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DTSTART;TZID=America/Los_Angeles:20231201T190000
DTEND;TZID=America/Los_Angeles:20231201T220000
DTSTAMP:20260826T035706
CREATED:20231121T184723Z
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SUMMARY:The Alphabet of Andean Futurism
DESCRIPTION:This project emerges as an adaptation of fragments from Gamaliel Churata’s indigenist avant-garde masterpiece\, “The Golden Fish\,” viewed through the lens of Andean Futurism. It combines music\, video\, poetry\, and performance\, focusing on key scenes that depict the origins of a mythological being in the future of the Andes.  \n\n\n\nAdditionally\, the presentation includes Pumita Andino Cazador from the collective Lxs Demonixs del Ande from Huancayo – Peru\, a musical collaboration with local LA producer and DJ Adam O and the VJ mixing work of video artist and filmmaker Danny Perez. \n\n\n\nAlan Poma has adapted the Russian Cubo-Futurist opera Victory over the Sun and published the Andean Futurist Manifesto in 2019. He developed the concept of Andean Futurism\, which offers a non-linear interpretation of Andean culture. He has participated in performances\, exhibitions\, and concerts\, proposing an interpretation that encourages a dialogue between the Western avant-garde tradition and the Andean cultural heritage. Alan is currently visiting faculty at California Institute of the Arts in Los Angeles.
URL:https://www.h-r.la/event/the-alphabet-of-andean-futurism/
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/11/Alphabet-of-the-unknowable-the-resurrection-of-the-dead.-1-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231203T193000
DTEND;TZID=America/Los_Angeles:20231203T220000
DTSTAMP:20260826T035706
CREATED:20231127T115932Z
LAST-MODIFIED:20240818T005647Z
UID:7789-1701631800-1701640800@www.h-r.la
SUMMARY:So Much I Want to Say: A Glimpse into Palestinian Erasure
DESCRIPTION:Still from Palestine in the Eye (1971) by Mustafa Abu Ali.\n\n\n\nLos Angeles Filmforum and Human Resources Los Angeles presentSo Much I Want To Say: A Glimpse Into Palestinian ErasureScreening + Lecture PerformanceFor more info: https://www.lafilmforum.org/ \n\n\n\nWith guests curator Zaina Bseiso (in person) and Bahaleen Collective (via Zoom) \n\n\n\nPlease provide proof of donation to Palestine Children’s Relief Fund or Medical Aid for Palestinians for admission to the show. No additional ticket charge. \n\n\n\nMasks are highly recommended at Filmforum shows – N95 or KN95. \n\n\n\nAs we witness firsthand the abundance of power structures silencing Palestinian voices\, erasing and fabricating historical and current events\, this screening and lecture performance contextualizes the settler-colonial project’s current tactics of erasure. Hundreds of 16mm documentaries were made by the Palestine Film Unit and solidarity networks to portray the Palestinian struggle after the 1967 war. A large portion of those films were confiscated during the Israeli invasion of Beirut in 1982\, making it virtually impossible to see and hear these stories. It is only through acts of solidarity and Palestinian resilience\, exemplified by the Tokyo Reels\, that we are able to access some of the films featured in this program\, while many others remain locked in Israeli vaults\,  accessible only to vetted Israeli citizens. \n\n\n\nThis space of collective self-reflection will go beyond uplifting Palestinian voices. Borrowing its title from Mona Hatoum’s video art piece So Much I Want To Say\, this program recounts a timeline of refusals by artists and collectives to remain silent\, instead utilizing their tools to contribute to Palestinian narratives.  \n\n\n\nZaina Bseiso (Curator) is a film director\, producer\, and curator working primarily in documentary and experimental cinema. Her work explores the relationship between the materialities of place and issues of memory\, surveillance\, corporeality\, and nationalism. She received her master’s degree in film and video from the California Institute of the Arts. Bseiso is based in Los Angeles and was raised in Egypt by Palestinian parents. Her practice mainly traverses Egypt\, Palestine\, Cuba\, Mexico\, and the US. She is co-founder of Bahía Colectiva\, a community of filmmakers that collaborate in practice and curation. \n\n\n\nBahaleen Collective: Today\, we are Aya Bseiso\, Khalid Odeh\, and Noura Salem. We are a group of friends\, sometimes colleagues\, and often collaborators who are Palestinian artists\, architects\, surveyors\, calligraphers\, and researchers based in Jordan. Together\, we are Bahaleen\, a research group dedicated to exploring the emancipatory potentials of arts practice through a constellation of acts\, projects\, and productions. We aim to unearth and investigate the socio-political histories and colonized infrastructures of the region through a methodology and practice that offer new ways to experiment and activate research and knowledge production with a larger public. \n\n\n\nFor the past three years\, Bahaleen has been engaged in several multi-year independent research projects that circle around notions of temporality\, crossing borders\, and impermanent-permanent infrastructures. Through a series of roaming artist residencies\, we search for\, name\, and subvert narratives around water bodies\, oil and gas pipelines\, tourist projects\, nature reserves\, privatized property\, and the commons through the practice of creating databases of projects\, laws\, and political agreements that have colonized\, commercialized\, privatized\, and militarized our soil. All the while\, looking at the performance of politics on sites of extractive economies. Our research methodologies are driven by an artistic process that utilizes participatory research frameworks\, fieldwork\, desk research\, and documentation while experimenting with and pushing traditional research practices forward\, with the aim of treating the research process as a generative space of production in and around art and academic institutions. \n\n\n\nWhat we are doing today: Our work as Bahaleen—during war and ethnic cleansing—continues\, and it must. We have come to understand the necessity of our research\, always seeking Palestine. We remain captivated by the viscosity of oil and the flow of water\, their movement and disruption as they permeate and carve through our geography\, transcending their chemical properties. At this moment\, our body of research scrutinizing the settler-colonial infrastructures of oil and water and interpreting their movement to chart their cultural\, geopolitical\, and environmental significance has become a mapping of the infrastructures that feed a genocidal war machine. We find ourselves asking over and over again—what if—as we witness the potential and possibilities of their disruption. \n\n\n\nTo that end\, and to keep this short\, currently\, we are working on mapping these infrastructures\, towards an article that narrates our research and the conversations we have experienced and facilitated. Alongside allies in London\, we are working towards a global campaign calling for the disruption of oil and gas flow to Europe specifically looking at Algeria\, Iraq and Libya. Additionally\, we are indexing dams in our region\, mapping the flow of water around us\, identifying the political agreements that govern them\, their environmental impact\, and specifically tracing the involvement of the occupying state of Israel. \n\n\n\n———————- \n\n\n\nLos Angeles Filmforum is the city’s longest-running organization screening experimental and avant-garde film and video art\, documentaries\, and experimental animation. 2023 is our 48th year. \n\n\n\nMemberships available\, $40 Student $75 Individual\, $125 Dual\, or $225 Silver Nitrate  \n\n\n\nContact us at lafilmforum@gmail.com. \n\n\n\nFind us online at http://www.lafilmforum.org/. \n\n\n\nBecome a fan on Facebook and follow us on Twitter @LosAngFilmforum.
URL:https://www.h-r.la/event/so-much-i-want-to-say-a-glimpse-into-palestinian-erasure/
CATEGORIES:screening,seminar/workshop
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/11/unnamed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231204T190000
DTEND;TZID=America/Los_Angeles:20231204T220000
DTSTAMP:20260826T035706
CREATED:20231107T194608Z
LAST-MODIFIED:20240818T005915Z
UID:7744-1701716400-1701727200@www.h-r.la
SUMMARY:Use Me at Your Own Risk: Visions from the Darkest Timeline
DESCRIPTION:A reading of Use Me at Your Own Risk: Visions from the Darkest Timeline by Gem Evans (Monica) and Evan Ibarra (Sam).The reading will be followed by a conversation about the book as it relates to queer literature and history\, between author Anuradha Vikram and artist Badly Licked Bear. Music selected by DJ Izzy\, to conclude the evening. \n\n\n\nUse Me at Your Own Risk: Visions from the Darkest Timeline by Anuradha Vikram takes place in 2046\, a near future where both automation and climate collapse are more advanced. In five provocative sections\, Use Me at Your Own Risk confronts the ethical challenges inherent in our unprecedented shift to automation. Vikram sets the stage for these imagined futures in vivid detail\, describing environments\, complex characters\, and events in disparate locations from New Delhi to Los Angeles. Described by Vikram as an activist art project\, this speculative novel asks us to question our role in the destruction of our environment\, the impact of automation on society\, and heightened inequity across class\, race\, and gender. \n\n\n\nUse Me at Your Own Risk: Visions from the Darkest TimelineAuthor: Anuradha VikramForeword: Alexandra Grant & Addy RabinovitchDesign: Margaret TedescoCover Art: Isip Xin \n\n\n\nPublished in 2023 \n\n\n\n5.5 x 7 inches (14 x 18 cm)\, 158 pages\, paperback \n\n\n\nISBN: 9781737838876 \n\n\n\nUse Me at Your Own Risk is published as part of X Artists’ Books’ X Topics (XT) series\, a collection of single-author books focused on the writing and ideas of marginalized voices. \n\n\n\nAnuradha Vikram is a writer\, curator\, and educator based in Los Angeles\, CA. Vikram’s book Decolonizing Culture (Sming Sming Books\, 2017) contributed to a global movement to decolonize arts institutions and monuments. They have written for art periodicals and publications from Paper Monument\, Heyday Press\, Routledge\, and Oxford University Press. They are an Editorial Board member at X-TRA\, and faculty in the UCLA School of the Arts and Architecture. They hold an MA in Curatorial Practice from California College of the Arts and a BS in Studio Art from NYU. \n\n\n\nArtist\, designer\, and independent curator Margaret Tedesco has collaborated with artists\, writers\, choreographers\, and filmmakers for over three decades. In 2007\, she established 2nd Floor Projects\, an artist-run exhibition and publishing imprint\, and received the Southern Exposure Alternative Exposure Award. 2nd Floor Projects has participated in Printed Matter’s New York & Los Angeles Art Book Fairs\, the San Francisco Art Book Fair\, Berlin Art Book Fair\, KADIST and Southern Exposure’s Book Fairs\, and SFMOMA’s Printed Publics exhibition.
URL:https://www.h-r.la/event/use-me-at-your-own-risk-visions-from-the-darkest-timeline/
CATEGORIES:reading
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/11/use-me-at-your.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231209T190000
DTEND;TZID=America/Los_Angeles:20231209T220000
DTSTAMP:20260826T035706
CREATED:20231121T185229Z
LAST-MODIFIED:20240826T163802Z
UID:7783-1702148400-1702159200@www.h-r.la
SUMMARY:Alsea Diana Is Depicting Violence Against Women
DESCRIPTION:ALSEA DIANA INVITES YOU TO AN IMMERSIVE INTERACTIVE INSTALLATION \n\n\n\nFEATURING BRAND NEW EXPERIMENTAL WORK AND A PREVIEW OF HER FEATURE-LENGTH DIRECTORIAL DEBUT PEREGRINE FALCON \n\n\n\nMUSIC – DRINKS – LOTTERY TICKETSGIRLS – GIRLS – GIRLSSPECIAL GUESTSTHIS IS A SOCIAL SPACE COME HANG OUT BRING FRIENDSDON’T OVERTHINK ITYOU’RE PERFECTTAKE A CHANCEGET LUCKYBE SAFE \n\n\n\n△ Curated by Emji Saint Spero△ In Association with WESTERNMOST | FACTORY MADE | SIEGE MODE \n\n\n\nAlsea Diana is a filmmaker and writer based in Los Angeles and originally from deep rural Oregon. Afterspending time in the San Fransisco Bay Area working in the fields of media representation andindependent film distribution\, she relocated to Los Angeles to turn her attention back to creative side ofthe industry\, determined to put some of the theory she had been preaching into practice.She is currently preparing for the release of her feature-length directorial debut\, the erotic thrillerPeregrine Falcon\, starring Tee Park and Autry Haydon-Wilson and featuring an original score by FatimaAl Qadiri. Other recent works include the horror short Intimacy Engine and the experimental short docDOWN OVER UP THE STREET with writer and musician Brontez Purnell.
URL:https://www.h-r.la/event/alsea-diana-is-depicting-violence-against-women/
CATEGORIES:screening
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2023/11/AlseaDiana_HR_FINAL_small-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231214T200000
DTEND;TZID=America/Los_Angeles:20231214T230000
DTSTAMP:20260826T035706
CREATED:20231212T133906Z
LAST-MODIFIED:20240818T005932Z
UID:7817-1702584000-1702594800@www.h-r.la
SUMMARY:Kabir Carter
DESCRIPTION:Doors at 8pmPerformance at 9pmFree (pay what you want – proceeds go to Venice Family Clinic) \n\n\n\nKabir Carter will explore the spatial acoustics and resonant behavior of a circuit that flows between a loudspeaker\, an audio mixer\, a microphone\, a folding chair\, and his body. \n\n\n\nKabir Carter is a research-based artist who uses sound\, light\, image\, architecture\, dance\, popular and experimental music\, and histories of infrastructures to make work through writing\, performance\, installations\, and related discursive projects and initiatives. Carter’s work shapes sound’s spatial and acoustic residues in durational performances and temporary installations. He traces the flows of spatial intensities between humans\, nonhumans\, architectonic structures\, and communication architectures. His work has been presented and exhibited at: HKW – Haus der Kulturen der Welt\, Berlin; ISSUE Project Room\, Brooklyn; Museet for Samtidskunst\, Roskilde; the New School\, New York; Pageant\, Brooklyn; and Studio Museum in Harlem\, New York.
URL:https://www.h-r.la/event/kabir-carter/
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/12/carter_issue_march_23_85A0033-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231215T193000
DTEND;TZID=America/Los_Angeles:20231215T220000
DTSTAMP:20260826T035706
CREATED:20231213T000347Z
LAST-MODIFIED:20231214T214825Z
UID:7837-1702668600-1702677600@www.h-r.la
SUMMARY:Winter Soiree
DESCRIPTION:doors at 7:30pm / music at 8pm \n\n\n\nCorey Fogel hosts another Winter Soiree\, featuring an assortment of creative musicians\, both local and traveling from Portland\, San Francisco\, and New York. Persimmons will inevitably be involved\, too.  \n\n\n\nUnity Garnish is a platform for artworks composed and produced by Derek Blackstone and Sam Klickner. Often referred to in shorthand as UG\, the Portland based duo has established an obtuse identity online and irl\, combining elaborately detailed composition with nearly irresponsible electronic collage\, gratuitous inside-joking and self-reference. The two are also visual art collaborators; Klickner being an established illustrator and designer known for his maximalist digital airbrush style and Blackstone a compulsively organized archivist and photographer— their releases\, live performances and online presence are accompanied by their profuse visual artworks\, costumes and memes. Unity Garnish’s new single “STEAM” is out now on New York record abel A New Age for New Age. \n\n\n\nNick Podgurski is a New York based musician\, composer\, and educator. He is a former full-time member of Extra Life\, GRID (with bassist Tim Dahl and saxophonist Matt Nelson)\, and the band Yukon. He has collaborated with such artists as Lydia Lunch\, Jessica Pavone\, Tristan Kasten-Krause\, Colin Marston\, and others. Solo he is known for long ambient keyboard works. Notable recordings include: Living Mithridate (2015)\, The True Character of Time (2020)\, Felt In a Flashing Light That Illumines The Desert (2020)\, deep drone trilogy First Snow/Fourth Field/Night Prayer (2022)\, and Invisible Gift (2022).  \n\n\n\nSince 2020 he has been composing for/collaborating with small ensembles. MONAD: for ensemble a NYFA commission with violist Jessica Pavone\, bassist Tristan Kasten-Krause\, and vibraphonist Cory Bracken and Secret In The Heart\, a duo with violinist Zach Paul (Touch Music)\, are well documented examples. Podgurski is the sole consistent member of Feast of the Epiphany\, a group who has reinvented itself continually since 2009. Feast of the Epiphany creates uniquely challenging and singular music. Its concerns are derived from and oriented precisely towards the members of each specific iteration of the group.  \n\n\n\nlina tullgren is an artist\, improviser\, performer and poet. their work explores space\, duality\, relationships and the divine. recent works of both song music and improvised violin have been released under Astral Spirits\, Ba Da Bing! and Captured Tracks record labels. they live in Los Angeles. \n\n\n\nCorey Fogel (b 1977) is a percussionist\, composer\, and artist based in Los Angeles. Fogel works across genres and mediums to explore many facets of improvisation. He approaches sound\, textile\, collaborators\, gestures\, and objects as viable materials for spontaneous\, time-based experimental performance\, often fusing sculpture\, video\, musical traditions\, theatricality\, and ritual. He recently earned his Ph.D. in UC Irvine’s Integrated Composition\, Improvisation\, and Technology program\, with research on abstract\, graphic music notation for improvising musicians.  \n\n\n\nFogel performs and composes in many rock\, jazz\, noise\, folk\, and chamber music capacities. Recent collaborations include: Julia Holter\, Tashi Wada\, Patty Waters\, Abigail Levine\, Phil Minton\, Simon Leung\, Simone Forti\, Judith Berkson\, Raven Chacon\, Yoshi Wada\, Michael Winter\, Robert Blatt\, Maya Dunietz\, John Butcher\, John Butle\, John Russell\, Todd Barton\, Misha Marks\, Brian Allen\, Alexander Bruck\, Patrick Shiroishi\, Haley Fohr\, Liz Glynn\, Chris Speed\, Mark Dresser\, Kathleen Kim\, Ezra Buchla\, Tony Malaby\, Dev Hoff\, John Dieterich\, Carlin Wing\, Sam Mickens. \n\n\n\nSyrinx from SF bay area noticed the middle chapter (#7) of Wind In The Willows is called Piper at the Gates of Dawn. \n\n\n\nsome abstract tensions clothed in a drama among animals / A technique for actors\, a tradition of techniques to perform and present again the dramas / and a bit of funding from an embassy to bring not the whole troupe of monkeys but one summarist to try to put it all across : \n\n\n\nWhat it was like. Body bending. (not an embassy really but a zoo Also put to political use like the loan agreements for those pandas. sad horse trailers – combustion byproducts
URL:https://www.h-r.la/event/winter-soiree/
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/12/dec15_new.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231216T190000
DTEND;TZID=America/Los_Angeles:20231217T000000
DTSTAMP:20260826T035706
CREATED:20231130T235602Z
LAST-MODIFIED:20240826T163855Z
UID:7810-1702753200-1702771200@www.h-r.la
SUMMARY:Tati au Miel: Carousel EP Release
DESCRIPTION:Tickets are $10 at the door. \n\n\n\nIn celebration of Tati au Miel’s latest EP release Carousel with Texan label Halcyon Veil. This EP\, birthing from Tati’s lived experiences and personal reflections surrounding the concepts of nomadism\, migration\, nostalgia\, and the Haitian spiralism movement\, manifests itself as a collection of electronic-experimental sound art pieces accompanied with a series of sculptures made by the visual artist Lacra. \n\n\n\nThis program event includes the Carousel collection of textiles\, visuals\, and projections as well as live performances by Tati au Miel\, Colby Hnt (New York)\, Nunguja (Berlin)\, Bapari (Los Angeles)\, Bryce Barnes (New York)\, and Halcyon Veil founder Rabit.   \n\n\n\nCarousel EP is available on December 14th on Bandcamp and all streaming services. \n\n\n\nTania Daniel performs under the artist name of Tati au Miel. They are a producer\, DJ\, costume designer\, curator\, sound and performance artist. Born and raised in Montreal\, Tati au Miel explores freedom\, desire\, and the emancipatory potential of sound and its relation to their own identity as a queer\, gender-fluid Haitian-Canadian. Their artistic practice stretches across various disciplines\, producing evocative experimental sound pieces\, textile experiments and ritualistic performances\, investigating abstraction as a speculative approach to storytelling and its aesthetic history in Black electronic music.
URL:https://www.h-r.la/event/tati-au-miel-carousel-ep-release/
CATEGORIES:music/sound,performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/11/Tati-au-Miel-Artist-Photo.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20231218T193000
DTEND;TZID=America/Los_Angeles:20231218T210000
DTSTAMP:20260826T035706
CREATED:20231212T214136Z
LAST-MODIFIED:20240818T005625Z
UID:7827-1702927800-1702933200@www.h-r.la
SUMMARY:So Much I Want To Say: A Glimpse Into Palestinian Erasure 
DESCRIPTION:Los Angeles Filmforum and Human Resources present So Much I Want To Say: A Glimpse Into Palestinian Erasure  \n\n\n\nWith guests curator Zaina Bseiso (in person) and Bahaleen Collective (via Zoom) \n\n\n\nDue to popular demand\, LA Filmforum and HRLA reprise the screening/lecture focussed on Palestinian films.  \n\n\n\nPlease provide proof of donation to Palestine Children’s Relief Fund or Medical Aid for Palestinians for admission to the show. No additional ticket charge. No additional ticket charge is necessary but reserving tickets is encouraged.  \n\n\n\nMasks are highly recommended at Filmforum shows – N95 or KN95. \n\n\n\nAs we witness firsthand the abundance of power structures attempting to silence Palestinian voices\, erasing and fabricating historical and current events\, this screening and lecture/performance contextualizes the settler-colonial project’s tactics of erasure. Hundreds of 16mm documentaries were made by the Palestine Film Unit and solidarity networks to portray the Palestinian struggle after the 1967 war. A large portion of those films were confiscated during the Israeli invasion of Beirut in 1982\, making it virtually impossible to see and hear these stories. It is only through acts of solidarity and Palestinian resilience\, exemplified by the organization Tokyo Reels\, that we are able to access some of the films featured in this program\, while many others remain locked in Israeli vaults\,  accessible only to vetted Israeli citizens. \n\n\n\nThis space of collective self-reflection will go beyond uplifting Palestinian voices. Borrowing its title from Mona Hatoum’s video art piece So Much I Want To Say\, this program recounts a timeline of refusals by artists and collectives to remain silent\, instead utilizing their tools to contribute to Palestinian narratives.  \n\n\n\nZaina Bseiso is a film director\, producer\, and curator working primarily in documentary and experimental cinema. Her work explores the relationship between the materialities of place and issues of memory\, surveillance\, corporeality\, and nationalism. She received her master’s degree in film and video from the California Institute of the Arts. Bseiso is based in Los Angeles and was raised in Egypt by Palestinian parents. Her practice mainly traverses Egypt\, Palestine\, Cuba\, Mexico\, and the US. She is co-founder of Bahía Colectiva\, a community of filmmakers that collaborate in practice and curation. \n\n\n\nBahaleen Collective: Today\, we are Aya Bseiso\, Khalid Odeh\, and Noura Salem. We are a group of friends\, sometimes colleagues\, and often collaborators who are Palestinian artists\, architects\, surveyors\, calligraphers\, and researchers based in Jordan. Together\, we are Bahaleen\, a research group dedicated to exploring the emancipatory potentials of arts practice through a constellation of acts\, projects\, and productions. We aim to unearth and investigate the socio-political histories and colonized infrastructures of the region through a methodology and practice that offer new ways to experiment and activate research and knowledge production with a larger public. \n\n\n\nFor the past three years\, Bahaleen has been engaged in several multi-year independent research projects that circle around notions of temporality\, crossing borders\, and impermanent-permanent infrastructures. Through a series of roaming artist residencies\, we search for\, name\, and subvert narratives around water bodies\, oil and gas pipelines\, tourist projects\, nature reserves\, privatized property\, and the commons through the practice of creating databases of projects\, laws\, and political agreements that have colonized\, commercialized\, privatized\, and militarized our soil. All the while\, looking at the performance of politics on sites of extractive economies. Our research methodologies are driven by an artistic process that utilizes participatory research frameworks\, fieldwork\, desk research\, and documentation while experimenting with and pushing traditional research practices forward\, with the aim of treating the research process as a generative space of production in and around art and academic institutions. \n\n\n\nOur work as Bahaleen—during war and ethnic cleansing—continues\, and it must. We have come to understand the necessity of our research\, always seeking Palestine. We remain captivated by the viscosity of oil and the flow of water\, their movement and disruption as they permeate and carve through our geography\, transcending their chemical properties. At this moment\, our body of research scrutinizing the settler-colonial infrastructures of oil and water and interpreting their movement to chart their cultural\, geopolitical\, and environmental significance has become a mapping of the infrastructures that feed a genocidal war machine. We find ourselves asking over and over again—what if—as we witness the potential and possibilities of their disruption. \n\n\n\nTo that end\, and to keep this short\, currently\, we are working on mapping these infrastructures\, towards an article that narrates our research and the conversations we have experienced and facilitated. Alongside allies in London\, we are working towards a global campaign calling for the disruption of oil and gas flow to Europe specifically looking at Algeria\, Iraq and Libya. Additionally\, we are indexing dams in our region\, mapping the flow of water around us\, identifying the political agreements that govern them\, their environmental impact\, and specifically tracing the involvement of the occupying state of Israel. \n\n\n\n———————- \n\n\n\nLos Angeles Filmforum is the city’s longest-running organization screening experimental and avant-garde film and video art\, documentaries\, and experimental animation.   \n\n\n\nThis program is supported by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission\, the Department of Cultural Affairs\, City of Los Angeles\, and the Mike Kelley Foundation for the Arts.   \n\n\n\nFor questions contact lafilmforum@gmail.com.
URL:https://www.h-r.la/event/so-much-i-want-to-say-a-glimpse-into-palestinian-erasure-2/
CATEGORIES:screening,seminar/workshop
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2023/11/unnamed.jpg
END:VEVENT
END:VCALENDAR