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DTSTART;TZID=America/Los_Angeles:20180401T180000
DTEND;TZID=America/Los_Angeles:20180401T200000
DTSTAMP:20260415T021549
CREATED:20180306T190149Z
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SUMMARY:Deslave Presents: VIDEOHOUSE 3
DESCRIPTION:VIDEOHOUSE is a program of video projections organized by Deslave\, a space for the art exhibition located in Tijuana.\n\nWe're please to invite you to VIDEOHOUSE 3: "Because a great franchise always starts with a trilogy"\, a sample of works that will be carried out in three spaces; Biquini Wax EPS (Mexico City)\, Deslave (Tijuana) and Human Resources (Los Angeles).\n\nThe second screening\, to be held at Human Resources\, consists of the work of\n\nWeston Lyon\nMeike Redeker\nAlisson Schmitt\nBeck + Col\nEnrique López Llamas\nSantiago Andrés Gómez Chaparro\nShaun Johnson & Jensen Rule Land\nJohn Birtle & Paul Fisherman\nJuan Pablo Medina\nLissa Corona\nMariana Roman
URL:https://www.h-r.la/event/deslave-presents-videohouse-3/
CATEGORIES:one-time event at HR
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DTSTART;VALUE=DATE:20180404
DTEND;VALUE=DATE:20180406
DTSTAMP:20260415T021549
CREATED:20180311T185408Z
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SUMMARY:Alan Nakagawa: Peace Resonance & Conical Sound
DESCRIPTION:WORLD PREMIER of PEACE RESONANCE; HIROSHIMA/ WENDOVER and CONICAL SOUND; ANTONI GAUDI/ SIMON RODIA \n3 showings on April 4th\, at 12:00 PM\, 6:00 PM and 8:00 PM \nfree event \nDescription; Two vibratory sound works and screening of two video documentary shorts \nTactile sound experience; the soundscapes are composed for amplification into an interior space utilizing a three-speaker configuration at mid-high to high volume. Audience members are given a pair of ear plugs and a balloon. The ear plugs help the audience focus on the tactile nature of sound waves. The balloon is held at finger tips while the soundscape plays. For this event\, audience members can walk around the room\, playing with the effects to the balloon and body proximity to each speaker. The intention is to illustrate the three-dimensionality of the recording and since the audio is a mash-up of two spaces\, it’s a way to experience an imaginary space; two different locations\, two different moments in time\, the work of two different artists combined into one space\, a neo-space of invisible architecture. \n1) PEACE RESONANCE; Hiroshima/ Wendover is a three-point audio presentation that links the Hiroshima Atomic Dome to the Wendover Hangar. It’s about history\, immigration\, resilience and time. Peace Resonance is my portrait of what it means to be Japanese-American as it relates to post-WWII America. \n“My family is from Hiroshima\, Japan. They immigrated to the US in 1957. I was the first US born family member and grew up with the ‘ghost’ of their WWII history. As my art career grew so did my commitment to develop an artwork about our historical and personal connection to Hiroshima and the Atomic Bomb but it took decades for me to find a path into the subject matter.” \n2) CONICAL SOUND; ANTONI GAUDI/ SIMON RODIA is a three-point field recording-based sound experience\, combining the interior acoustics of the Sagrada Familia (by Antoni Gaudi/ Barcelona\, Spain) and Watts Towers (by Simon Rodia/ Watts Towers\, Los Angeles CA). \n“When I was in the fourth grade at Wilton Place Elementary School in Los Angeles\, I was in the school library looking through books and discovered Antoni Gaudi’s work in Barcelona. The organic forms and use of broken tile made me wonder if Gaudi had plagiarized the work of our local icon\, Watts Towers created by Simon Rodia. \n“Four decades later\, I was given the opportunity to travel anywhere to do research and remembered this moment in the fourth grade. Through the guidance of a network of supporters\, I was able to arrange a residency at the University of Barcelona where a relationship with many of Gaudi’s buildings was already established. In 2013\, I and a crew of artists and professors from the University’s Sound Art Master’s Program entered the Sagrada Familia and conducted a three-point audio recording of the interior acoustics. Later that year\, I was also given permission to conduct a similar recording at Watts Towers.” \nAlan Nakagawa is an interdisciplinary artist primarily working with sound\, occasionally incorporating video\, sculpture\, drawing\, paint\, performance\, food and most recently perfumes. He recently completed an exhibition at Visitor Welcome Center in Los Angeles that\, in part\, presented a survey of work produced at artist residencies from the past five years including residencies with the Los Angeles Department of Transportation (2016-17)\, LA Great Streets (2017-18)\, the Getty Villa (2016)\, Smithsonian Museum of American History (2015)\, Cerritos College Printmaking Studio (2017)\, Echo Park Film Center (2017) and the University of Barcelona (2013). \nSPONSORSHIP: \nPeace Resonance; Hiroshima/ Wendover and Conical Sound; Antoni Gaudi/ Simon Rodia are made possible in part by the City of Los Angeles Department of Cultural Affairs\, Art Matters\, Center for Land Use Interpretation\, University of Barcelona\, Watts Towers Art Center\, City of Hiroshima\, Smithsonian Museum of American History\, Wendover Airport\, KCET\, MacDowell Art Colony\, Japanese American Cultural and Community Center and the Consulate General of Japan. \nHuman Resources was founded in 2010 by a team of creative individuals who seek to broaden engagement with contemporary and conceptual art\, with an emphasis on performative and underexposed modes of expression. Human Resources is not-for-profit and seeks to foster widespread public appreciation of the performative arts by encouraging maximum community access. Human Resources also serves as a point of convergence for diverse and disparate art communities to engage in conversation and idea-sharing promoting the sustainability of non-traditional art forms. \nFor more information contact: Human Resources info@humanresourcesla or\nAlan Nakagawa\, cafelala@yahoo.com
URL:https://www.h-r.la/event/alan-nakagawa-peace-resonance-conical-sound/
CATEGORIES:exhibition
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DTSTART;VALUE=DATE:20180405
DTEND;VALUE=DATE:20180424
DTSTAMP:20260415T021549
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SUMMARY:COSM\, ORGANIZATION-CONSTRUCTION\, SECOND INSTANCE: ANJA WEISER FLOWER
DESCRIPTION:  \nVOLUME and Human Resources are pleased to announce “Cosm\, Organization-Construction\, Second Instance\,” an exhibition of new work by Bay Area artist Anja Weiser Flower\, curated by VOLUME member Jared Baxter. The main exhibition space of Human Resources\, formerly a movie theater\, will be completely darkened\, with Flower’s work\, a new iteration of an ongoing project\, illuminated by a single hanging light. Presented in its “first instance” at Odium Fati in San Francisco in 2016\, the work asserts a receding point of fixation beyond naming. It is a place to trap yourself into heavenly orbit of the possibility of making universal\, real human community\, bringing an end to the world of whiteness\, (cis)gender\, disablement\, and pervasive social alienation\, and unifying human action and knowledge: to face the cosmos. With this orienting device\, we might come together for a moment to consider the proletarian possibility of a universal flowering\, the beginning of a world. \nVOLUME will host seven musical events over the course of the show’s run\, and the last four days of the exhibition will feature an interactive sound installation by Stephanie Cheng Smith. In keeping with Flower’s exploration of both spatial concentration and spatial orientation\, the event program is roughly divided between improvisational\, instrumental\, and electro-acoustic performances and multi-channel electronic work by leading artists in their respective fields. With an aim to opening up possibilities for engagement outside of the traditional performer-audience relationship\, audiences of each performance will have the chance to freely organize themselves in relation to the sound and the space. \nThis exhibition is intended to be accessible to users of wheelchairs and other accessibility devices.  Human Resources’ front entrance has one step\, and they have a folding wheelchair ramp. The side entrance is wheelchair accessible. Human Resources does not have a wheelchair accessible restroom. The bathroom is gender neutral and has 2 stalls adjacent to each other. All events will take place in darkness\, with Flower’s work as the main source of illumination\, and other\, minor lighting sources as needed for a particular performance. Please contact Human Resources with any accessibility questions or requests. \nGallery hours: Wed-Sun\, 12pm-6pm. \nEvent calendar: \n5 April 2018\, 8pm – Opening reception with quadrophonic sound performance by Elsa Trash \n7 April 2018\, 8pm – Extended improvisational performance by pianist Vicki Ray \n12 April 2018\, 8pm – Quadrophonic electronic performances by Igor Amokian\, Zzyzxzyzz\, and O.C.D. \n14 April 2018\, 8pm – Spatialized electro-acoustic performance by guitarist Nicholas Deyoe and trombonist Matt Barbier \n18 April 2018\, 8pm – Quadrophonic electro-acoustic performance by Stephanie Cheng Smith \n19-22 April 2018\, 12pm-6pm – Interactive sound installation by Stephanie Cheng Smith \n21 April 2018\, 8pm – Quadrophonic sound installation by Richard Chartier \n22 April 2018\, 8pm – Closing reception with John Cage’s “Ryoanji” performed by flutist Christine Tavolacci and percussionist Ted Byrnes \n  \nABOUT ANJA WEISER FLOWER \nAnja Weiser Flower is trying to knot together a newly centralized aesthetic construction. Anja Weiser Flower wants to pull the unitary social mind together with you. Is modeling a point of concentration whose sheaves you can read through\, feeling some of the patterns in which our Everything organizes itself. Is trying to get you to feel the underlying potential of a transsexual universality in human life\, is here for the potential of an unwhite disabled queer feminine transcendent overcoming\, the material human community. Coming to meet the still very real possibility of globally overcoming the capitalist social world and establishing communistic social relations. Coming to meet the cosmos.  \nShe lives in San Francisco\, California\, attended the San Francisco Art Institute\, and will have her work featured in an upcoming project by the Columbia University Graduate School of Architecture\, Planning\, and Preservation (GSAPP) and Printed Matter\, Inc. \nABOUT ELSA TRASH \nOver the last 15 years\, Elsa Trash has worked in media including musical and non-musical sound\, drawing\, painting\, sculpture\, video\, zines and comics. Her latest music/sound projects are Painwife\, Scissoring\, S.A.D.\, and Inverts\, and she was part of the 2017 exhibition Soundtracks at the San Francisco Museum of Modern Art. She lives in Oakland\, California. \nABOUT VICKI RAY \nDescribed as “phenomenal and fearless\,” Vicki Ray is a pianist\, improviser\, and composer. She has commissioned and premiered countless new works by today’s leading composers. Ray is a founding member of Piano Spheres and head of keyboard studies at the California Institute of the Arts where she was named the first recipient of the Hal Blaine Chair in Musical Performance. She has appeared on numerous international festivals and is a regular member of the faculty at the Bang On a Can Summer Festival at MASS MoCA. Ray has been featured on the Los Angeles Philharmonic Green Umbrella Series as soloist and collaborative artist. Her widely varied performing and recording career covers the gamut of new and old music: from Boulez to Reich\, Wadada Leo Smith to Beethoven. Notable recordings include the first Canadian disc of Schoenberg’s Pierrot Lunaire with the Blue Rider Ensemble\, the premiere recordings of Steve Reich’s You Are (Variations) and the Daniel Variations with the Los Angeles Master Chorale and the first recording of John Cage’s Europeras 3 and 4. Her recording of Cage’s The Ten Thousand Things on Microfest Records received a 2013 Grammy nomination. Recent recordings include the premiere recording of Andrew Norman’s Sonnets with Eighth Blackbird’s Nick Photinos on the New Amsterdam label\, Daniel Lentz’s River of 1000 Streams on Cold Blue and YAR – a duo recording on the Orenda label with slide guitarist Scot Ray. \nABOUT IGOR AMOKIAN \nIgor Amokian – circuit bending producer cross blends various genres of electronic beats\, music\, and noise\, exploring random realms of sounds with his audiences as his machines usually take over. A wide mix of Igor Amokian sounds and music can be found all over Bandcamp and Soundcloud. Hundreds of Igor Amokian circuit bending videos are posted on YouTube. \nABOUT ZZYZXZYZZ \nZzyzxzyzz is a collaborative listening experiment conducted by Aaron Bartell and Ian Wellman\, currently focused on the electromagnetic sounds of everyday objects. The project explores an often unheard sonic landscape in the post-industrial world. Aaron Bartell\, AKA AnalScubaHive\, is a sound artist and co-founder of Triptronics Research\, a biweekly experimental electronics series in Los Angeles. Ian Wellman is an IATSE Local 695 production sound mixer and field recordist. \nABOUT O.C.D. \nO.C.D. or Obsessive Compulsive Disorder is the alias of Los Angeles-based musician Mark Taylor. His music can be described as experimental electronic music with elements of techno\, psychedelic rock\, dub\, Krautrock\, ambient music\, noise\, and black metal. He is currently working on a collaboration with Madlib and finishing up a new album.  \nSome of his influences include Skullflower\, COIL\, GAS\, Autechre\, Philip Jeck\, Demdike Stare\, King Tubby\, Keith Hudson\, Destroy All Monsters\, Aphex Twin\, Darkthrone\, Paysage D’Hiver\, Boredoms\, Lustmord\, Ash Ra Temple\, Faust\, and Popol Vuh.  \nUtilizing recordings of synthesizers\, electric guitar\, and samples\, Mark’s sound has the ability to transport the listener to a different place through repetition\, loud volume\, and subtle manipulation of recorded samples to dizzying effect. His music can induce trance like listening experiences while at other times abruptly changing direction on the fly resulting in wild and unpredictable sonic experiences. On stage\, Mark primarily uses recording samplers to achieve his live sounds. He has played consistently around the LA area for over a year now and has opened for Jan Jelinek\, Kid606\, Yann Novak\, Richard Chartier\, Robert Crouch and SFV Acid.  \nABOUT NICHOLAS DEYOE \nNicholas Deyoe is a Los Angeles based composer\, conductor\, and guitarist\, and is the Co–Founder and Artistic Director of the wasteLAnd concert series.  His music has been called “intriguingly complex and excitedly lush” by the LA Times. The New York Times wrote that Deyoe’s a new(er) anxiety “contrasted filigree lightness and explosive loudness…without seeming to strain for effect.” Drawn to sounds that are inherently physical\, Nicholas strives to create music that engages listeners intellectually and emotionally by appealing to their inner physicality.  His compositions combine uses of noise\, delicacy\, drama\, fantasy\, brutality\, and lyricism to create a diverse sonic experience. As a guitarist\, Nicholas strives to further the already vast sound world of the electric guitar by experimenting with microtonal tunings\, preparation\, bows\, and beer cans. He has received commissions from The LA Philharmonic\, Carnegie Hall\, USINESONORE Festival\, The La Jolla Symphony\, Palimpsest\, and several soloists.  His music has been performed in throughout North America\, Europe\, and Japan. As a conductor\, Nicholas has performed with wasteLAnd\, ICE\, The La Jolla Symphony Orchestra\, Red Fish Blue Fish\, Ensemble Ascolta\, The Darmstadt Preisträgerensemble\, Noise\, The University of Northern Colorado Symphony Orchestra\, and many ad-hoc ensembles in the United States and Germany. He holds a Ph.D. in composition from UC San Diego where he studied with Roger Reynolds.  Nicholas is currently on faculty at California Institute of the Arts where he conducts The Ensemble and teaches composition. \nABOUT MATT BARBIER \nMatt Barbier is an LA based trombonist and composer focused on experimental intonation\, noise\, and the physical processes of his instrument. His playing has been described by the LA Times as being “of intense\, brilliant\, virtuosic growling that gave the striking impression that Barbier was dismantling the instrument while playing it.” \nTo encourage new repertoire and the expansion of his instrument\, Matt engages in collaborative relationships with a range of composers including Wolfgang von Schweinitz\, Michelle Lou\, Nicholas Deyoe\, David Brynjar Franzson\, Timothy McCormack\, and Katherine Young. He has also given world premieres of works by a wide spectrum of composers including Katharina Rosenberger\, Richard Barrett\, Catherine Lamb\, James Tenney\, Anne LeBaron\, Scott Walker\, and Jürg Frey. \nMatt is a founding member of gnarwhallaby\, the low brass duo\, RAGE Thormbones\, with Weston Olencki\, Trio Kobayashi\, wildUp\, and is an assistant director of wasteLAnd music. Matt is a member of the performing arts faculty at CalArts and teaches trombone and euphonium at Los Angeles City College (LACC). \nMatt has performed for the Monday Evening Concerts\, LA Phil’s Green Umbrella\, Internationales Musikinstitut Darmstadt\, Dartington International Summer School\, the Museum of Jurassic Technology\, Hamburg’s KlangWerkTage and Kampnagel\, Berlin’s 7Hours\, Palimpsest Ensemble\, InAuthentica\, Carnegie’s Zankel Hall\, the New Century Players\, and The Ensemble at CalArts\, as well as presenting guest lectures at CalArts\, UCSD\, UCSB\, University of British Columbia\, and Simon Fraser University. He has also been in residence at Harvard (HGNM)\, UCSD\, Stanford\, CalArts\, UCSC\, Columbia\, NYU\, and UCLA. Matt has recorded works for release of Populist\, Mode\, Hat Hut\, and Innova Records. Additionally\, he has released a technical manual for composers and trombonists on the production and compositional integration of lip multiphonics and split tones. \nAs a composer he has written music and created sound installations for The Factory Seconds Brass Trio\, WasteLAnd\, gnarwhallaby\, RAGE Thormbones\, the Museum of Jurassic Technology\, SASSAS\, Machine Project\, LACMA\, the Los Angeles Trombone Collective\,  and the Getty Villa\, as well as engaging in a long term collaborative relationship with digital media artist Tom Leeser. \nHis trombone teachers include Richard Stout\, James Miller\, Michael Svoboda\, Alex Iles and Dick Erb. He studied composition with Ulrich Krieger and Wolfgang von Schweinitz. Matt received a MFA from CalArts. \nABOUT STEPHANIE CHENG SMITH \nStephanie Cheng Smith is a composer\, performer and programmer who creates interactive pieces\, installations\, improvisations and through-composed works. She often uses electronics\, violin and light\, and her latest explorations with motor arrays have been featured in the 2016 issue of Experimental Music Yearbook. Smith’s performances and residencies include Studio for Electro-Instrumental Music (STEIM\, Amsterdam)\, PACT Zollverein (Essen)\, liebig12 (Berlin)\, Re-New Digital Arts Festival (Copenhagen)\, EcoSono (Caribbean)\, Centre for the Living Arts (Mobile)\, Megapolis Arts Festival (Baltimore)\, and—in Los Angeles—Machine Project\, LA Film Forum\, REDCAT\, and the Society for the Activation of Social Space through Art and Sound (SASSAS). She has also made appearances on webcasts such as EarMeal\, Experimental Half-Hour and dublab. Smith frequently performs electronic music under the name Stephie’s Castle\, is a member of networked music ensemble bitpanic\, and has composed for and performed as a member of the Dog Star Orchestra. Serving on the wulf.’s Artistic Advisory Board\, she also curates and produces experimental music concerts in the Los Angeles area. \nABOUT RICHARD CHARTIER \nRichard Chartier (b.1971) is a Los Angeles based artist\, considered one of the key figures in minimalist sound art. Chartier’s works explore the inter-relationships between the spatial nature of sound\, silence\, focus\, perception\, and the act of listening itself. \nChartier’s critically acclaimed sound works have been published since 1998 on a variety of labels internationally including Room40 (Australia)\, Editions Mego (Austria)\, Important Records (US)\, Ash International (UK)\, Raster-Noton (Germany)\, Spekk (Japan)\, Trente Oiseaux (Germany)\, NVO (Austria)\, Farmacia901 (Italy)\, 12k (US)\, and his own imprint LINE (US). \nHe has collaborated with composer William Basinski\, sound artists ELEH\, CoH\, France Jobin\, Robert Curgenven\, Taylor Deupree\, AGF\, and Yann Novak\, and German electronic music pioneer Asmus Tietchens. In installation form\, he has created works with multimedia artists Evelina Domnitch and Dmitry Gelfand\, visual artist Linn Meyers\, and projected light artist Anthony McCall. Under his guise Pinkcourtesyphone\, an ambient project restarted in 2012\, he has collaborated with Cosey Fanni Tutti\, Kid Congo Powers\, harpist Gwyneth Wentink\, AGF\, and thereminist Evelina Domnitch. \nChartier’s sound works/installations have been presented in museums and galleries internationally including the Whitney Biennial and the influential sound art exhibit Sounding Spaces at NTT/ICC in Tokyo. His performances have occurred live across Europe\, Japan\, Australia\, and North America. \nSince 2000\, Chartier has curated his influential recording label LINE\, publishing nearly 100 editions documenting the compositional and installation work of international sound and video artists who explore the aesthetics of contemporary and digital minimalism. \nABOUT CHRISTINE TAVOLACCI \nChristine Tavolacci is a Los Angeles based flutist\, composer and educator specializing in contemporary and experimental music. She has traveled across the United States and Europe to study and perform\, and has been involved in the premieres of many new works\, including those by Alvin Lucier\, James Saunders\, Michael Pisaro\, Chiyoko Slavnics\, Carolyn Chen and Catherine Lamb.  \nChristine is active as a soloist\, improviser\, curator and chamber musician both in California and internationally. She is co-founder and co-director of Southland Ensemble\, as well as a member of the  Dog Star Orchestra and Gurrisonic. Her playing has been released on Orenda Records\, Slub Music (Japan)\, and Tzadik. She has been a guest lecturer at both UCLA and CalArts\, an associate instructor at UC San Diego\, and has taught several workshops on contemporary music to children of various ages.  \nIn 2006\, Christine received her BFA in flute performance from California Institute of the Arts.  She has also received her Diplôme de Specialisation with mention trés bien from the Conservatoire National de Region Strasbourg in Strasbourg\, France\, where she studied flute with Mario Caroli from 2006-2008. Christine completed her Doctorate (DMA) in Contemporary Music Performance at the University of California San Diego in the spring of 2017. \nABOUT TED BYRNES \nTed Byrnes is a drummer/percussionist living in Los Angeles. An alumnus of the Berklee College of Music in Boston\, MA\, he comes from a jazz background and has since made his home in the worlds of free improvisation\, new music\, electro-acoustic music\, and noise. \nTed primarily works in ad hoc improvisational settings\, but has standing improvisational groups including: a group with John Wiese\, a duo with Jeff Parker\, a duo with Chris Cooper (AQH)\, a duo with Charlie Mumma\, a duo with Sam McKinlay\, a duo with William Hutson\, a trio with Jacob Wick and Michael Foster\, among others. Additionally\, Ted has played in duo/trio/or ensemble settings with: Mazen Kerbaj\, Matt Weston\, Ingebrigt Haker Flaten\, Charlemagne Palestine\, Alfred 23 Harth\, Arrington de Dionyso\, Jaap Blonk\, Torsten Muller\, Kim Myhr\, Jim Denley\, Lloyd Honeybrook\, Chris Schlarb\, Mike Watt\, Paul Masvidal\, the LAFMS (including Smegma\, Airway\, Ace Farren Ford’s Artificial Art Ensemble\, Rick and Joe Potts\, Fredrik Nilsen\, Tom Recchion\, Vetza\, etc)\, Sissy Spacek (the band)\, Maher Shalal Hash Baz\, and more. \nTed’s recorded output oscillates between heavily acoustic music and harsh noise while keeping a similar approach. For a thorough overview of recordings\, please visit the Discography page. \nTed has also collaborated with / worked for a variety of visual artists: he has accompanied a Doug Aitken “happening”\, scored and performed percussion for an Emily Mast performance\, collaborated with Olivia Booth to play her glass artworks\, collaborated with Dani Tull on a sound performance\, performed with John Knuth and Bret Nicely at an installation in an empty pool\, and has performed for FLUXUS artist Jeff Perkins on multiple occasions for his projector/light installations. \nCurrently\, Ted is delving further into the possibilities and realities of solo drumset performance in addition to continuing to work with his existing projects. \nABOUT VOLUME \nVOLUME is a collective of creative individuals dedicated to presenting time-based work by emerging and established artists engaged in sound based practices\, including performance\, experimental music\, field recording\, voice\, radio\, movement\, and technology. Through performances\, concerts\, exhibitions\, screenings\, and workshops\, VOLUME aims at fostering a critical understanding of politics and aesthetics in relation to sound and sound based practices. As a curating body\, VOLUME intends to cultivate social and public activities\, contributing to the contemporary sonic arts scene of Los Angeles.
URL:https://www.h-r.la/event/cosm-organism-construction-second-instance-anja-weiser-flower/
CATEGORIES:exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20180406
DTEND;VALUE=DATE:20180410
DTSTAMP:20260415T021549
CREATED:20180726T031446Z
LAST-MODIFIED:20180726T031446Z
UID:3699-1522994400-1523253599@www.h-r.la
SUMMARY:DO DISTURB
DESCRIPTION:DO DISTURB takes the pulse of performance in cities around the world including Cape Town\, in partnership with the A4 Arts Foundation\, Los Angeles with HRLA\, London with the Hayward Gallery and The Store X The Vinyl Factory\, São Paulo with the festival Verbo Performance Art Festival and Pantin with the Centre national de la danse – CN D. \nWith : \nAlice Pons\, Olivia Reschofsky\, Zsofia Paczolay (Moha Project)\nAndrés Aizicovich\nAngelica Mesiti & Uriel Barthélémi\nAUTOPALO (Luca Resta\, Emanuele Rinaldo Meschini)\nAymeric Hainaux\nCecilia Bengolea\nDance On Ensemble\nDiamètre\nDorota Gaweda & Egle Kulbokaite\nEkaterina Vasilyeva\nEmo de Medeiros\nFatima Al-Banawi\nFlorence Peake\nFlorent Audoye\nFrédéric Nauczyciel and Marquis Revlon\nFuture Ladies Of Wrestling (F.L.O.W.)\nFyodor Pavlov-Andreevich\nGabrielle Goliath\nGuilherme Peters\nHobe Lasai\nJamila Johnson-Small\nJeremy Nedd\nJerome Violent\nKubra Khademi\nLaurent Lacotte & Arthur Mayadoux\nLila Derridj\nLouise Siffert\nLuca Pozzi\nMarcelo Cidade\nMichaela Meschke\nNils Bech & Ida Ekblad\nPauline Barboux & Jeanne Ragu\nPia Camil\nRiver Lin\nRomain Lalire\nWagner Schwartz\nZadie Xa \nL’Institut d’Esthétique\, by Haily Grenet\, Emile Degorce Dumas and Vincent Voillat\, invests one of the large spaces of Palais de Tokyo and offers over fifteen “care” cubicles. Offering manicures\, a sauna\, snail beauty care\, or else haircuts\, the Institut d’Esthétique provides moments that are as relaxing as they are unsettling. \nWith : Julie Béna / Lorette Cole Duprat / Emile Degorce Dumas / Caroline Delieutraz / Wim Delvoye / Virginie Dinier / Mathilde Fernandez & Cecile Di Giovanni / Matthias Garcia / Goiffon & Beauté / Julie Le Guern / Claude Lévêque / Elsa Philippe / Maxime Rossi & Guests / Agathe Soumireu-lartigue / Vincent Voillat / Yarisal & Kublitz / Francois X & Laura O’rorke / Le Wonder (Guillaume Gouerou\, Nelson Pernisco\, Basile Peyrade\, Simon Nicolas\, Maxime Fourcade) & Guests / Collectif Wolsodonails & Pauline Payen. \nBYOP (Bring Your Own Performance)\, on a proposal from Manon Klein\, with Diamètre\, a selection of BYOP projects will bring few surprises. \nWith : Pauline Coquart\, Kevin Desbouis\, Richard Floquet\, Jessica Guez\, Manifestation (Manon Klein\, Anne-sophie Luyton et Margot Nguyen)\, Paloma Moin\, Antoine Proux\, Orfeo Tagiuri\, Sengthé Vanh Bouapha. \nGeneral curator of the festival: Vittoria Matarrese \nDO DISTURB has previously had the honour of organizing the first presentations in France of work by artists such as Anne Imhof and Gerard&Kelly\, with each edition of the festival creating links with cultural actors in France and abroad. This year\, Palais de Tokyo continues to pursue its policy of extending invitations to prestigious institutions. The festival’s first year saw partnerships with MoMA PS1\, the Tate Modern and Matadero Madrid\, the second edition welcomed research departments from French and European art and design schools\, while last year’s instalment included collaborations with other international festivals such as TBA in Portland and Dias da Dança in Portugal. \nmore info via Palais de Tokyo site here.
URL:https://www.h-r.la/event/do-disturb/
LOCATION:Palais de Tokyo\, 13 Avenue du Président Wilson\, Paris\, 75116\, France
CATEGORIES:off-site event
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180406T200000
DTEND;TZID=America/Los_Angeles:20180406T230000
DTSTAMP:20260415T021549
CREATED:20180306T184136Z
LAST-MODIFIED:20180726T003940Z
UID:3292-1523044800-1523055600@www.h-r.la
SUMMARY:Queens of the Night
DESCRIPTION:Queens Of The Night: Xina Xurner Album Release \nFriday\, April 6\, 2018\, 8-11 PM \nJoin us for a night of experimental music and performance celebrating the release of Queens of the Night\, the new album by Xina Xurner. Featuring performances by Xina Xurner (with guests San Cha\, Sarah Gail\, and White Boy Scream)\, Trap Girl\,  and The Uhuruverse\, with a late night DJ set by La Disco Es Qultura. Presented by Ben Maltz Gallery at Otis College of Art and Design in conjunction with the exhibition All Hands on Deck\, on view through April 22\, 2018. Hosted by Human Resources\, with additional support provided by Commonwealth & Council. This event is free and open to the public! \n  \nAbout the artists: \n  \nXina Xurner  \nXina Xurner is an experimental music/performance collaboration between Marvin Astorga and Young Joon Kwak. Xina Xurner’s performances combine DIY and power electronics\, mutated vocals\, and bad drag to manifest the rage\, pain\, struggle\, laughter\, and joy of embracing the “other” identity that you had not chosen\, but was forced on you\, as queer\, trans\, femme\, POC. Their music combines a variety of genres (including happy hardcore\, industrial\, drone metal\, noise\, disco)\, to create sadical and sexperimental diva-dance anthems that evoke a sense of death\, decay\, and transformation. Queens of the Night is the second album by Xina Xurner following the release of their debut DIE in 2012. \nwww.xinaxurner.com \n  \n  \nTrap Girl \nTrap Girl is a hardcore punk band formed in 2014 by lead singer Drew Arriola-Sands in LA. Trap Girl creates pissed off and cathartic anthems that spit nihilistic venom and don’t hold back. This roaring diva outfit demands to be seen and heard. In 2015\, Trap Girl released their debut album\, From Diamonds to Dust\, which featured hard-hitting anthems such as “I’m a Trap Girl” and “Dead Men Don’t Rape.” In 2017\, they released their follow-up record\, The Black Market. Their music addresses issues such as the violence all too frequently experienced by trans POC and womxn\, and the risks involved with black market surgical procedures. Arriola-Sands created Queer Queens of LA\, a year-round concert series featuring queer artists\, and Transgress Fest\, the first festival in Southern California to spotlight trans/gender nonconforming punk\, hardcore\, and rock musicians. \nwww.trapgirl.bandcamp.com \n  \n  \nThe Uhuruverse \nThe Uhuruverse is a Los Angeles-based PROTEST ARTIST who uses multiple mediums and performance styles\, including burlesque\, butoh\, and drag\, to speak against oppression and demand the liberation of womxn’s and gender nonconforming bodies. The artist is the electric guitarist for the band Fuck U Pay Us (a four piece Black femme punk band demanding land reparations for the African Holocaust and free self defense training for femmes). The Uhuruvese raps and sings\, exploring other genres including but not limited to: Hip Hop\, Punk\, Funk\, Disco\, Vogue\, Blues\, Jazz\, and New Jack Swing. In 2014\, The Uhuruverse founded #SNATCHPOWER\, a post-apocalyptic\, afrofuturistic\, women’s liberationist artist collective. In 2016\, The Uhuruverse directed the psychedelic film noir\, FIGHT IN HEELS\, a collaboration with #SNATCHPOWER. In 2018\, The Uhuruverse released her album\, THE BRIGHTEST ODDEST STRANGEST STAR U EVER DID SAW UP CLOSE AND AFAR FROM PLANET EARTH TO MARS AND BEYOND! \nwww.soundcloud.com/theuhuruverse
URL:https://www.h-r.la/event/queens-of-the-night/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/03/Queens-of-the-night-album-release-image-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180407T200000
DTEND;TZID=America/Los_Angeles:20180407T220000
DTSTAMP:20260415T021549
CREATED:20180411T013804Z
LAST-MODIFIED:20180726T003940Z
UID:3383-1523131200-1523138400@www.h-r.la
SUMMARY:Vicki Ray
DESCRIPTION:VOLUME and Human Resources are pleased to present a performance by pianist\, improviser\, and composer Vicki Ray as part of “Cosm\, Organism-Construction\, Second Instance\,” an exhibition of new work by Anja Weiser Flower. This occasion will present a rare opportunity to experience an extended\, improvised sound world by one of the foremost artists working with prepared piano and the modern and contemporary repertoire. Building on the themes of the music of the spheres\, astrophysics\, and aleatoricism present in Flower’s work\, the evening will serve as an invitation to commune with our cosmic environment and envision new possibilities for human transformation. \nThe performance will take place in darkness\, with Flower’s work providing the main source of illumination. Minor lighting sources may also be provided as needed throughout the room to ensure comfortable and safe navigation. The audience will be encouraged to move freely throughout the space\, exploring all avenues for dynamically relating to both the performance and artwork\, with seating available to facilitate extended immersion in Ray’s sound world. \nTickets may be purchased in advance or at the door for a suggested donation of $20. VOLUME strives to make its programming as accessible as possible\, and no one will be turned away for lack of funds. For those who are experiencing financial difficulty\, discounted or free arrangements may be made at the door or in advance by emailing jared@volumeprojects.org. All proceeds from the show will go towards supporting the artist and production expenses. \nThis event is intended to be accessible to users of wheelchairs and other accessibility devices.  Human Resources’ front entrance has one step\, with a folding wheelchair ramp available. The side entrance is wheelchair accessible. Human Resources does not have a wheelchair accessible restroom. The bathroom is gender neutral and has 2 stalls adjacent to each other. Please contact Human Resources with any accessibility questions or requests. \nABOUT VICKI RAY \nDescribed as “phenomenal and fearless” Vicki Ray is a pianist\, improviser\, and composer. She has commissioned and premiered countless new works by today’s leading composers. Ray is a founding member of Piano Spheres and head of keyboard studies at the California Institute of the Arts where she was named the first recipient of the Hal Blaine Chair in Musical Performance. She has appeared on numerous international festivals and is a regular member of the faculty at the Bang On a Can Summer Festival at MASS MoCA. Ray has been featured on the Los Angeles Philharmonic Green Umbrella Series as soloist and collaborative artist. Her widely varied performing and recording career covers the gamut of new and old music: from Boulez to Reich\, Wadada Leo Smith to Beethoven. Notable recordings include the first Canadian disc of Schoenberg’s Pierrot Lunaire with the Blue Rider Ensemble\, the premiere recordings of Steve Reich’s You Are (Variations) and the Daniel Variations with the Los Angeles Master Chorale and the first recording of John Cage’s Europeras 3 and 4. Her recording of Cage’s The Ten Thousand Things on Microfest Records received a 2013 Grammy nomination. Recent recordings include the premiere recording of Andrew Norman’s Sonnets with Eighth Blackbird’s Nick Photinos on the New Amsterdam label\, Daniel Lentz’s River of 1000 Streams on Cold Blue and YAR – a duo recording on the Orenda label with slide guitarist Scot Ray. \nABOUT ANJA WEISER FLOWER \nAnja Weiser Flower is trying to stitch together a newly centralized aesthetic construction. Anja Weiser Flower wants to pull the unitary social mind together with you. Is modeling a point of concentration whose sheaves you can read through\, feeling some of the patterns in which our Everything organizes itself. Is trying to get you to feel the underlying potential of a transsexual universality in human life\, is here for the potential of an unwhite disabled queer feminine transcendent overcoming\, the material human community. Coming to meet the still very real possibility of globally overcoming the capitalist social world and establishing communistic social relations. Coming to meet the cosmos.  \nShe lives in San Francisco\, California\, attended the San Francisco Art Institute\, and will have her work featured in an upcoming project by the Columbia University Graduate School of Architecture\, Planning\, and Preservation (GSAPP) and Printed Matter\, Inc.
URL:https://www.h-r.la/event/vicki-ray/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/04/29498128_10157510817815620_5994136983423680512_n.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180411T183000
DTEND;TZID=America/Los_Angeles:20180411T220000
DTSTAMP:20260415T021549
CREATED:20180411T030243Z
LAST-MODIFIED:20180726T003940Z
UID:3403-1523471400-1523484000@www.h-r.la
SUMMARY:Beer/Sound Bath with Odeya Nini + Solarc Brewing
DESCRIPTION:This event will combine the cosmic energies of Odeya Nini’s Vocal Sound Bath vibrations with Solarc Brewing’s experimental beer libations.  You will have the opportunity to experience a unique dynamic system creating a whole greater than the sum of it’s parts as the yin and yang of inebriating potions and sound healing meditation mixes under the umbrella of creative art in chinatown. \nDoors and Bar will open at 6:30 pm  \nVoice Bath takes place between 8 pm – 9 pm (Bar will close during this time)  \nBar will open after Voice Bath finishes. \n* bring a mat\, blanket\, pillow\, extra warmth\, anything you need to feel comfortable laying or sitting down for an hour. \nThe event is $15 suggested donation and includes drinks  \nSolarc Brewing is a brewery in Los Angeles which focuses on finding creativity in the beer making process through foraging local ingredients seemingly unfit for beer\, researching ancient fermentation\, and seeking to broaden the general public’s curiosity of life through tasting something delightfully odd. Solarc Beer can be found in cans or kegs throughout Los Angeles in your local grocery store\, craft bottle shop\, bar\, or performance art event.  \nSolarc Owner Archie Carey will be running the bar serving Solarc’s current offerings as well as a few special fermentation experiments not on the market. \nOdeya Nini (Voice Bath) is a vocalist\, composer\, yoga instructor and vocal coach. A Voice Bath brings together the yogic practice of meditation with the techniques and experience of a trained contemporary vocalist. Over the course of an hour you will be surrounded by the intricate harmony of resonant vocal vibration with Himalayan and crystal singing bowls. This experience is a complete immersion in the healing power of the human voice from its visceral depths\, to overtones and angelic melodies. Your body\, heart and mind will open as you lay down and journey in meditation to the sound waves of changing vibration and dynamic tone.
URL:https://www.h-r.la/event/beer-sound-bath-with-odeya-nini-solarc-brewing/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/04/unnamed-14.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180412T200000
DTEND;TZID=America/Los_Angeles:20180412T220000
DTSTAMP:20260415T021549
CREATED:20180411T015730Z
LAST-MODIFIED:20180726T003940Z
UID:3388-1523563200-1523570400@www.h-r.la
SUMMARY:Elsa Trash\, Igor Amokian\, Zzyzxzyzz\, and O.C.D.
DESCRIPTION:VOLUME and Human Resources are pleased to present performances by Elsa Trash\, Igor Amokian\, Zzyzxzyzz\, and O.C.D. as part of “Cosm\, Organization-Construction\, Second Instance\,” an exhibition of new work by Anja Weiser Flower. Building on themes of spatial orientation and spatial concentration\, this evening will feature harsh and immersive four-channel soundscapes by three notable emerging experimental artists. \nElsa Trash makes noise from a range of sources\, including photographs and cosmic microwave background radiation data. Igor Amokian has been active as a producer for many years\, with a particular emphasis on on circuit-bending a wide range of consumer electronics to produce unique and unexpected sounds. Zzyzxzyzz\, a collaborative project of Aaron Bartell and Ian Wellman\, uses electromagnetism as a base source material for generating live sonic landscapes that merge science and art. O.C.D. is the musical project of Mark Taylor\, who was featured by VOLUME alongside Kid606 and Jan Jelinek in 2016. A common theme is an interest in the material basis and materiality of sound\, augmented here by an exploration of the spatial possibilities of multi-channel performance. \nTickets may be purchased in advance or at the door on a suggested sliding scale donation of $5 to $15. Doors at 7pm \nThis event is intended to be accessible to users of wheelchairs and other accessibility devices. Human Resources’ front entrance has one step\, with a folding wheelchair ramp available. The side entrance is wheelchair accessible. Human Resources does not have a wheelchair accessible restroom. The bathroom is gender neutral and has 2 stalls adjacent to each other. Please contact Human Resources with any accessibility questions or requests. \nABOUT ELSA TRASH \nOver the last 15 years\, Elsa Trash has worked in media including musical and non-musical sound\, drawing\, painting\, sculpture\, video\, zines and comics. Her latest music/sound projects are Painwife\, Scissoring\, S.A.D. and Inverts\, and she was part of the 2017 exhibition Soundtracks at the San Francisco Museum of Modern Art. She lives in Oakland\, California. \nABOUT IGOR AMOKIAN \nIgor Amokian – circuit bending producer cross blends various genres of electronic beats\, music\, and noise\, exploring random realms of sounds with his audiences as his machines usually take over. A wide mix of Igor Amokian sounds and music can be found all over Bandcamp and Soundcloud. Hundreds of Igor Amokian circuit bending videos are posted on YouTube. \nhttps://www.youtube.com/user/AMOKIAN \nhttps://soundcloud.com/soundboxman \nhttps://igoramokian.bandcamp.com \nABOUT ZZYZXZYZZ \nZzyzxzyzz is a collaborative listening experiment conducted by Aaron Bartell and Ian Wellman\, currently focused on the electromagnetic sounds of everyday objects. The project explores an often unheard sonic landscape in the post-industrial world. Aaron Bartell\, AKA AnalScubaHive\, is a sound artist and co-founder of Triptronics Research\, a biweekly experimental electronics series in Los Angeles. Ian Wellman is an IATSE Local 695 production sound mixer and field recordist. \nABOUT O.C.D. \nO.C.D. or Obsessive Compulsive Disorder is the alias of Los Angeles based musician Mark Taylor. His music can be described as experimental electronic music with elements of techno\, psychedelic rock\, dub\, Krautrock\, ambient music\, noise\, and black metal. He is currently working on a collaboration with Madlib and finishing up a new album. \nSome of his influences include Skullflower\, COIL\, GAS\, Autechre\, Philip Jeck\, Demdike Stare\, King Tubby\, Keith Hudson\, Destroy All Monsters\, Aphex Twin\, Darkthrone\, Paysage D’Hiver\, Boredoms\, Lustmord\, Ash Ra Temple\, Faust\, and Popol Vuh. \nUtilizing recordings of synthesizers\, electric guitar\, and samples\, Mark’s sound has the ability to transport the listener to a different place through repetition\, loud volume\, and subtle manipulation of recorded samples to dizzying effect. His music can induce trance like listening experiences while at other times abruptly changing direction on the fly resulting in wild and unpredictable sonic experiences. On stage\, Mark primarily uses recording samplers to achieve his live sounds. He has played consistently around the LA area for over a year now and has opened for Jan Jelinek\, Kid606\, Yann Novak\, Richard Chartier\, Robert Crouch and SFV Acid. \nhttps://soundcloud.com/ocdsound \nhttps://www.facebook.com/OCDSOUND/ \nhttps://ocdmusic8.bandcamp.com/releases \nABOUT ANJA WEISER FLOWER \nAnja Weiser Flower is trying to stitch together a newly centralized aesthetic construction. Anja Weiser Flower wants to pull the unitary social mind together with you. Is modeling a point of concentration whose sheaves you can read through\, feeling some of the patterns in which our Everything organizes itself. Is trying to get you to feel the underlying potential of a transsexual universality in human life\, is here for the potential of an unwhite disabled queer feminine transcendent overcoming\, the material human community. Coming to meet the still very real possibility of globally overcoming the capitalist social world and establishing communistic social relations. Coming to meet the cosmos. \nShe lives in San Francisco\, California\, attended the San Francisco Art Institute\, and will have her work featured in an upcoming project by the Columbia University Graduate School of Architecture\, Planning\, and Preservation (GSAPP) and Printed Matter\, Inc.
URL:https://www.h-r.la/event/elsa-trash-igor-amokian-zzyzxzyzz-and-o-c-d/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/04/unnamed-12.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180413T193000
DTEND;TZID=America/Los_Angeles:20180413T230000
DTSTAMP:20260415T021549
CREATED:20180321T203734Z
LAST-MODIFIED:20180726T003940Z
UID:3361-1523647800-1523660400@www.h-r.la
SUMMARY:Pauline Gloss: Lullabies for the Psychotic and Other Recent Work
DESCRIPTION:Literary sound-artist Pauline Gloss will present an evening of new and recent work in the text-sound / sound-poetry tradition. She will perform a new piece for electronics and spoken voice\, conduct a participatory language game\, and present her new cycle for solo voice\, “Lullabies for the Psychotic.”  \nPauline’s current body of work is concerned with how the smallest bits of language— in both their sonic and meaning-making dimensions— can\, through repetition\, variation\, and syntactical rewiring\, create temporary sonic and semantic meaning-making structures.  \nHer work investigates and foregrounds the physicality of language by rendering it architecturally. She makes of its discreet bits shifty semantic and sonic building-blocks whose stability is always already in question.  \nWith the character and reach of this tool set\, she attempts to form a language in which the boundaries and traditional formations of selfhood are plied\, questioned\, and reformed. \nPauline Gloss is a writer and literary sound-artist based in Los Angeles. Her language-sound work attempts to dramatize and expand language in its timbral\, rhythmic\, textural\, and meaning-making dimensions.  \nShe runs Spoken Records\, a label specializing in the release of work in the Text-Sound tradition. She has been written about favorably in art and music publications and has performed or had work shown in Los Angeles\, London\, and New York at institutions including MoCA Geffen\, Cal Arts\, Resonance FM (London)\, Poetic Research Bureau\, The Lambda Literary Festival\, Automata\, Betalevel\, and others. \n$5 suggestion donation doors at 7pm\, performance at 7:30pm
URL:https://www.h-r.la/event/pauline-gloss-lullabies-for-the-psychotic-and-other-recent-work/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/03/HR-pauline-new-gloss.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180414T200000
DTEND;TZID=America/Los_Angeles:20180414T230000
DTSTAMP:20260415T021549
CREATED:20180411T024453Z
LAST-MODIFIED:20180726T003940Z
UID:3395-1523736000-1523746800@www.h-r.la
SUMMARY:Nicholas Deyoe and Matt Barbier
DESCRIPTION:TWO SETS – 8pm and 9:30pm \nDoors at 7pm \n$5-15 Sliding Scale \nVOLUME and Human Resources are pleased to present a performance by guitarist Nicholas Deyoe and trombonist Matt Barbier\, as part of “Cosm\, Organization-Construction\, Second Instance\,” an exhibition of new work by Anja Weiser Flower. Combining both improvisation and multi-channel electronics\, both Deyoe and Barbier will work with large pedal setups to create rich textures of feedback loops and other processed material\, dynamically relayed through multiple amplifiers spread throughout the darkened space. With Flower’s work\, a centralized\, receding point of fixation\, providing a kind of dais and altar\, the performance will build on the transiting and circumambulatory nature of her work to create an enveloping\, panoramic sonic experience. \nThe fourth event in this seven-part series\, Deyoe and Barbier’s performance skillfully combines the two major areas of this event program’s focus–instrumental improvisation and performance on the one hand\, multi-channel electronic work on the other. A hybrid electro-acoustic entity playing on opposite ends of Flower’s work\, the duo will lead a sonic and cosmic transit around this central axis point\, while audience members will be encouraged to relate to both by freely moving throughout the space. As such\, the evening will present an opportunity to draw closer to the often dual influence of sound on Flower’s practice\, ranging from the riot-\, war-\, and crowd-like sounds in Iannis Xenakis’ probabilistic and electronic compositions to the intense silence emanating from Nicholas Poussin’s landscape paintings\, which for him was the confrontation with death. \nTickets may be purchased in advance or at the door on a suggested sliding scale donation of $5 to $15. There will be two performances this evening\, one at 8pm and one at 9:30pm.  VOLUME strives to make its programming as accessible as possible\, and no one will be turned away for lack of funds. All proceeds from the show will go towards supporting the artist and production expenses. \nThis event is intended to be accessible to users of wheelchairs and other accessibility devices. Human Resources’ front entrance has one step\, with a folding wheelchair ramp available. The side entrance is wheelchair accessible. Human Resources does not have a wheelchair accessible restroom. The bathroom is gender neutral and has 2 stalls adjacent to each other. Please contact Human Resources with any accessibility questions or requests. \nABOUT NICHOLAS DEYOE \nNicholas Deyoe is a Los Angeles based composer\, conductor\, and guitarist\, and is the Co– Founder and Artistic Director of the wasteLAnd concert series. His music has been called “intriguingly complex and excitedly lush” by the LA Times. The New York Times wrote that Deyoe’s a new(er) anxiety “contrasted filigree lightness and explosive loudness…without seeming to strain for effect.” Drawn to sounds that are inherently physical\, Nicholas strives to create music that engages listeners intellectually and emotionally by appealing to their inner physicality. His compositions combine uses of noise\, delicacy\, drama\, fantasy\, brutality\, and lyricism to create a diverse sonic experience. As a guitarist\, Nicholas strives to further the already vast sound world of the electric guitar by experimenting with microtonal tunings\, preparation\, bows\, and beer cans. He has received commissions from The LA Philharmonic\, Carnegie Hall\, USINESONORE Festival\, The La Jolla Symphony\, Palimpsest\, and several soloists. His music has been performed in throughout North America\, Europe\, and Japan. As a conductor\, Nicholas has performed with wasteLAnd\, ICE\, The La Jolla Symphony Orchestra\, Red Fish Blue Fish\, Ensemble Ascolta\, The Darmstadt Preisträgerensemble\, Noise\, The University of Northern Colorado Symphony Orchestra\, and many ad-hoc ensembles in the United States and Germany. He holds a Ph.D. in composition from UC San Diego where he studied with Roger Reynolds. Nicholas is currently on faculty at California Institute of the Arts where he conducts The Ensemble and teaches composition. \nABOUT MATT BARBIER \nMatt Barbier is an LA based trombonist and composer focused on experimental intonation\, noise\, and the physical processes of his instrument. His playing has been described by the LA Times as being “of intense\, brilliant\, virtuosic growling that gave the striking impression that Barbier was dismantling the instrument while playing it.” \nTo encourage new repertoire and the expansion of his instrument\, Matt engages in collaborative relationships with a range of composers including Wolfgang von Schweinitz\, Michelle Lou\, Nicholas Deyoe\, David Brynjar Franzson\, Timothy McCormack\, and Katherine Young. He has also given world premieres of works by a wide spectrum of composers including Katharina Rosenberger\, Richard Barrett\, Catherine Lamb\, James Tenney\, Anne LeBaron\, Scott Walker\, and Jürg Frey. \nMatt is a founding member of gnarwhallaby\, the low brass duo\, RAGE Thormbones\, with Weston Olencki\, Trio Kobayashi\, wildUp\, and is an assistant director of wasteLAnd music. Matt is a member of the performing arts faculty at CalArts and teaches trombone and euphonium at Los Angeles City College (LACC). \nMatt has performed for the Monday Evening Concerts\, LA Phil’s Green Umbrella\, Internationales Musikinstitut Darmstadt\, Dartington International Summer School\, the Museum of Jurassic Technology\, Hamburg’s KlangWerkTage and Kampnagel\, Berlin’s 7Hours\, Palimpsest Ensemble\, InAuthentica\, Carnegie’s Zankel Hall\, the New Century Players\, and The Ensemble at CalArts\, as well as presenting guest lectures at CalArts\, UCSD\, UCSB\, University of British Columbia\, and Simon Fraser University. He has also been in residence at Harvard (HGNM)\, UCSD\, Stanford\, CalArts\, UCSC\, Columbia\, NYU\, and UCLA. Matt has recorded works for release of Populist\, Mode\, Hat Hut\, and Innova Records. Additionally\, he has released a technical manual for composers and trombonists on the production and compositional integration of lip multiphonics and split tones. \nAs a composer he has written music and created sound installations for The Factory Seconds Brass Trio\, WasteLAnd\, gnarwhallaby\, RAGE Thormbones\, the Museum of Jurassic Technology\, SASSAS\, Machine Project\, LACMA\, the Los Angeles Trombone Collective\, and the Getty Villa\, as well as engaging in a long term collaborative relationship with digital media artist Tom Leeser. \nHis trombone teachers include Richard Stout\, James Miller\, Michael Svoboda\, Alex Iles and Dick Erb. He studied composition with Ulrich Krieger and Wolfgang von Schweinitz. Matt received a MFA from CalArts. \nABOUT ANJA WEISER FLOWER \nAnja Weiser Flower is trying to stitch together a newly centralized aesthetic construction. Anja Weiser Flower wants to pull the unitary social mind together with you. Is modeling a point of concentration whose sheaves you can read through\, feeling some of the patterns in which our Everything organizes itself. Is trying to get you to feel the underlying potential of a transsexual universality in human life\, is here for the potential of an unwhite disabled queer feminine transcendent overcoming\, the material human community. Coming to meet the still very real possibility of globally overcoming the capitalist social world and establishing communistic social relations. Coming to meet the cosmos. \nShe lives in San Francisco\, California\, attended the San Francisco Art Institute\, and will have her work featured in an upcoming project by the Columbia University Graduate School of Architecture\, Planning\, and Preservation (GSAPP) and Printed Matter\, Inc.
URL:https://www.h-r.la/event/nicholas-deyoe-and-matt-barbier/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/04/unnamed-10.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180418T200000
DTEND;TZID=America/Los_Angeles:20180418T230000
DTSTAMP:20260415T021549
CREATED:20180411T025009Z
LAST-MODIFIED:20180726T003940Z
UID:3398-1524081600-1524092400@www.h-r.la
SUMMARY:Stephanie Cheng Smith
DESCRIPTION:Doors at 7pm\, performance at 8pm \nInstallation viewable during gallery hours\, April 18 – 22\, 12pm – 6pm \nVOLUME and Human Resources are pleased to announce an interactive multi-channel sound installation by Stephanie Cheng Smith. This will be a part of “Cosm\, Organization-Construction\, Second Instance\,” our exhibition of new work by Anja Weiser Flower. Smith will present a live performance within her installation Wednesday evening\, the 18th\, starting at 8pm. Using light sensors trained on the angled beam illuminating Flower’s work in an otherwise darkened space\, Smith will create a sound environment that dynamically responds to the movement of the audience towards\, away from\, and around this central point of fixation. The installation will be up during regular gallery hours from 12pm to 6pm Wednesday the 18th through the show’s closing on Sunday\, April 22nd. \nTickets for Stephanie Cheng Smith’s performance on the 18th may be purchased in advance or at the door for a suggested donation of $5 to 15. VOLUME strives to make its programming as accessible as possible\, and no one will be turned away for lack of funds. The exhibition is free to visit during gallery hours. All proceeds from Smith’s performance will go towards supporting the artist and production expenses for this series. \nThis event is intended to be accessible to users of wheelchairs and other accessibility devices. Human Resources’ front entrance has one step\, with a folding wheelchair ramp available. The side entrance is wheelchair accessible. Human Resources does not have a wheelchair accessible restroom. The bathroom is gender neutral and has 2 stalls adjacent to each other. Please contact Human Resources with any accessibility questions or requests. \nABOUT STEPHANIE CHENG SMITH \nStephanie Cheng Smith is a composer\, performer and programmer who creates interactive pieces\, installations\, improvisations and through-composed works. She often uses electronics\, violin and light\, and her latest explorations with motor arrays have been featured in the 2016 issue of Experimental Music Yearbook. Smith’s performances and residencies include Studio for Electro-Instrumental Music (STEIM\, Amsterdam)\, PACT Zollverein (Essen)\, liebig12 (Berlin)\, Re-New Digital Arts Festival (Copenhagen)\, EcoSono (Caribbean)\, Centre for the Living Arts (Mobile)\, Megapolis Arts Festival (Baltimore)\, and—in Los Angeles—Machine Project\, LA Film Forum\, REDCAT\, and the Society for the Activation of Social Space through Art and Sound (SASSAS). She has also made appearances on webcasts such as EarMeal\, Experimental Half-Hour and dublab. Smith frequently performs electronic music under the name Stephie’s Castle\, is a member of networked music ensemble bitpanic\, and has composed for and performed as a member of the Dog Star Orchestra. Serving on the wulf.’s Artistic Advisory Board\, she also curates and produces experimental music concerts in the Los Angeles area. \nABOUT ANJA WEISER FLOWER \nAnja Weiser Flower is trying to stitch together a newly centralized aesthetic construction. Anja Weiser Flower wants to pull the unitary social mind together with you. Is modeling a point of concentration whose sheaves you can read through\, feeling some of the patterns in which our Everything organizes itself. Is trying to get you to feel the underlying potential of a transsexual universality in human life\, is here for the potential of an unwhite disabled queer feminine transcendent overcoming\, the material human community. Coming to meet the still very real possibility of globally overcoming the capitalist social world and establishing communistic social relations. Coming to meet the cosmos.  \nShe lives in San Francisco\, California\, attended the San Francisco Art Institute\, and will have her work featured in an upcoming project by the Columbia University Graduate School of Architecture\, Planning\, and Preservation (GSAPP) and Printed Matter\, Inc.
URL:https://www.h-r.la/event/stephanie-cheng-smith/
CATEGORIES:one-time event at HR
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2018/04/unnamed-13.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20180421T190000
DTEND;TZID=America/Los_Angeles:20180421T220000
DTSTAMP:20260415T021549
CREATED:20180411T024100Z
LAST-MODIFIED:20180726T003940Z
UID:3391-1524337200-1524348000@www.h-r.la
SUMMARY:Sol Variations – A New Sound Installation by Richard Chartier
DESCRIPTION:VOLUME and Human Resources are pleased to present Sol Variations\, a new sound installation by Richard Chartier as part of “Cosm\, Organization-Construction\, Second Instance\,” an exhibition of new work by Anja Weiser Flower. Chartier’s work under his own name has been widely celebrated for his groundbreaking explorations of the spatial nature of sound\, silence\, focus\, perception\, and the act of listening itself. This four-channel installation\, which will be presented publicly for the first time at this event\, will be experienced in darkness\, with Flower’s work providing the sole source of illumination within the space. \nThis event will be free of charge\, and it is intended to be accessible to users of wheelchairs and other accessibility devices. Human Resources’ front entrance has one step\, with a folding wheelchair ramp available. The side entrance is wheelchair accessible. Human Resources does not have a wheelchair accessible restroom. The bathroom is gender neutral and has 2 stalls adjacent to each other. Please contact Human Resources with any accessibility questions or requests. \nABOUT RICHARD CHARTIER \nRichard Chartier (b.1971) is a Los Angeles based artist\, considered one of the key figures in minimalist sound art. Chartier’s works explore the inter-relationships between the spatial nature of sound\, silence\, focus\, perception\, and the act of listening itself. \nChartier’s critically acclaimed sound works have been published since 1998 on a variety of labels internationally including Room40 (Australia)\, Editions Mego (Austria)\, Important Records (US)\, Ash International (UK)\, Raster-Noton (Germany)\, Spekk (Japan)\, Trente Oiseaux (Germany)\, NVO (Austria)\, Farmacia901 (Italy)\, 12k (US)\, and his own imprint LINE (US). \nHe has collaborated with composer William Basinski\, sound artists ELEH\, CoH\, France Jobin\, Robert Curgenven\, Taylor Deupree\, AGF\, and Yann Novak\, and German electronic music pioneer Asmus Tietchens. In installation form\, he has created works with multimedia artists Evelina Domnitch and Dmitry Gelfand\, visual artist Linn Meyers\, and projected light artist Anthony McCall. Under his guise Pinkcourtesyphone\, an ambient project restarted in 2012\, he has collaborated with Cosey Fanni Tutti\, Kid Congo Powers\, harpist Gwyneth Wentink\, AGF\, and thereminist Evelina Domnitch. \nChartier’s sound works/installations have been presented in museums and galleries internationally including the Whitney Biennial and the influential sound art exhibit Sounding Spaces at NTT/ICC in Tokyo. His performances have occurred live across Europe\, Japan\, Australia\, and North America. \nSince 2000\, Chartier has curated his influential recording label LINE\, publishing nearly 100 editions documenting the compositional and installation work of international sound and video artists who explore the aesthetics of contemporary and digital minimalism. \nwww.3particles.com \nwww.lineimprint.com \nABOUT ANJA WEISER FLOWER \nAnja Weiser Flower is trying to stitch together a newly centralized aesthetic construction. Anja Weiser Flower wants to pull the unitary social mind together with you. Is modeling a point of concentration whose sheaves you can read through\, feeling some of the patterns in which our Everything organizes itself. Is trying to get you to feel the underlying potential of a transsexual universality in human life\, is here for the potential of an unwhite disabled queer feminine transcendent overcoming\, the material human community. Coming to meet the still very real possibility of globally overcoming the capitalist social world and establishing communistic social relations. Coming to meet the cosmos.  \nShe lives in San Francisco\, California\, attended the San Francisco Art Institute\, and will have her work featured in an upcoming project by the Columbia University Graduate School of Architecture\, Planning\, and Preservation (GSAPP) and Printed Matter\, Inc.
URL:https://www.h-r.la/event/sol-variations-a-new-sound-installation-by-richard-chartier/
CATEGORIES:one-time event at HR
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DTSTART;TZID=America/Los_Angeles:20180422T200000
DTEND;TZID=America/Los_Angeles:20180422T230000
DTSTAMP:20260415T021549
CREATED:20180411T224755Z
LAST-MODIFIED:20180726T003940Z
UID:3410-1524427200-1524438000@www.h-r.la
SUMMARY:Christine Tavolacci and Ted Byrnes perform John Cage’s Ryoanji
DESCRIPTION:TWO PERFORMANCES – 8pm and 9:30pm \nDoors at 7pm \n$15 Suggested Donation \nOn the surface\, a comparison might be hazarded between John Cage’s mid-eighties composition Ryoanji and the untitled work at the center of “Cosm\, Organization-Construction\, Second Instance\,” the debut Los Angeles exhibition of Bay Area artist Anja Weiser Flower.  \nIndeed\, both works share an interest in surfaces and their relationship to time. In Cage’s case\, this arises through the musical transposition\, via a graphic score\, of the paths traced by fifteen moss-covered stones across the surface of a rock garden raked daily by Zen monks at the composition’s eponymous Kyoto temple. In Flower’s case\, the intricate\, primarily textile surface of the central portion of her work\, painstakingly developed over several years\, both conceals and reveals layers of materiality and meaning\, as the visible articulation of the work evolves over the course of the show’s run. Both artists share an interest in the intermediate zone between physical and sonic space\, as elaborated over the course of VOLUME’s event program for Flower’s exhibition. \nAs such\, VOLUME and Human Resources are honored to present a performance of Cage’s Ryoanji by flutist Christine Tavolacci\, co-founder and co-director of the celebrated Southland ensemble\, and percussionist Ted Byrnes as the closing event of “Cosm\, Organization-Construction\, Second Instance.” This evening will present a unique opportunity to experience the final articulation of this important artwork in tandem with an interpretation of Cage’s composition by two leading figures in contemporary experimental music. \nThere will be two performances of this work\, taking place at 8pm and 9:30pm\, with doors opening at 7pm. Tickets may be purchased in advance or at the door for a suggested donation of $15. The performance will take place in darkness\, with Flower’s work providing the sole source of illumination in the main exhibition space. \nThis event is intended to be accessible to users of wheelchairs and other accessibility devices. Human Resources’ front entrance has one step\, with a folding wheelchair ramp available. The side entrance is wheelchair accessible. Human Resources does not have a wheelchair accessible restroom. The bathroom is gender neutral and has 2 stalls adjacent to each other. Please contact Human Resources with any accessibility questions or requests. \nABOUT CHRISTINE TAVOLACCI \nChristine Tavolacci is a Los Angeles-based flutist\, composer\, and educator specializing in contemporary and experimental music. She has traveled across the United States and Europe to study and perform\, and has been involved in the premieres of many new works\, including those by Alvin Lucier\, James Saunders\, Michael Pisaro\, Chiyoko Slavnics\, Carolyn Chen\, and Catherine Lamb.  \nChristine is active as a soloist\, improviser\, curator\, and chamber musician both in California and internationally. She is co-founder and co-director of Southland Ensemble\, as well as a member of the Dog Star Orchestra and Gurrisonic. Her playing has been released on Orenda Records\,  Slub Music (Japan)\, and Tzadik. She has been a guest lecturer at both UCLA and CalArts\, an associate instructor at UC San Diego\, and has taught several workshops on contemporary music to children of various ages.  \nIn 2006\, Christine received her BFA in flute performance from California Institute of the Arts.  She has also received her Diplôme de Specialisation with mention trés bien from the Conservatoire National de Region Strasbourg in Strasbourg\, France\, where she studied flute with Mario Caroli from 2006-2008. Christine completed her Doctorate (DMA) in Contemporary Music Performance at the University of California San Diego in the spring of 2017. \nABOUT TED BYRNES \nTed Byrnes is a drummer/percussionist living in Los Angeles. An alumnus of the Berklee College of Music in Boston\, MA\, he comes from a jazz background and has since made his home in the worlds of free improvisation\, new music\, electro-acoustic music\, and noise. \nTed primarily works in ad hoc improvisational settings\, but has standing improvisational groups including: a group with John Wiese\, a duo with Jeff Parker\, a duo with Chris Cooper (AQH)\, a duo with Charlie Mumma\, a duo with Sam McKinlay\, a duo with William Hutson\, a trio with Jacob Wick and Michael Foster\, among others. Additionally\, Ted has played in duo/trio/or ensemble settings with: Mazen Kerbaj\, Matt Weston\, Ingebrigt Haker Flaten\, Charlemagne Palestine\, Alfred 23 Harth\, Arrington de Dionyso\, Jaap Blonk\, Torsten Muller\, Kim Myhr\, Jim Denley\, Lloyd Honeybrook\, Chris Schlarb\, Mike Watt\, Paul Masvidal\, the LAFMS (including Smegma\, Airway\, Ace Farren Ford’s Artificial Art Ensemble\, Rick and Joe Potts\, Fredrik Nilsen\, Tom Recchion\, Vetza\, etc)\, Sissy Spacek (the band)\, Maher Shalal Hash Baz\, and more. \nTed’s recorded output oscillates between heavily acoustic music and harsh noise while keeping a similar approach. For a thorough overview of recordings\, please visit the Discography page of his website. \nTed has also collaborated with/worked for a variety of visual artists: he has accompanied a Doug Aitken “happening\,” scored and performed percussion for an Emily Mast performance\, collaborated with Olivia Booth to play her glass artworks\, collaborated with Dani Tull on a sound performance\, performed with John Knuth and Bret Nicely at an installation in an empty pool\, and has performed for FLUXUS artist Jeff Perkins on multiple occasions for his projector/light installations. \nCurrently\, Ted is delving further into the possibilities and realities of solo drumset performance in addition to continuing to work with his existing projects.
URL:https://www.h-r.la/event/christine-tavolacci-and-ted-byrnes-perform-john-cages-ryoanji/
CATEGORIES:one-time event at HR
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DTSTART;VALUE=DATE:20180428
DTEND;VALUE=DATE:20180507
DTSTAMP:20260415T021549
CREATED:20180403T203745Z
LAST-MODIFIED:20180728T003658Z
UID:3378-1524895200-1525586399@www.h-r.la
SUMMARY:The Institute of Ceramics and Alliance
DESCRIPTION:Anna Delgado and Brenda Starks are Southern California ceramic artists whose art examines identity and place. Though their works differ formally\, they have overlapping themes that explore heritage\, transitional spaces\, and the trajectory of clay as an art medium. Together\, the artists have dug clay from Los Angeles county to use for their new show\, “The Institute of Ceramics and Alliance.” Visitors will be invited to interact with the clay in different ways. On the day of the opening\, Anna will host a community event where clay will be available for attendees to help make pieces that will be become part of the show\, and Brenda will provide a contemplative space to allow a respite for people to sit with clay in its slip form. For the duration of the show\, HRLA will have on display traditional and experimental pieces\, projections\, and clay in its fired form\, raw form\, and slip form. On May 3rd the artists will host a concert. At the closing on May 5th\, the artists will host a poetry reading.  \nEvent Calendar: \nApril 28th at 6-8 pm: Opening \nApril 28th 5-6 pm: “Hands in Clay” Community Activity  \nMay 3rd at 8-10 pm: Music by Sherry Valence \nMay 5th 1-5 pm: “Nuestra América” Poetry Reading Event \nAnna Delgado is an interdisciplinary artist working with ceramics and projection to address ideas of belonging\, migration\, and displacement. Her work has been included in multiple publications and exhibited throughout the US and Europe. She has co-written grants and managed teams to create and install large ceramic tile public art murals. Anna was a Teaching Fellow at UNC Chapel Hill and graduated with an MFA in 2015. She currently teaches ceramic art at CSU San Bernardino and Chaffey College. Anna’s artwork examines multicultural identity through fragments of stereotypical and ritualized objects and actions. She rediscovers and reinterprets what it means to be an American and is interested in the recurring relevance of images\, such as images of hands\, like 40\,000-year-old cave paintings of hand stencils and how similar they look to today’s emoji hands. Clay is a material with its own connotations\, and as a geographic marker\, it represents a place and is as nomadic as we are. Clay is one of the few materials used today in the same way as in ancient civilizations. \nBrenda Starks was born and raised in Southern California and currently lives and works in Los Angeles. She received her BA from CSU San Bernardino and is an MFA candidate at CSU Los Angeles. Brenda creates large sculptural works\, and although she is very enthusiastic about ceramics\, her conceptual inclinations are such that no one medium will satisfy her work. Her sculptural works are created with undertones that probe slyly at African-American identity\, pop culture\, music\, technology\, politics and social activism. Brenda’s work has been displayed in galleries throughout California including at the Luckman Fine Arts Complex\, and her ceramic works can be seen in Sam Maloof’s Permanent Collection. Brenda is interested in creating a place where people can share their different values or traditions with one another and reflect these ideas in that space. She is interested in creating images with raw clay because it becomes the landscape that it physically came from\, and simultaneously it can be converted into a secondary and potentially completely different form. \nMay 3rd at 8pm: Music by Sherry Valence  \nHRLA and The Institute of Ceramics and Alliance will host music by Sherry Valence.  Sherry Valence is an Indie Pop band formed in 2016. The band consists of vocalist Danielle Zamora\, guitarist Ryan Massie\, guitarist Jess Kelly\, bassist Sean Kelly\, and drummer Joseph Gallegos. Sherry Valence is a Los Angeles band and they released their first EP\, Call Your Dogs\, on January 27\, 2018. \nMay 5th from 1-4pm: Nuestra América Poetry Reading \n“Nuestra América” celebrates the unique voices and styles of writers and poets who live in Southern California. The title of the poetry reading refers to José Martí’s seminal essay\, which was first published in 1891 in La Revista Ilustrada de Nueva York (New York) and then in El Partido Liberal (Mexico City). In his essay\, Martí highlights the independent spirit of the people of the Americas. Please join us and experience the distinct performances of Tristan Douglas Acker\, Alex Avila\, Juan Delgado\, Kelly Dortch\, Allyson Jeffredo\, Lilliana Gallegos\, George Hammons\, Timothy Hatch\, Angela Peñaredondo\, Daiana Rodriguez\, Isabel Quintero\, Micah Tasaka\, and others. A variety of themes will be touched on\, and since the reading is on Cinco De Mayo\, some of the performers will speak to what they cherish and what they reclaim about nuestra América.
URL:https://www.h-r.la/event/the-institute-of-ceramics-and-alliance/
LOCATION:Human Resources LA\, 410 Cottage Home\, Los Angeles\, CA\, 90012
CATEGORIES:exhibition
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