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DTSTART;TZID=America/Los_Angeles:20240529T000000
DTEND;TZID=America/Los_Angeles:20240603T235959
DTSTAMP:20260825T000147
CREATED:20240507T175445Z
LAST-MODIFIED:20240818T005230Z
UID:8199-1716940800-1717459199@www.h-r.la
SUMMARY:David Bad: all in\, win or lose
DESCRIPTION:Opening reception: Wednesday\, May 29th 6 – 9pm Gallery hours: Thursday\, May 30th through Monday\, June 3rd\, 12 – 6pm \n\n\n\nEver since I can remember I’ve been painting\, drawing\, sketching\, or coloring something. Being introduced to art at a very young age and having family members encouraging it\, is why I paint for more hours than I sleep. With art i feel as if i always need to have a sketch book around\, or pen and a napkin as I wait for the waiter to bring my food. A sort of Freedom of doing without thinking\, freedom from thinking; sort of. \n\n\n\nI do give all the credit to my mother and siblings for pushing me towards art or any creative outlet. My mother was a teacher’s assistant and would come home with fresh crayons and new books for me to draw in. We used to go to record stores and pick out CDs\, my mother was a classic rock and oldies lover. My older brother\, who was a graff writer\, had these books with amazing word style art pieces with characters in them. Some pages just scribble\, some very detailed similar graffiti pieces to the ones I’d see out on the streets. Thinking what great lengths and fun adventures these graffiti artists would go on to put up a “NAME”\, on a billboard or on risking it on some train tracks. My oldest sister use to sew her own clothes and Halloween costumes. She was also the best illustrator of all of us and taught me a lot about drawing. My sister Justine was heavy into music\, she was the one who got us to go out and buy CDs. She would collect her music off the radio by recording them on cassette tapes\, I actually got my taste in music from her. \n\n\n\nMy name is David Bad\, born and raised in Lincoln Heights\, Los Angeles\, California 90031\, five minutes from Chinatown. I’m a painter but have other various skills as well as photography\, sculpting\, and music production\, and more creative outlets i come across worth learning. This art show\, however\, is a painted series; it being my first show ever I’d like to show you my favorite thing in the whole world to do. This show is called “All In\, Win or Lose\,” which consist of 52 hand painted playing cards. The images painted represent Chicano culture\, Lucha Libre matches\, pin striped low riders\, Aztec ceremonies\, gold hoop earing with thin eyebrows\, elotes\, tamales\, tacos with tapatio\, the Zoot Zuiters\, white blank tee with greased up over sized 501s while sporting Corteze. The lifestyle I was raised in. \n\n\n\n– David Bad
URL:https://www.h-r.la/event/david-bad-all-in-win-or-lose/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/05/David-Bad.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240607T183000
DTEND;TZID=America/Los_Angeles:20240607T210000
DTSTAMP:20260825T000147
CREATED:20240515T175954Z
LAST-MODIFIED:20240826T164612Z
UID:8216-1717785000-1717794000@www.h-r.la
SUMMARY:Two Tongues\, Multiple Mothers
DESCRIPTION:Poster design: Woohee Cho\n\n\n\nTwo Tongues\, Multiple Mothers is a one night event consisting of screenings\, performances\, and objects that explore the space between languages as liminal bodies. The process of translation and interpretation is not widely known\, and the delicate existence of these bodies is rather mysterious and misunderstood. Through personal\, historical\, and fictional narratives\, Jisoo Chung\, Dajin Yoon\, Ruoyi Shi\, and Woohee Cho investigate multiplicity in this transitional space. \n\n\n\n* \n\n\n\nJisoo Chung’s Miss Kim Lilac  is a story about a lilac tree called ‘Miss Kim’ that was brought to America from its native Korea and named by an American botanist. The tree’s name\, which has changed over time as it moved across countries\, is an imprint of colonial history\, capitalization of nature\, and the migration of Korean women. In the twenty-minute experimental documentary film\, Miss Kim Lilac(2023)\, Chung’s journey to New Hampshire where she finds the early Miss Kim lilac specimens intersects with the narrative of its history that unfolds through the lilac’s perspective.  If the name is the most fundamental linguistic framework to recognize oneself\, will Miss Kim be able to find herself lost inside her multiple names?  \n\n\n\nDajin Yoon’s First Person Perspective is a text-based performance that starts with the character called One who wakes up to find out that the world it lives in has changed significantly. The reactions from peers confuses One. Amongst the discrepancies in opinions\, the familiarity of the shared language defamiliarizes\, impairing One’s understanding of the worldly order. Then emerges the tenuous nature of perceptions where the individuals rely on their intuition for translation\, filling in the gaps of the context and new meaning. \n\n\n\nRuoyi Shi’s (un)readable? (um)readable playfully blurs between readable and unreadable\, speakable and unspeakable through drawings and sculptural objects. When a computer program cannot recognize foreign characters\, it often uses hollow square shapes as the placeholder. These squares\, sharing the same shape as the Chinese word (Kou)\,” meaning “mouth” in English\, serve as a visual representation. However\, devoid of meaning and sound\, they remain silent\, unable to convey any message. Originating from Pictograms\, Chinese characters are simplified depictions of tangible objects. They evolved from literal representations to encompass symbolic and metaphoric meanings. The character “Kou” not only signifies actions involving the mouth but also serves as a fundamental element in the structure of other characters. I modified the text from the chosen paragraph\, keeping only the square shapes. These squares will be used to form content that is both readable and unreadable\, speakable and unspeakable to all of us.Woohee Cho’s Letters Ladders is a performance\, where he climbs up and down between two ladders while writing fragments of his journal regarding his recent loss on the wall. It deals with questions about queer diaries\, family trauma\, diaspora\, and (mis)translation. When you lose words to describe your emotions\, which languages are you drawn to grapple with? When language slips through the net\, can we still exchange something through art? \n\n\n\n* \n\n\n\nJisoo Chung is an interdisciplinary artist who works between Los Angeles and Seoul. Primarily through video and installation\, she focuses on sociocultural constructs within quotidian objects and technology to explore language and the loss of one’s agency. Nonsense\, mistranslations\, personifying objects\, and non-human perspectives are used in her works to re-navigate the idea of the self.  \n\n\n\nDajin Yoon is an artist based in Los Angeles working in performance\, drawing\, and installation. Her practice examines the limits of language and its ability to shape\, activate\, and obfuscate beliefs and perceptions within shared experiences and anecdotal narratives. \n\n\n\nRuoyi Shi is an interdisciplinary artist based in Los Angeles. Inspired by ancient tales and rituals intertwined with language\, habits\, and societal norms\, she combines humor and fiction to construct her poetic narratives. Her work explores the interface between nature and artificial existences\, as well as the notion of truth and its fabrication. Woohee Cho is a visual artist based in Los Angeles and Seoul. He received an MFA from California Institute of the Arts (2020) and a BFA from Seoul National University (2014). His works focus on moments in everyday life where individual identity collides with or is subsumed by society. These are transformed into installations\, videos\, and performances as a means of queering the normativity of society. Gathering\, personalizing\, and laughing are the primary methodologies of his practice. His work has been shown at Post Territory Ujeongguk\, Los Angeles Municipal Art Gallery\, Roy Edna Disney CalArts Theater\, Ann Arbor Film Festival\, and Cork International Film Festival\, among others.
URL:https://www.h-r.la/event/two-tongues-multiple-mothers/
CATEGORIES:screening
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/05/Untitled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240609T193000
DTEND;TZID=America/Los_Angeles:20240609T210000
DTSTAMP:20260825T000147
CREATED:20240517T203550Z
LAST-MODIFIED:20240517T205512Z
UID:8233-1717961400-1717966800@www.h-r.la
SUMMARY:WET NIGHTMARES: transvestiary of horrors
DESCRIPTION:Spiritual sessions with popper-induced trances\, lycanthropic nahual strippers\, anal vampiresses. Binding spells sealed with a rain of blood\, satanic dances. Sexual pacts with demonic entities and orgies with transsexual “tlahuelpuchis” that produce wet nightmares. These are some of the acts on offer in this Los Angeles debut by Lechedevirgen. Lechedevirgen crosses sexual dissidence and performance art with horror and mesoamerican mysticism. The monstrosity of non-binary trans BIPOC identities are deployed as figures of political transformation\, staging decolonizing raids against white supremacist\, transphobic\, heteropatriarchal mechanisms of stigmatization\, pathologization and criminalization.  \n\n\n\n“En mi tierra no somos queer\, somos jotxs. En mi tierra no somos drag queens\, somos travestis. En mi tierra no hacemos performance art\, hacemos brujería.” \n\n\n\nTickets ($15) available via WithFriends.
URL:https://www.h-r.la/event/wet-nightmares-transvestiary-of-horrors/
CATEGORIES:performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/05/Wet-Nightmare-Lechedevirgen-Photo-Herani-Enriquez-.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240610T200000
DTEND;TZID=America/Los_Angeles:20240610T220000
DTSTAMP:20260825T000147
CREATED:20240529T185821Z
LAST-MODIFIED:20240818T005218Z
UID:8278-1718049600-1718056800@www.h-r.la
SUMMARY:First Draft
DESCRIPTION:Tickets are $5 – 20\, sliding scale; click here to purchase. \n\n\n\nFirst Draft is an evening of Experimental Works-in-Process for Los Angeles based dance and performance artists. The evening serves as a creative laboratory for wide-ranging artistic investigations in movement-based mediums for artists at all stages of their creative development. This round’s artists include Will Rawls\, Sophia Cleary\, Jay Carlon\, and Maya Gurantz. \n\n\n\nFirst Draft was instigated and is curated and produced by Emily Barasch. Emily is honored to continue curating First Draft\, she feels passionately about bringing local Los Angeles experimental performance artists together and creating more spaces for connection\, experimentation\, and exchange!
URL:https://www.h-r.la/event/first-draft-3/
CATEGORIES:performance
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2024/05/Green-Minimalist-Aesthetic-Modern-Paper-Texture-Promotional-Motivational-Quote-Instagram-Post-3-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240615T000000
DTEND;TZID=America/Los_Angeles:20240623T235959
DTSTAMP:20260825T000147
CREATED:20240522T203121Z
LAST-MODIFIED:20240617T191553Z
UID:8250-1718409600-1719187199@www.h-r.la
SUMMARY:Rehearsals for A Color Play
DESCRIPTION:Anna Betbeze and HR present: Rehearsals for A Color Play \n\n\n\nGallery Hours: Thursday-Sunday\, 12 – 6pmOpening: Saturday\, June 15\, 4 – 6pmOpen rehearsals: Friday\, Saturday\, and Sunday\, June 21 – 23\, 4 – 6pmClosing Reception: Sunday\, June 23\, 6 – 8pm \n\n\n\n\n\n\n\nRehearsals for A Color Play is an experiment\, an invitation\, a painting\, a stage\, and a score. A space to consider that color is a live material\, extra-visual\, beyond optical/retinal sensation. Using dyed fabrics as its central material\, curtains\, shrouds\, veils\, clothing\, and flags become sites for color language\, expressivity\, kinetic form\, and social and political organization. \n\n\n\nRehearsals will be the first phase in an ongoing project\, A Color Play\, that interrogates the expressive aspects of color. Color here is not theoretical\, it is tethered to experience and cannot be unbound or contained\, it bounces; reflects\, seeps\, touches\, an active catalyst for all kinds of change.  \n\n\n\nEach day will perform a chapter\, each chapter an inquiry into hidden aspects of color. The first chapter\, The Swamp\, will play with color’s ruinous\, entropic\, and muddy aspects; the potential for synaesthetic landscape\, fusing ends with beginnings. Each chapter will follow the last\, improvisationally\, an open ended project designed to change course.  \n\n\n\nBetbeze invites participants and showgoers to play and intervene in the set\,  and/or to sit\, lounge\, contemplate\, listen. Rehearsals will be held 4 – 6 pm Friday\, Saturday and Sunday. The stage set will be on display for viewing during gallery hours\, 12 – 6 pm. \n\n\n\n\n\n\n\nRehearsals for a Color Play extends and bridges Anna Betbeze’s experiments with touch and the tactile sense. This project marks the beginning of experiments into the psychological\, social\, and affective registers of color\, through returning color to the tactile\, material world.   \n\n\n\nThe immediacy and honesty of sensation reveal complexities in human experience that can critique\, destabilize\, and de-center the dominance of visual perception in contemporary culture.We exist within a world that is increasingly circumscribed by the optics of digital technology\, and its concomitant limitations and expansions of the perceivable world. Centering sensation allows me to consider the fullness and ephemerality of lived experience and the true urgencies of this moment alongside the supposed deathlessness of artistic creation.  \n\n\n\nSpecial thanks to: HR\, Aimee Goeblins Gougen\, John Buttdial\, Jennifer Doyle\, Andre Keichian\, Corazón Del Sol\, Jason Gowans\, The Guggenheim Foundation\, BAU Institute\, Camargo Foundation and University of California-Riverside.  
URL:https://www.h-r.la/event/anna-betbeze-and-hr-present/
CATEGORIES:Artist in Residence,exhibition,performance
ATTACH;FMTTYPE=image/jpeg:https://www.h-r.la/wp-content/uploads/2024/05/anna.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240628T000000
DTEND;TZID=America/Los_Angeles:20240630T235959
DTSTAMP:20260825T000147
CREATED:20240609T195119Z
LAST-MODIFIED:20240826T164639Z
UID:8284-1719532800-1719791999@www.h-r.la
SUMMARY:David Aguirre: Los días
DESCRIPTION:Lunes\, día de luna (2024)\, oil on canvas\, 72″ x 84″\n\n\n\nOpening reception: Friday\, June 28\, 6 – 9pmOpen hours: Saturday\, June 29 and Sunday\, June 30\, 12 – 6pm \n\n\n\nDavid Isaac Aguirre (b.1992\, Fresno\, CA) is an artist who lives and works in Los Angeles. David earned a bachelor of arts degree from California State University\, Fresno in 2014 and a master of fine arts degree from the California Institute of the Arts in 2016. Their work has been shown in Los Angeles at the Ace Hotel\, Panel\, Human Resources\, and at CalArts. \n\n\n\nThis exhibition comprises seven paintings commemorating the days of the week. \n\n\n\nLos días began many years ago\, on a walk of unknown duration\, aim\, or physical destination. David Aguirre was cultivating a different kind of practice then\, one that revolved around wandering: he would tread aimlessly between unmarked points\, get lost on purpose\, scatterplot his way back home. Often\, like the wandering poets and philosophers-on-foot that came before\, these walks were a pretext for exhaustive studies or more rigorous exercises in perception: the artist would embed himself among the warm brown crags and wild sages of the California coast simply to observe interchanges of light\, from dawn until dusk. Consciously\, graciously\, he did what monks do — mastering the meditations of holding and letting go. David met and released many tentative mornings and stone-cut slants of noon. He basked in golden hours and passed through lonelier thresholds into the gloaming. Even after nightfall\, David remained to do more granular work\, digging out only the quietest and most refined notes of black and blue.The works owe their sophistication to the twin engines of David’s practice: short term maximalist additive processes and protracted editorial reductions. He indulges compositional overgrowths in anticipation of the eventual slash and burn\, eager\, later\, to recover connections between dozens of subterranean paintings. David dredges up marks that are in some breaths delicate metallurgical chain links\, in others blood cells freighted with oxygen\, or a weeping coagulation of platelets. A cluster of lily pads and jellyfish might emerge from the bottom of an expanse of water. In one particularly wine-dark composition\, David’s familiar hashed ovals reposition themselves as muddy stars or a crowd of moons\, suspended in a fused sky-sea.  \n\n\n\nThere is a mysterious presence to these years-long paintings about days\, as if something ancient lives between the compressions of time and space. While he revels in the energetic vectors and unexpected synchronicities of his underpaintings\, David manages to move within the frame in the absence of a dominant underpinning. An expert in deferral\, he constantly wavers between firm establishments of ground. Viewing begins to feel like floating\, and in the course of following each construction of light\, the eye is coaxed into weightlessness. Colors become moody in real-time\, proponents of a changing condition rather than a static terrain. The painting grows nostalgic remembering itself: every gesture is diaristic\, resting on its former lives and contexts. It’s difficult not to be swayed by their collective psychology. \n\n\n\nAs a markmaker\, David is patient\, tolerant\, generous. To be in the company of his paintings is to travel somewhere that couldn’t possibly exist\, but you can stay there as long as you’d like. Each heavily reworked surface is an intimate excavation site—a crystallized formation of many-places\, many-times\, many-feelings. In the end\, David clings to the continuum\, the slipstream\, the eddy and the whirl. He doesn’t often know how a painting will end\, but he always catches the precise moment it is finished speaking: sometimes mid-sentence\, or caught whispering in a close corridor\, the painting suddenly unburdens its heart.  \n\n\n\n– Martina Onyemaechi
URL:https://www.h-r.la/event/david-aguirre-los-dias/
CATEGORIES:exhibition
ATTACH;FMTTYPE=image/png:https://www.h-r.la/wp-content/uploads/2024/06/david-aguirre.png
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