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DTSTART;TZID=America/Los_Angeles:20260702T000000
DTEND;TZID=America/Los_Angeles:20260712T235959
DTSTAMP:20260610T194705Z
CREATED:20260610T194530Z
LAST-MODIFIED:20260610T194705Z
UID:9649-1782950400-1783900799@www.h-r.la
SUMMARY:NO SLEEP/NO PICNIC
DESCRIPTION:On View: July 2–12\, 2026Hours: Wednesday–Sunday\, 12–6PM \n\n\n\nOpening Reception: Thursday\, July 2\, 6–9PMwith live performance \n\n\n\nNO SLEEP/NO PICNIC brings together work by queercrip artists Halo Starling and Libby Paloma in a two-person exhibition at Human Resources Gallery\, Los Angeles. The show pairs Starling’s textile installation NO SLEEP (2026) with Paloma’s soft-sculptural installation NO PICNIC (2023)\, two works that refuse the idea that surviving difficulty should be invisible\, dignified\, or done alone. \n\n\n\nStarling’s NO SLEEP (2026) draws on their experience of Severe Obstructive Sleep Apnea (OSA)\, chronic nightmares\, and Complex Post-Traumatic Stress Disorder (C-PTSD). Starling’s ensuing years-long sleep debt required five months of convalescence in their bed. The work takes the form of a sleep temple: the bedsheets from Starling’s recovery hang like temple walls\, adorned with pillow-shaped votives. The votives — silkscreened onto hand-woven linen\, the material of ancient Greek bedding — reference the stone offerings of affected body parts that Ancient Greek supplicants would bring to these temples. Viewers encounter vertical bed sheets that cannot be slept on\, mirroring the struggles of living with a sleep disorder. Private convalescence becomes sacred architecture; befriending sleep becomes a ritual.  \n\n\n\nPaloma’s NO PICNIC (2023) is an 18-foot-long soft-sculptural installation that transforms idiomatic expressions into an absurd\, meticulous picnic scene. Living with a connective tissue disorder and autoimmune illness\, Paloma draws on her background in Speech-Language Pathology to materialize phrases like “bigger fish to fry\,” “the whole enchilada\,” “in a pickle\,” and “when life gives you lemons” as soft sculptures in fabric\, vinyl\, polyfill\, and felt — a metallic rainbow fish\, a frying pan\, a lemonade pitcher sweating vinyl ice cubes\, lace enchiladas. The installation enacts what Paloma calls “world softening”: the practice of imagining a softer world\, while also considering who has the privilege to luxuriate in public spaces\, and what life circumstances might prompt someone to express these phrases. \n\n\n\nTaken together\, the NO SLEEP/NO PICNIC diptych is a meditation on the near-constant state of queercrip survival\, encountering and resisting barriers to access\, and the resulting body trauma\, all day and all night. NO SLEEP was created as a response to NO PICNIC\, meditating on the embrace and challenges of a “world-softening” bedtime for traumatized crips. NO PICNIC is about seeking softness in the daytime in public; NO SLEEP is about struggling with softness in the nighttime in private. Together the works ask what it costs to keep going\, and what forms of care make it possible. \n\n\n\nHalo Starling (he/they\, b. Perth\, Australia) is a Los Angeles–based artist\, filmmaker\, and writer whose work explores dreaming\, trans and queer countercultures\, crip futurity\, and the transformative potential of altered states. Drawing from archives\, ritual\, and speculative worldbuilding\, they create poetic forms that blur the boundaries between memory\, myth\, and collective imagination. Their debut solo show\, Fairy Prince (2025)\, was exhibited at ONE Archives at the USC Libraries. Starling earned their MFA in Film and Media Arts from Temple University\, and is a Ph.D. student in Media Arts + Practice at USC School of Cinematic Arts. \n\n\n\nLibby Paloma (she/they\, b. Santa Ana\, CA) is a New York-based interdisciplinary artist working across sculpture\, installation\, and performance. Embracing maximal aesthetics\, humor\, and craft traditions\, Paloma transforms familiar materials into representational forms imbued with layered meaning. Immersive and labor-intensive\, Paloma’s soft sculptures draw on craft practices and traditional sewing techniques passed down by the women in her Mexican and Chicana lineage. Through the conceptual framework of “world-softening\,” Paloma explores intersectional identity and the radical potential of softness. Paloma earned a Master of Science in Communicative Disorders from San Francisco State University and a Master of Fine Arts from Parsons School of Design at The New School.
URL:https://www.h-r.la/event/no-sleep-no-picnic/
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DTSTART;TZID=America/Los_Angeles:20260712T193000
DTEND;TZID=America/Los_Angeles:20260712T220000
DTSTAMP:20260702T211536Z
CREATED:20260701T200012Z
LAST-MODIFIED:20260702T211536Z
UID:9671-1783884600-1783893600@www.h-r.la
SUMMARY:Cassia Streb\, Tim Feeney\, Melissa Achten\, Eli Klausner
DESCRIPTION:Performance by Cassia Streb\, Tim Feeney\, Eli Klausner\, and Melissa Achten \n\n\n\nThese two established sound-making duos join together for the first time to present an evening of 2 brand new experiments. Taking inspiration from wind power they’ll be moving sound through the vast space that is HRLA over the course of both pieces. \n\n\n\nCassia Streb and Tim Feeney are both LA-based sound artists who have been performing\, recording\, and creating sound installations together since 2019. Their sound pieces explore instrumental and found sound\, movement\, tape recorders\, door frames\, window panes\, rainstorms\, pine cones\, concrete floors\, and children’s cartoons. They have collaborated to create sound projects for High Desert Soundings in Wonder Valley\, Sound Symposium in St. John’s Newfoundland\, the Evergreen Cemetery in Santa Cruz\, and other special places and unique circumstances. Their collaborative albums have been released by Kuyin\, MAPPA\, Infrequent Seams\, Full Spectrum\, Harmonic Ooze\, Sawyer Spaces\, and Extradition. \n\n\n\nMelissa Achten and Eli Klausner are two composers\, improvisers\, and multi-instrumentalists based in Los Angeles. Their decade long collaboration combines multimedia\, live electronics\, esoteric objects\, and hand-built instruments to create ᴅᴇᴀᴛʜꜰʟᴀᴠᴏʀᴋɪꜱꜱ. \n\n\n\n$15 presale tickets \n\n\n\nDoors at 7:30 \n\n\n\nSounds at 8:00
URL:https://www.h-r.la/event/cassia-streb-tim-feeney-melissa-achten-eli-klausner/
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DTSTART;TZID=America/Los_Angeles:20260721T000000
DTEND;TZID=America/Los_Angeles:20260925T235959
DTSTAMP:20261001T070522Z
CREATED:20260707T202918Z
LAST-MODIFIED:20261001T070522Z
UID:9682-1784592000-1790380799@www.h-r.la
SUMMARY:CINEMA LAND
DESCRIPTION:Join us this summer for CINEMA LAND! \n\n\n\n\n\n\n\nThis summer\, Human Resources transforms back into its origin as a movie theater\, including proper sound\, acoustic treatments\, carpet\, comfortable seating\, snacks\, and amenities to showcase the archival facet of performance and video art. CINEMALAND will feature artist retrospectives\, cult films\, experimental animation\, video art programs\, live film scores\, rare 16mm and archival prints in Chinatown six nights a week. Join us! \n\n\n\nAll screenings have modest sliding-scale tickets. Become a member for $13/month to access all HR events\, including this summer’s Cinema Land screenings! \n\n\n\nFull lineup updated regularly. Stay tuned! \n\n\n\nCOMING UP: ENDED 9/25/2026\n\n\n\nThank you to the 250+ artists\, speakers\, distributors\, and programmers. And thank you to every volunteer\, and audience member who filled the room this summer. This would not have happened without you.\n\n\n\nPAST SCREENINGS: \n\n\n\nTuesday\, July 21 at 8pm:  Mark So + Madison Brookshire\, Nonalignment \n\n\n\nThursday\, July 23 at 8pm: Stanya Kahn\, Stand in the Stream \n\n\n\nFriday\, July 24 at 7pm: P Staff presents Kate Bush Rarities \n\n\n\nSaturday July 25th\, at 9pm: Juzo Itami\, Tampopo \n\n\n\nTuesday July 28th\, at 8pm: Agnés Varda\, The Beaches Of Agnés \n\n\n\nWednesday\, July 29 at 8pm: Middle Ear Project\, Un-Silent Films \n\n\n\nThursday\, July 30 at 8pm: Stanya Kahn\, Don’t Go Back to Sleep \n\n\n\nFriday\, July 31 at 7pm: Nguyen Tan Hoang\, THE GAYSIAN ARCHIVE: RISKY BUSINESS  \n\n\n\nSaturday\, August 1 at 7pm: Nguyen Tan Hoang\, PIRATED FANTASIES \n\n\n\nSaturday\, August 1 at 9pm: Fast Cat Productions\, Cruising(at the movies) \n\n\n\nSunday\, August 2 at 4pm: Tuni Chatterji\, Heart Aches from Loving You: two films \n\n\n\nTuesday\, August 4 at 8pm: Shu Lea Cheang\, Fresh Kill \n\n\n\nThursday\, August 6 at 8p: Stanya Kahn\, No Go Backs and It’s Cool\, I’m Good \n\n\n\nThursday\, August 6 at 10p: Ivan Zulueta\, Arrebato \n\n\n\nFriday\, August 8 at 8pm: Olivia Mole\, the Videos of Olivia Mole \n\n\n\nSaturday\, August 8 at 12pm: Jasmine Nyende\, A Scream Workshop \n\n\n\nSaturday\, August 8 at 9pm: William E. Jones and Margie Schnibbe\, in conversation \n\n\n\nSaturday\, August 8 at 11:30pm: John Waters\, Female Trouble \n\n\n\nSunday\, August 9 at 7pm: Films For Horses\, Stick With Me \n\n\n\nMonday\, August 10 at 10pm: A. Hans Scheirl\, Flaming Ears \n\n\n\nTuesday\, August 11 at 8pm: Jasmine Nyende\, Final Girl Fantasy Portal \n\n\n\nThursday\, August 13 at 8pm: Eve Fowler\, Filles Manquées \n\n\n\nThursday\, August 13 at 10pm: Bill Gunn\, Ganja & Hess \n\n\n\nFriday\, August 14 at 7pm: Tony Cokes\, The Book Of Love  \n\n\n\nFriday\, August 14 at 9pm: Charles Atlas\, Hail the New Puritan \n\n\n\nSaturday\, August 15 at 7pm: East Of Borneo presents\, Play It As It Lays \n\n\n\nSaturday\, August 15 at 10pm: Shirley Clarke\, Portrait Of Jason \n\n\n\nSunday\, August 16 at 4pm: Advik Beni & Nehal Vyas\, Songs to Quell the Monster: Program 2 of 4—The People’s Chorus \n\n\n\nSunday\, August 16 at 6pm: Dirty Looks\, Suddenly Last Summer \n\n\n\nSunday\, August 16 at 10pm: Charles Atlas The Legend Of Leigh Bowery  \n\n\n\nMonday\, August 17 at 10pm: Summer Night Terrors – Agnieszka Smoczyńska\, The Lure \n\n\n\nTuesday\, August 18 at 8pm: Haruko Tanaka + Reader Chorous\, series of shorts + documentary \n\n\n\nWednesday\, August 19 at  8pm: An Unwrinkled Ear presentation \n\n\n\nThursday\, August 20 at 7pm: Cauleen Smith\, Possible Worlds – A Film Survey\, 1998–2024; Drylongso (1998) \n\n\n\nThursday\, August 20 at 10pm: Summer Night Terrors – Yukihiko Tsutsumi\, The Egg \n\n\n\nFriday\, August 21 at 7pm: Cauleen Smith\, Possible Worlds – A Film Survey\, 1998–2024; The Fullness of Time (2008) + H-E-L-L-O (2014) \n\n\n\nFriday\, August 21 at 9pm: Vishal Jugdeo & vqueeram\, Does Your House Have Lions  \n\n\n\nSaturday\, August 22 at 11am: BAD ASIANS\, Mukbang Matinee: Hunger\, Care\, and the Asian Body \n\n\n\nSaturday\, August 22 at 6pm: Christina Catherine Martinez\, Comedy is Sad \n\n\n\nSaturday\, August 22 at 9pm: Priya Sen\, Yeh Freedom Life \n\n\n\nSunday\, August 23 at 4pm: Tom Bowes\, Two Moon July \n\n\n\nMonday\, August 24 at 10pm: Summer Night Terrors – Andrzej Żuławski\, Possession \n\n\n\nTuesday\, August 25 at 8pm: Lee Anne Schmitt\, Evidence \n\n\n\nWednesday\, August 26 at 8pm: Bedcrumbsshow\, Audioginary Cinema 3 \n\n\n\nThursday\, August 27 at 8pm: Pedro Alejandro Verdin\, Bay Area Video: Artists\, Tapes\, Performance \n\n\n\nThursday\, August 27 at 10pm: Summer Night Terrors – Panos Cosmatos\, Beyond The Black Rainbow \n\n\n\nFriday\, August 28 at 7pm: Cauleen Smith\, Possible Worlds – A Film Survey\, 1998–2024; Space Is the Place (A March for Sun Ra) (2011) + Crow Requiem (2015) + Pilgrim (2016) + Three Songs About Liberation (2017) + Sojourner (2018) \n\n\n\nFriday\, August 28 at 9pm: Anna Wittenberg\, Guts\, Machines and Animals: LA Artists Shorts \n\n\n\nSaturday\, August 29 at 7pm: Cauleen Smith\, Possible Worlds – A Film Survey\, 1998–2024; The Volcano Manifesto: My Caldera (2022) + Mines to Caves (2023) + The Deep West Assembly (2024) \n\n\n\nSaturday\, August 29 at 9pm: Hugo & Harmony Holiday\, Janet Jackson – The Velvet Rope Tour \n\n\n\nSunday\, August 30 from 12pm-9pm: Rainer Werner Fassbinder\, Eight Hours Don’t Make a Day  \n\n\n\nMonday\, August 31 at 8pm: Cecilia Vicuña\, What Is Poetry to You? featuring live readings from local poets \n\n\n\nTuesday\, September 1 at 8pm: Elana Mann & Susan Mogul\, Are you a Mann or a Mogul? \n\n\n\nWednesday\, September 2 at 8pm: Aaron E. Hunt\, Nehal Vyas and Advik Beni present Songs to Quell the Monster; Verse Three: The Bird’s Call \n\n\n\nThursday\, September 3 at 8pm: Bruce and Norman Yonemoto\, Green Card: An American Romance \n\n\n\nFriday\, September\, 4 at 7pm: Barbara Hammer\, two-night survey: Menses\, Dyketactics\, Superdyke\, Women I Love (1974-1976) \n\n\n\nFriday\, September 4 at 9pm: Juliet Bashore\, Kamikaze Hearts (alternately\, Fact or Fiction) \n\n\n\nFriday\, September\, 4 at 11pm: Amina Cruz & DayLight Films\, THRUST \n\n\n\nSaturday\, September 5 at 3pm: Tim Feeney\, Dowsing \n\n\n\nSaturday\, September 5\, 7pm: Barbara Hammer\, two-night survey: Double Strength\, Sync Touch\, No Nooky T.V.\, Maya Deren’s Sink (1978-2011) \n\n\n\nSaturday\, September 5 at 9pm: Guadalupe Arellanes\, dream series \n\n\n\nSunday\, September 6 at 4pm: Saul Williams\, Anisia Uzeyman\, Neptune Frost(STQM Verse 4) \n\n\n\nSunday\, September 6 at 7pm: Stanya Kahn\, Deny\, Defend\, Depose \n\n\n\nMonday\, September 7 at 8pm: Maggie Lee + Judy Fiskin: Mommy paired with I’ll Remember Mama \n\n\n\nMonday\, September 7 at 10pm: Nobuhiko Obayashi: HAUSU \n\n\n\nTuesday\, September 8 at 8 pm: Mike Kelley\, five-night survey featuring guest speakers – The Banana Man (1983) + Kappa (1986) + Family Tyranny/Cultural Soup (1987) \n\n\n\nWednesday\, September 9 at 8 pm: Mike Kelley\, five-night survey featuring guest speakers – Bridge Visitor (Legend-Trip) (2004) + BLIND COUNTRY (1989) + Extracurricular Activity Projective Reconstruction #1 (Domestic Scene) (2000) \n\n\n\nThursday\, September 10 at 8 pm: Mike Kelley\, five-night survey featuring guest speakers – A Voyage of Growth and Discovery (2010) \n\n\n\nFriday\, September 11 at 7 pm: Mike Kelley\, five-night survey featuring guest speakers – Heidi (1992\, with Paul McCarthy and Michael Smith) \n\n\n\nFriday\, September 11 at 9 pm: GAG!\,  – GAG! presents Video 4  \n\n\n\nSaturday\, September 12 at 7 pm: Chris Vargas & Eric Stanley\, Homotopia/Criminal Queers \n\n\n\nSaturday\, September 12\, 4 pm: Mike Kelley\, five-night survey featuring guest speakers – Day Is Done (2005) \n\n\n\nSaturday\, September 12 at 9 pm: Yuval Pudik\, The Hom(o)stead Act \n\n\n\nSunday\, September 13 at 4 pm: XHDЯBZ – La Familia P. Luche presented by Noemi Mendez-Colon \n\n\n\nMonday\, September 14 at 8 pm: Reynaldo Rivera – Fistful Of Love \n\n\n\nTuesday\, September 15 at 8 pm: Martha Colburn – Stop Motion Animated Films \n\n\n\nWednesday\, September 16 at 8 pm: Bayley Sweitzer\, Adam Khalil: Empty Metal presented by Clara López Menéndez \n\n\n\nThursday\, September 17 at 8 pm: David Wojnarowicz\, Where Evil Dwells + A Fire in My Belly +  ITSOFOMO \n\n\n\nFriday\, September 18 at 7 pm: Kate Renshaw-Lewis\, I’ve Got Something To Show You  (experimental and animated shorts from the festival world) \n\n\n\nFriday\, September 18 at 9 pm: James Bidgood\, Pink Narcissus Orchestra with live score by Page Person\, Pat Posey & Eva Myra May \n\n\n\nSaturday\, September 19 at 3 pm: Charles Burnett\, Killer Of Sheep \n\n\n\nSaturday\, September 19 at 6 pm: East Of Borneo presents Los Angeles Plays Itself\, introduced by Tom Lawson  \n\n\n\nSaturday\, September 19 at 11 pm: Summer Night Terrors – Werner Herzog\, Nosferatu \n\n\n\nSunday\, September 20 at 2 pm: Vital Signals: Early Japanese Video Art: with an introduction from Glenn Phillips (Getty Research Institute) \n\n\n\nMonday\, September 21 at 7:30 pm: Maxime Jean-Baptiste\, Kouté vwa (Listen to the Voices) \n\n\n\nTuesday\, September 22 at 8 pm: Margie Schnibbe & Menelas present Anti-Fascist Porn from The Athens Porn Film Festival  \n\n\n\nWednesday\, September 23 at 8 pm: Page Person presents Lockdown Cinema – videos from 2020 \n\n\n\nThursday\, September 24 at 6 pm: Corey Fogel\, The Complete and Absolute Video Works of Corey Fogel | 2005-2026Thursday\, September 24 at 8 pm: Toni-Marie Gallardo + Queer Film Club present Shlock Wave  \n\n\n\nFriday\, September 25 at 7 pm: Vishal Jugdeo\, VIDEOS ABOUT TELEVISION (2004 – 2012) \n\n\n\nFriday\, September 25 at 9 pm: Harry Dodge & Silas Howard\, BY HOOK OR BY CROOK \n\n\n\nFriday\, September 25 at 11 pm: P1ncus presents\, Rough Cut\, a late-night queer adult cinema where cruising is encouraged.
URL:https://www.h-r.la/event/cinemaland/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260721T200000
DTEND;TZID=America/Los_Angeles:20260721T213000
DTSTAMP:20260714T224659Z
CREATED:20260710T212143Z
LAST-MODIFIED:20260714T224659Z
UID:9695-1784664000-1784669400@www.h-r.la
SUMMARY:Nonalignment
DESCRIPTION:Madison Brookshire and mark so \n\n\n\n\n\n\n\n\n\ncontinue to \n\n\n\nspin \n\n\n\nor speak \n\n\n\ncopying the \n\n\n\ncode on sheets \n\n\n\nNow and again \n\n\n\nchance falling \n\n\n\nwhere they \n\n\n\nmove \n\n\n\nmark that spread \n\n\n\nbeyond \n\n\n\nspeaking. \n\n\n\n“no \n\n\n\nline\,” \n\n\n\nalmost \n\n\n\n“Nothing\,” \n\n\n\nthat arises \n\n\n\nfrom \n\n\n\nthis time \n\n\n\nunfolding\, of which each aspect is unique \n\n\n\nand unrepeatable\, \n\n\n\n \n\n\n\n \n\n\n\n16mm film\, notebooks\, and tapes \n\n\n\n \n\n\n\n \n\n\n\nTickets  \n\n\n\nAll screenings have modest sliding scale tickets. Become a member for $13/month to access all HR events including this summer’s Cinema Land screenings!
URL:https://www.h-r.la/event/nonalignment/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260723T000000
DTEND;TZID=America/Los_Angeles:20260806T235959
DTSTAMP:20260727T075818Z
CREATED:20260714T202437Z
LAST-MODIFIED:20260727T075818Z
UID:9729-1784764800-1786060799@www.h-r.la
SUMMARY:Stanya Kahn Survey of Films
DESCRIPTION:  \n\n\n\nThis is the first of 3 consecutive Thursday nights of films by Los Angeles artist Stanya Kahn. \n\n\n\nSliding scale tickets \n\n\n\nThursday July 23rd at 8pm – Stand in the Stream (2011-2017) \n\n\n\nStand in the Stream defies categorization—an ambient digital feature about life\, death\, the inextricability of the personal from the political\, the primacy of the image and the interplay of scale in human struggle\, from the intimacy of the home to the global streets\, the handheld camera to the drone. Shot over the course of six years\, Stand in the Stream captures historic shifts in popular uprisings and the nascent use of the internet to organize and document. Made during a period in which massive and unprecedented protest movements rose across the globe between 2010 and 2017—Tunisia\, Egypt\, Brazil\, Turkey\, the U.S.—the film is also follows the intimate arc of deterioration and death of the artist’s activist/worker mother\, alongside personal documentation of daily life amidst swiftly changing political and digital landscapes. Live-streams screen-recorded in real-time are intercut with footage Kahn shot on multiple camera formats\, as an embodied means to reframe our screen-saturated\, contemporary perspectives without using found footage. With a dense and visceral sound score\, Stand in the Stream moves from the home to the wild\, from online chat rooms to the streets. From the birth of a child to the death of a mother\, from Tahrir Square to Standing Rock and Trump’s (first) inauguration\, Stand in the Stream is an urgent contemporary ode and a story for the people. \n\n\n\nThursday July 30th at 8pm – Dont Go Back to Sleep \n\n\n\n\n\n\n\nColor HD video with stereo soundWritten\, directed\, shot\, edited and sound designed by Stanya Kahn ©2014 \n\n\n\nIncludes original sounds/music by Kahn and Keith Wood (Hush Arbors\, Chelsea Light Moving). B Camera by Ignacio Genzon\, Mike Soltz and Chiara Giovando. The cast contributed primary dialogue. Made with the support of Grand Arts\, Kansas City \n\n\n\nCourtesy of the artist \n\n\n\n“People are going back and forthacross the doorsill where the two worlds touch.The door is round and openDon’t go back to sleep!” –Rumi“When you affect something\, you are at the same time opening yourself up to being affected in turn\, and in a slightly different way than you might have been the moment before. You have made a transition\, however slight. You have stepped over a threshold.”—Brian Massumi\, (translator\, “A Thousand Plateaus”)\, from interview: Navigating Movements \n\n\n\nDon’t Go Back To Sleep is an experimental narrative feature film that operates as a metaphor for the violence of the state and resulting citizen trauma and resilience. As medical professionals perform haphazard triage\, mostly on each other\, in homes left vacant during the 2008 housing crash\, we realize they may be the only people left: workers (The People) vs the danger outside: the state (police/military/clampdown). In tenuous relations between strangers collaborating under pressure\, darkly comedic camaraderie arises in small human exchanges. \n\n\n\n \n\n\n\nThursday August 6th at 8pm – No Go Backs  ©Stanya Kahn\, 2020\, It’s Cool\, I’m Good Stanya Kahn ©2010 \n\n\n\n\n\n\n\nNo Go Backs  ©Stanya Kahn\, 2020 \n\n\n\nTRT: 33 min  \n\n\n\nColor super 16mm\, transferred to 2K Digital video with stereo sound \n\n\n\nA visceral 33-minute short film\, shot on super 16mm with an original sound-score and no words\, No Go Backs follows two sets of teenagers who leave the city for the wild\, only haphazardly prepared. Featuring the artist’s son (Lenny Dodge-Kahn) and his life-long best friend (Elijah Parks) and their friends (Serafina and Marisol Prietto\,) No Go Backs is a quietly dystopian fiction grounded in real-world relations and the understated but persistent presence of contemporary catastrophes. In the haunted precarity of a collapsed world\, the kids travel in dreamlike states of distraction\, malaise\, and resilience. They cut an arduous path along sites of California’s historic water wars\, following the aqueduct north toward its source\, through the monumental landscapes of the Eastern Sierra Nevada. Eventually encountering other kids along shared roads—and the prospect of camaraderie in facing the unknown—the film becomes a vison of tenuous survival and the astonishing power of the earth. Completed just a month before lockdown\, No Go Backs appears as an uncanny premonition and an allegorical epic about an entire generation that must make a new way forward.  \n\n\n\n\n\n\n\nIt’s Cool\, I’m Good Stanya Kahn ©2010 \n\n\n\nTRT: 35:22  \n\n\n\nColor SD video transferred to HD with options for 5.1 surround or stereo \n\n\n\nCommandeering a rotating staff of nurses with equal parts wit and belligerence\, a severely injured protagonist (Kahn) moves through the city\, hospice\, and wilderness\, seducing\, harassing and charming caretakers into holding the video camera. At once selfless\, narcissistic\, verbose\, elusive\, vulnerable and manipulative\, the patient is tenacious in the face of death. Memory and time have been destabilized by trauma. Mirroring economic collapse\, urban tension and ecological demise as contexts for contemporary stress\, the “patient” embodies damage and resilience with a relentless albeit morbid sense of humor. A compromised sense of social navigation gives way to uncompromised presence.  \n\n\n\nKahn shot at over twenty locations and designed a complex audio score\, to cut a narrative that’s organized across many small arcs in place of one grand one\, confounding linear time and troubling the line between the monstrous\, heroic and mundane. \n\n\n\nBecome a member for $13/month to access all of HR events including this summer’s Cinema Land featuring Stanya Kahn’s film survey!
URL:https://www.h-r.la/event/stanya-khan-screenings/
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20260725T210000
DTEND;TZID=America/Los_Angeles:20260725T233000
DTSTAMP:20260720T214846Z
CREATED:20260717T192707Z
LAST-MODIFIED:20260720T214846Z
UID:9774-1785013200-1785022200@www.h-r.la
SUMMARY:Tampopo
DESCRIPTION:Tickets \n\n\n\nTampopo (タンポポ\, Tanpopo; literally “dandelion”) is a 1985 Japanese film written and directed by Juzo Itami\, and starring Tsutomu Yamazaki\, Nobuko Miyamoto\, Kōji Yakusho\, and Ken Watanabe.  \n\n\n\nThe tale of an eccentric band of culinary ronin who guide the widow of a noodle-shop owner on her quest for the perfect recipe\, this rapturous “ramen western” by Juzo Itami is an entertaining\, genre-bending adventure underpinned by a deft satire of the way social conventions distort the most natural of human urges—our appetites. Interspersing the efforts of Tampopo (Nobuko Miyamoto) and friends to make her café a success with the erotic exploits of a gastronome gangster and glimpses of food culture both high and low\, the sweet\, sexy\, and surreal Tampopo is a lavishly inclusive paean to the sensual joys of nourishment\, and one of the most mouthwatering examples of food on film ever made.
URL:https://www.h-r.la/event/tampopo/
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DTSTART;TZID=America/Los_Angeles:20260728T200000
DTEND;TZID=America/Los_Angeles:20260728T213000
DTSTAMP:20260721T203827Z
CREATED:20260717T202251Z
LAST-MODIFIED:20260721T203827Z
UID:9784-1785268800-1785274200@www.h-r.la
SUMMARY:The Beaches of Agnès
DESCRIPTION:Tickets \n\n\n\nThe Beaches of Agnès is a 2008 French documentary film directed by Agnès Varda. \n\n\n\nMade as its auteur approached her 80th birthday\, Agnès Varda’s The Beaches of Agnès is a playful\, elegiac autobiography in cinema by the “grandmother” of the French New Wave. Varda has created a living\, moving collage in which clips from her earlier films are juxtaposed with images from her travels\, projects\, and relationships\, and documentary realism gives way to dreamy montages and surrealist set pieces. Supporting players include Harrison Ford and fellow filmmaker Chris Marker\, appearing in the guise of an orange cartoon cat. The result is a luminous meditation on Varda’s life in film and on the art of film itself.
URL:https://www.h-r.la/event/the-beaches-of-agnes/
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DTSTART;TZID=America/Los_Angeles:20260729T200000
DTEND;TZID=America/Los_Angeles:20260729T220000
DTSTAMP:20260720T222859Z
CREATED:20260714T203956Z
LAST-MODIFIED:20260720T222859Z
UID:9733-1785355200-1785362400@www.h-r.la
SUMMARY:Un-Silent Films
DESCRIPTION:Tickets \n\n\n\nUn-Silent Films is a screening of sound films presented by Middle Ear Project from their Music for Your Inbox archive. In these films\, sound doesn’t just support the visuals — it’s an initiating force\, primary lens\, or conceptual center. Each film is paired with a visual art postcard to take home after the screening.  \n\n\n\nMiddle Ear Project is an artist-run presenter who commissions and supports artists working in hard-to-define\, experimental genres. We present multidisciplinary work in sound\, film\, and visual art that allow audiences to move through their feelings and give them the tools to confront a complicated and rapidly changing world. \n\n\n\nAlias 3 by Eric Lennartson \n\n\n\nUnstuckness Practice by Sharon Chohi Kim \n\n\n\nFilter by Mattie Barbier\, Lewis Keller & Daria Kaufman \n\n\n\nSYN/ACK by Phillip David Stearns \n\n\n\nSound House by Janie Geiser\, John Eagle\, Cassia Streb & Hsuan-Kuang Heish \n\n\n\n#28 by Nailah Hunter & Hsuan-Kuang Heish \n\n\n\nVisual Art by: Emily Zeller\, Hellen Jo\, Amabelle Aguiluz\, Craftwork Collective\, Miguel Ayala\, and Adrian Tenney \n\n\n\nAll screenings have modest sliding scale tickets. Become a member for $13/month to access all HR events including this summer’s Cinema Land screenings!
URL:https://www.h-r.la/event/un-silent-films/
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DTSTART;TZID=America/Los_Angeles:20260731T000000
DTEND;TZID=America/Los_Angeles:20260801T235959
DTSTAMP:20260720T223102Z
CREATED:20260711T005945Z
LAST-MODIFIED:20260720T223102Z
UID:9709-1785456000-1785628799@www.h-r.la
SUMMARY:THE GAYSIAN ARCHIVE: NGUYEN TAN HOANG’S EXPERIMENTAL VIDEOS (1995-2026)
DESCRIPTION:7:00 pm – 8:30 pm \n\n\n\n\n\n\n\nTickets \n\n\n\nJuly 31st at 7pmProgram 1: RISKY BUSINESS \n\n\n\nPost-Screening Discussion with Nguyen Tan Hoang & Eve Oishi \n\n\n\nThe program centers on the intersection of queer Asian identity\, sexual desire\, and the HIV/AIDS crisis. 7 Steps to Sticky Heaven (1995) presents candid interviews with young gay Asian men in San Francisco about the “politics of starch.” Queer & questioning twenty-somethings in Irvine\, California\, confess their lasting longings and missed connections in Maybe Never (but I’m counting the days) (1996). Forever Bottom! (1999) critiques and embraces the ubiquitous figure of the Asian bottom. K.I.P. (2001) remixes 1980s VHS porn decay to highlight a spectral gay male sex community persevering across time. Sad Porn Circa 1994 (2026) links gay pornography with liberation politics and the curtailment of sexual possibility. A Horse\,  A Filipino… (2005) juxtaposes Hollywood’s Filipino sissy houseboy with bare back porn\, highlighting persistent “uninhibited” racial-sexual stereotypes. I Remember Dancing (2019) expands the archive to intergenerational trans and queer “gaysians\,” reflecting on AIDS\, activism\, and collective memory. Together\, these pieces map a three-decade spanning\, self reflexive portrait of the risks\, pleasures\, and cultural negotiations shaping queer Asian American experience.   \n\n\n\n– –  \n\n\n\nAugust 1st at 7pmProgram 2: PIRATED FANTASIES \n\n\n\nPost-Screening Discussion with Nguyen Tan Hoang & Chris E. Vargas \n\n\n\nAcross the nine works in the Pirated Fantasies program\, Nguyen Tan Hoang foregrounds the negotiation of queer Asian identity through experimental collage and archival appropriation. Each piece taps a different facet of that negotiation—whether it’s reclaiming absent “sticky‑homoerotic” images of Hong Kong pop idols in Forever Jimmy! (1995)\, chronicling personal longing and loss in Love Letters 1 & 2 (1996)\, or excavating refugee trauma and its sexual reverberations in PIRATED! (2000). The videos also interrogate media representation: they remix pornographic tropes\, historic film clips\, and found photographs to reveal how race\, gender\, and desire are simultaneously fetishized\, erased\, or embraced (e.g.\, the “no Asians” ban explored in look_im_azn [2011]\, the Oriental Hardon’s [2026] gaysian nude archives\, and the early‑70s gay porn examined in Eavesdropping on Jason Sato’s Brothers [2025]). A third through‑line is the fluidity of gender and desire\, illustrated by the gender‑transition narrative of Crimson (2000)\, the priesthood metaphor in The Calling (2000)\, and the hand‑focused objectification of The Lesbian Hand (2026). The program binds past and present through memory\, longing\, and the act of re‑imagining—the act of looping\, looping\, and looping again to compress history\, trauma\, and pleasure into short\, hyper‑edited kinetic essays that map a continuous\, evolving queer Asian diaspora. \n\n\n\n– – \n\n\n\nNguyen Tan Hoang (b. 1971\, Saigon\, Vietnam) is interested in Asian American visual culture\, Southeast Asian cinema\, race and pornography\, and homo-sex archives. They earned a PhD in Rhetoric from the University of California\, Berkeley\, and an MFA in Studio Art from the University of California\, Irvine. Their publications include the monograph A View from the Bottom: Asian American Masculinity and Sexual Representation (Duke University Press\, 2014) and essays in Camera Obscura\, Visual Anthropology\, Porn Archives\, and The Intellect Handbook of Adult Film and Media. Their short experimental videos have been screened at the Museum of Modern Art (NY)\, The Getty Center (LA)\, the Centre Pompidou (Paris)\, Asian Art Museum (SF)\, and Haus der Kulturen der Welt (Berlin). They live and work between San Jose\, California\, and Ho Chi Minh City\, Vietnam. \n\n\n\nCo-Sponsored by Bad Asians & Center for Race & Gender at UC Berkeley \n\n\n\n \n\n\n\nBecome a member of HR-LA for $13 a month for tickets to all screenings
URL:https://www.h-r.la/event/the-gaysian-archive-nguyen-tan-hoangs-experimental-videos-1995-2026/
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