University. \nSteve Kado is an artist\, writer and musician from North York. Works and performances of his have been seen at places like The Wattis\, 8-11\, Tate Britain\, YEARS and REDCAT. He co-hosts the Talking Show on KCHUNG radio with Nicolas Miller and is the Editor-at-large for Prism of Reality. Other writing of his has appeared in Artforum\, Flash Art and a piece about his visit to the Nixon Library was recently published in Night Papers. He is in the band LEAD. \n13 Presidents is published by Slimvolume in September 2016.
URL:https://www.h-r.la/event/marisa-j-futernick-13-presidents-book-launch-and-artists-talk/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160911T170000
DTEND;TZID=America/Los_Angeles:20160911T220000
DTSTAMP:20160909T195616Z
CREATED:20160904T180100Z
LAST-MODIFIED:20160909T195616Z
UID:2205-1473613200-1473631200@www.h-r.la
SUMMARY:9/11 Fifteen Years
DESCRIPTION:9/11\nFifteen Years \nA one-night exhibition happening on the fifteen year anniversary of\nSeptember 11\, 2001. \nA paradigm shift. Airplanes as weapons. America attacked. In the\nimmediate aftermath\, we saw people rush to hospitals to donate blood\,\nand strangers talking on the street to figure out what was going on.\nPeople wanted to help. But\, in the months and years that followed\, the\nevent was used to incite wars\, foster racism and xenophobia\, and\nstoke small-minded\, nationalistic thinking. \nSome of the works in this show address September 11th specifically\,\nbut many do not. The works address isolation\, absence\, destruction\,\npolitics\, religion\, collapse\, terrorism. They depict falling\, burning\,\nvoids\, paper\, ash\, smoke\, skyscrapers\, airplanes. The works are smart\,\nsombre\, elegiac. And this show is uncomfortable. Often an anniversary\nis something celebrated\, as is the opening of an art show. But not in\nthis case. Is it a commemoration of the event? A memorial? \nSam Contis\nNikki Darling\nNicole Eisenman\nTony Feher\nDavid Gilbert\nDevin Kenny\nMark McKnight\nElieen Myles\nJohn Purtle\nVincent Ramos\nGuan Rong\nSamantha Roth\nMark So\nCody Trepte\nRosha Yaghmai\nSamira Yamin \nCurated by Closing
URL:https://www.h-r.la/event/911-fifteen-years/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/09/IMG_4426.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160909T190000
DTEND;TZID=America/Los_Angeles:20160909T220000
DTSTAMP:20160908T005738Z
CREATED:20160811T224352Z
LAST-MODIFIED:20160908T005738Z
UID:2185-1473447600-1473458400@www.h-r.la
SUMMARY:Break It Down: Art and Resistance
DESCRIPTION:INVEST IN COMMUNITIES — NOT JAILS AND PRISONS! \nBreak it Down: Art + Resistance is an evening of art\, community and celebration to benefit Californians United for a Responsible Budget (CURB). We are a statewide coalition of 70 grassroots organizations working to reduce the number of people in prisons and jails\, reduce the number of prisons and jails in the state\, and shift local spending from corrections and policing to vital human services.  \nCURB relies on grassroots funding to help make our vision of true social\, racial\, and economic justice in California and across the nation a reality. Join us and our allies in the art community to help cultivate the resources we need to fight the Prison Industrial Complex. \nBidding for our on-line art auction starts Wednesday\, September 7th at 12pm PT exclusively on www.paddle8.com. Please join us Friday\, September 9th at Break it Down: Art + Resistance to celebrate the launch\, view the work available in the auction and bid live. Bidding ends Wednesday\, September 21st at 12PM PT on the Paddle8 website.  \n+ FEATURING THE WORK OF… \nA.L. STEINER + ANDREA FRASER + BRENDAN FOWLER + BRIAN WILLS + CASSILS + CELESTE DUPUY-SPENCER + CINDY VALLEJO + DANNY JAUREGUI + EMILY ROYSDON + ENRIQUE CASTREJON + EVE FOWLER + FREDERICK TINSLEY + GALA PORRAS-KIM + GERALD MORGAN + GLORIA GALVEZ + HEATHER O’BRIEN + JENNIFER MOON + JENNIFER ROCHLIN + JIBZ CAMERON + JOHANNA BREIDING + JOHN MASCARO + JOSHUA ASTER + JPW3 + JULIE TOLENTINO + KARI ORVIK + KEAN O’BRIEN + KELLY AKASHI + KELTIE FERRIS + KRISTIN CALABRESE + LAUB + LAURA OWENS + LAURIE NYE + LETHA WILSON + MARIAH GARNETT + MICHAEL PARKER + MOLLY LARKEY + NANCY POPP + NATASHA RUDENKO + ORLANDO TIRADO + PAMELA JORDEN + PARKER ITO + PAUL MPAGI SEPUYA + PETER HARKAWIK + RACHEL MASON + RAFA ESPARZA + SHEPARD FAIREY + SAYRE GOMEZ + SILVIA PRADA + SOFIA LEIBY + TALA MADANI + WU TSANG & BOYCHILD + XYLOR JANE + YOUNG JOON KWAK + YUNHEE MIN + ZAK PREKOP + MORE!  \n+ COMMUNITY + PARTY + ABOLITION + PERFORMANCES  \n+ MUSIC BY DJ MICAH JAMES  \n+ Art Photos by ADLA Photo Collective www.adlaphotocollective.com \n+ Framing by Mut LA \n+ Catering by Full Moon Pickles \n+ Brewing Services by Vernon Brewers Guild \nwww.paddle8.com\nwww.curbprisonspending.org
URL:https://www.h-r.la/event/break-it-down-art-and-resistance/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/08/CURB.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160903T210000
DTEND;TZID=America/Los_Angeles:20160904T210000
DTSTAMP:20160909T195616Z
CREATED:20160820T074004Z
LAST-MODIFIED:20160909T195616Z
UID:2193-1472936400-1473022800@www.h-r.la
SUMMARY:Internet Discount Bedroom 2
DESCRIPTION:Opening Saturday\, September 3rd at 9pm\, the exhibition will be on view for the duration of 24 hours\, closing Sunday\, September 4th at 9pm.  \nContributing artists include:\nMatt Damhave\, Emma Kohlmann\, Dennis Wornick\, Shay Semple\, Suzanna Zak\, Cali Thornhill DeWitt\, Madison East\, Elijah Funk\, Taylor Doran and ”Prank Line” from Local Outreach (Van Robinson & Jake Hjortland). \nPerformances by:\nVIP\, Doses\, Sage Caswell\, Colorways\, A.B.S.\, Naturalized\, and Free The Land  \nSo Fine Arts and Internet Discount Mall present Internet Discount Bedroom 2\, an immersive installation examining the distance between art and commodity and the role of the artist in self-promotion. Modeled after stock environments and film sets\, the constructed space resembles a teenage bedroom from the late 1990s\, or the functional equivalent of one. With those few elements\, the artists engage in the act of refusal as a generative form of art-making\, as seen within the circumscribed boundaries of the traditional domestic space\, where the walls are half sex half war.
URL:https://www.h-r.la/event/internet-discount-bedroom-2/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/08/idm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160830T200000
DTEND;TZID=America/Los_Angeles:20160830T233000
DTSTAMP:20160827T082539Z
CREATED:20160826T213959Z
LAST-MODIFIED:20160827T082539Z
UID:2198-1472587200-1472599800@www.h-r.la
SUMMARY:SCREAM: FUPU\, DOVE\, SARAH GAIL\, LA PORSCHA
DESCRIPTION:SCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM\nSCREAM \nFUPU \nDOVE \nSARAH GAIL \nLA PORSCHA \nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING\nSCREAMING \nHOSTED BY BDH \n*eardrums bleed not from sound\, but truth* \nHuman Resources\nAugust 30th\n8PM SHARP\n$5 \nBlack Woman don’t create for you. Black Women create to understand themselves. Black Women create to communicate their existence. Black Women create to survive. Black Women create to survive their oppression. Black Women scream because we don’t listen. Black Women scream because we kill them for breathing. You are killing Black Women because they exist for themselves. \nPerformances by Dove\, La Porscha and FUPU (Fuck You\, Pay Us)\, as well as a special reading by Sarah Gail for the launch of her new chapbook SOMETHING LIKE DREAMING\, released by n0 eg0 p0ems. \nYOU WILL HEAR THEM
URL:https://www.h-r.la/event/scream-fupu-dove-sarah-gail-la-porscha/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/08/scream.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160825
DTEND;VALUE=DATE:20160830
DTSTAMP:20160812T181458Z
CREATED:20160812T181355Z
LAST-MODIFIED:20160812T181458Z
UID:2187-1472104800-1472450399@www.h-r.la
SUMMARY:TROPHY
DESCRIPTION:TROPHY is a dance/music/media performance of fragments\, stop-n-go selfies\, and broken encounters. In a hyperbolic world of live music and immersive video art\, TROPHY follows the pursuits of three dancers who face a gnawing pressure to exhibit success and the impact of media authority over them.  It asks\,  how does the labor of performing\, posing\, and posting about life – while it is presumably happening – affect the experience of simply being in the world?   \nChoreography: Kevin Williamson\nIn collaboration with performers: Barry Brannum\, Jasmine Jawato\, Kevin Le\nScore: Jeepneys (Anna Luisa Petrisko)\nVideo Art: Cari Ann Shim Sham*\nLighting Design: Katelan Braymer \nThu Aug 25 – 8pm\nFri Aug 26 – 8pm & (10pm pay-what-you-can)\nSat Aug 27 – 8pm\nSun Aug 28 – 7pm \n*Special event:\nSat Aug 27th (following the show): community dance jam with live dj set by Jeepneys and video art by Cari Ann Shim Sham*.  This event is free and open to the public.  Starts at 9pm!  \nFor more info or to purchase tickets: www.kevinwilliamsontrophy.eventbrite.com
URL:https://www.h-r.la/event/trophy/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/08/Kevin-Williamson_-Photo-Rafael-Hernanadez.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160820T203000
DTEND;TZID=America/Los_Angeles:20160820T235500
DTSTAMP:20160909T195633Z
CREATED:20160820T213844Z
LAST-MODIFIED:20160909T195633Z
UID:2196-1471725000-1471737300@www.h-r.la
SUMMARY:Pehrspace Benefit: Signor Benedick the Moor\, Dream Panther\, Amir Says Nothing\, DJs Margot Pauline and Micah James
DESCRIPTION:bring your friends so we can dance\n————————————————– \nSignor Benedick the Moor \nDream Panther \nAmir Says Nothing \nDJ Margot Pauline \nDJ Micah James \nThank you\, D Wing for getting it all together! \n$5-$10\, all ages.
URL:https://www.h-r.la/event/pehrspace-benefit-human-resources-signor-benedick-the-moor-dream-panther-amir-says-nothing-djs-margot-pauline-and-micah-james/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/08/IMG_6438.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160813T080000
DTEND;TZID=America/Los_Angeles:20160813T170000
DTSTAMP:20200410T073513Z
CREATED:20200410T073513Z
LAST-MODIFIED:20200410T073513Z
UID:5158-1471075200-1471107600@www.h-r.la
SUMMARY:xina xurner
DESCRIPTION:
URL:https://www.h-r.la/event/xina-xurner/
CATEGORIES:one-time event at HR
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160810
DTEND;VALUE=DATE:20160813
DTSTAMP:20161218T205720Z
CREATED:20160806T191206Z
LAST-MODIFIED:20161218T205720Z
UID:2180-1470808800-1470981599@www.h-r.la
SUMMARY:AFFECT: NETWORK: TERRITORY  (A performance of syllogisms in motion)
DESCRIPTION:August 10th and 11th\, 8pm sharp\nPerformer: JOSH JOHNSON (Forsythe Company\, Sad for No Reason)\nScore : VIOLENCE Olin Caprison (http://soundcloud.com/vilentsiolence)\nLighting: NATHAN AZHDERIAN (Juliette Jongma gallery NL)\nDramaturgy: KANDIS WILLIAMS (http://www.kandiswilliams.com/) \nIn connection with these performances\, Kandis Williams and Josh Johnson will lead a public workshop at Human Resources on August 9th from 2—6pm. \n  \nhttps://www.youtube.com/watch?v=s5IXjFXkAgY
URL:https://www.h-r.la/event/affect-network-territory-a-performance-of-syllogisms-in-motion/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/08/kandis.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160809T140000
DTEND;TZID=America/Los_Angeles:20160809T180000
DTSTAMP:20160809T044756Z
CREATED:20160809T044756Z
LAST-MODIFIED:20160809T044756Z
UID:2184-1470751200-1470765600@www.h-r.la
SUMMARY:With(n)essing in Motion Workshop
DESCRIPTION:With(n)essing in Motion Workshop\nInstructors:\nKandis Williams\nJosh Johnson \nVisual artist Kandis Williams and dancer Josh Johnson (Forsythe company\, Sad for No Reason) will guide a group of participants through screenings and movement exercises that will excavate the space between affective moving bodies and documentation. Dance pieces will be constructed around the device as it witnesses and proofs bodies within our collective mind. This workshop will ask participants to engage in exercises and conversations around the camera phone as an extension of the eye and internalizer of the voice. The eye\, the body and the document of bodies in space created by our ability to witness our surroundings with this technological extension of the eye will be investigated through movement exercises. In dialogue\, we will examine specifically civic and journalistic images of violence. The recent rash of police shootings post Ferguson will be treated as a starting point to look back on these documents and the way they shape the interactions of a multitude of partial subjects\, in the hopes that dissecting these videos as strange choreographies will explore how the tensions in the bodies of victim\, perpetrator\, and witness are framed\, aligned and circulated within the distended Cartesian mind of web2.0.  \nPlease bring:\nA camera phone w/ internet access and at least 2GB of space\nMovement clothes \nWe ask a $30 suggested donation\, please come even if you don’t have it!\nReaders of the material viewed will be provided to all participants. Please RSVP by email: kandis.williams@gmail.com \nv. wit·nessed\, wit·ness·ing\, wit·ness·es\nv.tr.\n1. To see or know by personal experience: witness a robbery; witness the birth of a new nation.\n2.a. To provide or serve as evidence of: The child’s laughter witnessed her delight.\nb. To consider as an example. Often used in the imperative: Even a widespread species can go extinct.Witness the passenger pigeon.\n3. To testify to; bear witness of: The diary witnesses the difficult living conditions of the time.\n4. To be the setting or site of: This old auditorium has witnessed many ceremonies.\n5. To attest to the legality or authenticity of (a document) by signing one’s name.\nv.intr.\n1. To furnish or serve as evidence: The fine buildings witness to the town’s prosperity.\n2. To testify to one’s religious beliefs: “As they witnessed to their faith they brought others to believe” (Leon Morris)\nWebster’s Dictionary \n“A left-over of the activity of the scopic drive in the Real\, the objet a is cleft from the subject as well as from the Other\, and it has no direct representation by image. In the field of vision\, such a split objet a is the gaze. It is a remnant of the scopic drive’s trajectory of reaching for objects. It is a leftover of inaccessible “bodily samplings” of my corpo-reality and of the Other. Split from the subject and split from the Other\, such a gaze is for Lacan an absence\, a libidinal loss.”\n-Bracha Ettinger\, parallax\, 2001\, vol. 7\, no. 4\, 89-114 \n“As long as the centuries continue to unfold\, the number of books will grow continually\, and one can predict that a time will come when it will be almost as difficult to learn anything from books as from the direct study of the whole universe. It will be almost as convenient to search for some bit of truth concealed in nature as it will be to find it hidden away in an immense multitude of bound volumes.\n-Denis Diderot\, “Encyclopedie” (1755) \nPresented in connection with the performance Affect: Network: Territory (A Performance of Syllogisms in Motion)\, August 10th and 11th at Human Resources.
URL:https://www.h-r.la/event/withnessing-in-motion-workshop/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/08/kandis.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160807T180000
DTEND;TZID=America/Los_Angeles:20160807T200000
DTSTAMP:20160909T195633Z
CREATED:20160802T143703Z
LAST-MODIFIED:20160909T195633Z
UID:2176-1470592800-1470600000@www.h-r.la
SUMMARY:Tita Salina & Irwan Ahmett: Ring of Fire/Pacific Rim (Screening and Q&A)
DESCRIPTION:Screening of short video pieces by Irwan Ahmett and Tita Salina\, Jakarta-based artists who have been working together since 2010. Their tactical\, interventionist approach to social issues frequently plays itself out in public space\, and translate into spontaneously unfolding events through a spontaneous and self-organized approach that they describe as Urban Play. In the last few years\, they have been working with vulnerable groups in society\, including Indonesian undocumented workers and migrant laborers living in the Netherlands and Taiwan. Their ambition is to reflect the real situations and what has been happening\, but also to generate critical alternatives to these complicated issues through play. \nA brief conversation with the artists will follow the screening. \nAhmett and Salina recently completed a month-long residency at the Museum of Fine Arts\, Boston\, in the context of the Megacities Asia exhibition. Their work has also been exhibited at the ST Paul St Gallery (Auckland NZ\, 2016)\, Biennale Jogja (Yogyakarta ID\, 2015)\, Asian Art Biennial (Tainan TW\, 2015)\, the Stedelijk Museum (Amsterdam NL\, 2014)\, and the ZK/U Center for Art and Urbanistics (Berlin DE\, 2013).
URL:https://www.h-r.la/event/tita-salina-irwan-ahmett-ring-of-firepacific-rim-screening-and-qa/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/08/e116b_sept19_ntfa_img.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160805T200000
DTEND;TZID=America/Los_Angeles:20160805T200000
DTSTAMP:20160722T233403Z
CREATED:20160722T233232Z
LAST-MODIFIED:20160722T233403Z
UID:2127-1470427200-1470427200@www.h-r.la
SUMMARY:Folktale Fest VII
DESCRIPTION:Carla Bozulich || Los Angeles\, CA\nwww.carlabozulich.com  \nHuman Behavior || Tucson\, AZ\nhumanbehaviormusic.bandcamp.com \nNight Auditor || Nashville\, TN\n[Record release for “Drugz” 7-Inch]\nhttps://nightauditor.bandcamp.com/ \nRococo Jet || Los Angeles\, CA\nhttps://www.facebook.com/Rococo-Jet \nCharlyne Yi || Los Angeles\, CA\nhttps://charlyneyi.bandcamp.com/
URL:https://www.h-r.la/event/folktale-fest-vii/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/07/folktale.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160804
DTEND;VALUE=DATE:20160816
DTSTAMP:20160809T045006Z
CREATED:20160722T232349Z
LAST-MODIFIED:20160809T045006Z
UID:2124-1470290400-1471240799@www.h-r.la
SUMMARY:Nikki Darling - Temple of the Dawg
DESCRIPTION:Opening Thursday Aug 4th\, 7:00-9:30pm\nOn view August 5th-14th\, 12-6pm \nAn exhibition of art therapy works by Nikki Darling\, Temple of The Dawg includes 26 works on paper and a video installation. \n“There’s a new man\, a new love\, trying to come into your life. Right now he might be just a whisper\, but it is likely that you already know him. This new situation is rooted in reality\, the material world\, enjoyment of everyday life together (rather than on family legacies\, past hurts\, anxieties\, psychological illnesses\, etc). We see this same figure again in your final outcomes\, where he will manifest as a real\, flesh and blood man\, the Knight of Cups. But in order to get this person to fully manifest\, there’s a lot of work that needs to be done. Luckily\, it’s fun and beautiful work\, so that’s good news. But it will also take time and effort\, and it looks like you might have a tendency to be impatient. The cards are asking you to do the work\, pay attention\, and allow things time to grow. “Stay the course\,” might be a good motto for you right now. \nSo what is the work? Your main objective now should be to overcome your family legacy. Chances are that if you don’t do this work now\, you will be confronted with the same situations again and again until you do\, and these situations do not look fun at all. In order to begin your new life\, which from what you’ve said\, you’re already doing (great job!! this is hard work and you are making great progress!)\, you need to stop running away\, stop focusing on what else might be out there\, stop turning away from what is right in front of you.” – The Oracle of Los Angeles 2014 \n“John\, the show is something like this: February 18th 2006 I got on a bus at Port Authority headed for Moton Pennsylvania where I would spend a month at the Caron Recovery Center/Rehab\, to deal with a decade of drug and alcohol addiction. I was 25. Since I left Caron I have not had an alcoholic beverage. While there I opened myself to the idea of Recovery. The process of trying to lead my best life\, one that supported my highest potential and worth and in turn could be of greatest service to myself and others. Recovery became an all encompassing process/motif in which I have tried to live in accordance with my ideals\, ethics and faith. A power greater than myself. During this process I have come in contact with therapists\, psychiatrists\, anti-depressants\, exercise\, self help books\, AA\, MA\, Ala-non\, fallen back into marijuana addiction and the ramifications of that and now\, finally\, Magic. Each stage of this self discovery process has pushed me deeper into my Hero Journey. I have gone back to college\, gotten an MFA and am now starting a dissertation which will culminate in a PhD in Literature. Through this work I have had to let go of shame based coping mechanisms\, welcome grief and embrace parts of myself that used to frighten me. \nIn this last and final leg\, Magic\, which I encountered in 2014 during a birthday reading with the Oracle of Los Angeles\, I have finally gotten the courage to shake off the last vestiges of what has held me back. I am more than just a writer\, I am also and have always been an artist. \nThese water color collages\, bricolage\, instigated by a romantic break up- the thing I needed to truly step outside my comfort zone and face the frightening unknown- have been instrumental in this final leg of the Hero Journey. Once this show is presented\, I will have cycled through this process of grief and growth and emerged as my true self. If it happens in 2016 it quite literally will have been a decade long process starting at 25 and ending at 36. My journey will of course not be over\, but I will have shed an old and useless skin and come into my true identity. I am a queer mixed race feminist artist and writer. \nEach piece\, made using what was available to me\, nail polish\, computer paper\, magazines\, old books\, staples\, was created with the intention of being a gift to a friend\, each piece represents a part of this struggle to inhabit this self. Once worked through and processed in the piece\, it is intended to be given away with love\, transformed. Nothing will be for sale. In this way\, the recipients also become a part of the process\, they are my community\, my support system\, and themselves as integral to this process as the creation of the piece itself. A symbol of the healing power of friendship. \nI have never presented myself as a visual artist and this fact is one of the main cruxes of the project. I am a performance artist and experimental writer\, but in this work I am trying to initiate a dissolving of binaries. A freedom to be who I say am\, not just for myself\, but others who might also live in fear and shame.” – Email to John pitching this show\, 2015 \n“I guess I seem to be saying that if you were to treat love like work\, there would be no way you could be going about it the wrong way. It would be impossible for you not to come to the table full of romance and insight and surprise. If anything\, it seems to me to be about building a grounded foundation first\, coming at the bare facts of it plainly as soon as you can\, expressing what you want in big picture terms\, so that you can set up a house\, literally and figuratively\, where you and the Other can bathe in the formless\, timeless\, ecstatic waters of life.” – Email from Stuart Krimko about my astrological chart\, 2016 \n“Hey Nikki\, Just tried to give you a call\, but the phone line was not connected. You still wanna? Let me know.” – The Universe
URL:https://www.h-r.la/event/nikki-darling-temple-of-the-dawg/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/07/nikki-darling.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160801T210000
DTEND;TZID=America/Los_Angeles:20160801T210000
DTSTAMP:20160728T054249Z
CREATED:20160728T054249Z
LAST-MODIFIED:20160728T054249Z
UID:2133-1470085200-1470085200@www.h-r.la
SUMMARY:Some Ware
DESCRIPTION:No Vacancy Inn\nA$AP Bari\nSome Ware DJ\nDJ Cuntry Noise
URL:https://www.h-r.la/event/some-ware-2/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2016/07/image1-e1469684555192.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20160731T190000
DTEND;TZID=America/Los_Angeles:20160731T190000
DTSTAMP:20160730T010101Z
CREATED:20160728T055226Z
LAST-MODIFIED:20160730T010101Z
UID:2135-1469991600-1469991600@www.h-r.la
SUMMARY:The Stars Down to Earth
DESCRIPTION:Screening\, with a short introduction and Q&A with Tashi Condelee\, Afia Fields\, Margaret Haines & others. \nThe text\, Sex Without Threat (within the upcoming Wrong Issue of Nonsensical)\, and the film\, The Stars Down To Earth\, consider the experience of attending astrology classes for five years under The Carroll Righter Astrology Foundation (home to Nancy and Ronald Reagan’s astrologer) while simultaneously keeping in mind philosopher and musicologist Theodor W. Adorno’s read of astrology (and astrologer Carroll Righter) as nothing close to an innocent past-time\, but instead—in line with ‘pseudo-rationality’ and ‘authoritarian irrationality’—fascism. \nThe film responds to this 1952/53 text\, The Stars Down to Earth\, and acts as its somatic secretary\, as Adorno—in his purposeful\, justified and pragmatic critique (myopia as tactic to scorn)—did not conduct evident field research.  \nShot in early 2015\, the 23 minute film acts as part sci-fi thriller\, part documentary\, part idealist anti-secrecy forecast.  \nAstrologers from the Carroll Righter Astrological Foundation divine events for 2015 and 2016—including\, reading the star charts for America\, Paris\, Russia\, Snowden and Chelsea Manning. Coupled with their predictions\, is the reincarnation of mythological prophetess Kassandra (Henry Hopper) and god Apollo (Afia Fields) in 2015 Los Angeles and Athens­. Kassandra’s divinations and access to past/present/future information see her momentarily and perhaps mistakenly identify with the ‘whistle-blowers’ the astrologers chart in their predictions for coming events\, as both live in multi-temporality (extreme knowing). And\, both are threatened with not only imprisonment\, physical harm or rape\, but worse: forget. This passing flash of identification sparks for Kassandra a kind of hysteric anarchy\, where she attempts to fool fate and create a dimensional transparency and chaos in defiance of Apollo and those around her (the world). \nResearch and notes for the film are included in the text\, Sex Without Threat\, which takes the internet as divination system\, and pairs the context of post-war Los Angeles (when Adorno is writing) with 2016 Los Angeles and Athens. This text also contains a short interview with artist\, trans-activist and filmmaker Paola Revenioti (who acts in the film as a pythia of Apollo)\, as Paola returns from Lesbos\, Greece where she is making two films and volunteering aid\, as the EU\, in part\, ignores its status and duties as signatories of the 1951 Refugee Convention—in this way\, Sex Without Threat also attempts to make the comparison between 2016 EU and the fascism/pseudo-rationalism Adorno relentlessly and carefully seeths and pin-points in 1952 California. \nCast and Crew:\nStarring Afia Fields & Henry Hopper\, Tashi Condelee\, Cynthia MacAdams\, Jack Taub\, Paola Revenioti\, John Sweet\, Veronica Monae\, Silvia Romero\, Doug Lee\, James Raymond.\nDirection: Margaret Haines\nCinematography: Dan O’Sullivan\nProduction Manager: Teague Schneiter\nOriginal Sound Score: Patrick Dyer\nAssistant Director: Giulia Caruso
URL:https://www.h-r.la/event/the-stars-down-to-earth/
CATEGORIES:one-time event at HR
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DTSTART;TZID=America/Los_Angeles:20160715T200000
DTEND;TZID=America/Los_Angeles:20160715T200000
DTSTAMP:20160726T224724Z
CREATED:20160620T092152Z
LAST-MODIFIED:20160726T224724Z
UID:2105-1468612800-1468612800@www.h-r.la
SUMMARY:Southland Ensemble presents: Soundings
DESCRIPTION:Southland Ensemble presents a concert of music from the early issues of Soundings Press\, an important and influential journal of experimental music published by composer Peter Garland from 1971- 1990. Program will feature compositions by: \nJOHANNA MAGDALENA BEYER\nJOHN DINWIDDIE\nJAMES FULKERSON\nSTEPHEN L. MOSKO\nJAMES TENNEY \nCopies of many of the early issues of Soundings will be available for perusal after the concert. \nSoundings came to be in November 1970 in a workshop taught by Dick Higgins. From the start it was seen as encompassing more than just “local talent”\, and so contributions were solicited from many composers living in California. … (It) arose from a feeling that the work of musicians needed a much wider circulation than that afforded by current publications. \n“… old music can be just as inspiring as the traditional image of the Western composer\, forever pushing forward into explored territory. Both deserve equal attention in a magazine such as this.” \n– Peter Garland \nphoto: Eron Rauch\n \n  \n  \nSouthland Ensemble is: \nEric KM Clark & Christine Tavolacci\, directors\nCasey Anderson – Jennifer Bewerse – Orin Hildestad – James Klopfleisch\nJonathan Stehney – Cassia Streb \n  \n 
URL:https://www.h-r.la/event/southland-ensemble-presents-soundings/
CATEGORIES:one-time event at HR
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