Tag Archives: Human Resources Los Angeles

SARAH RARA CLOSING RECEPTION

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“Los Angeles permeates my work in so many ways. The subtlety of the seasons means that time passes in a very different way, a specific tempo with both slow changes and sudden shifts. Los Angeles has changed the way I sense the passage of time and this has affected the way I structure video and sound. I’ve become fascinated with very long and very short (almost imperceptible) durations. The vast depth of the city forces a kind of patience or long-view—I’m always aware of the mountains and the horizon.” — Sarah Rara*

The opening weekend for SARAH RARA—ALIAS was cancelled because of excessive heat in Los Angeles, but don’t miss the closing reception on Sunday.

 

SARAH RARA—ALIAS closing reception

Sunday, July 15, from 3 pm to 6 pm.

HUMAN RESOURCES, 410 Cottage Home, Chinatown, downtown Los Angeles.

humanresourcesla.com/sarah-rara-alias

*hammer.ucla.edu/sarah-rara

Sarah Rara.

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WHILE I WAS ALSO LISTENING TO DAVID ANTIN

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WHILE I WAS ALSO LISTENING TO NY & LA is a “dynamic and performative extension of the series of exhibitions and events Alors que j’écoutais moi aussi […], developed at La Criée Centre d’Art Contemporain, in Rennes, throughout 2017.

“The different components of this project are linked by a common thematic and conceptual concern: narrative. What is a narrative in art (i.e. as exemplified by the two extremes of a personal story and a general art history)? How is narrative used as a medium and form in the arts? How does narrative in turn generate different forms of interdisciplinarity and intermediality?…

“In March the series crosses the ocean and develops in Los Angeles and New York. David Antin—the American poet and performer who is the figurehead of this ambitious and polyphonic program—has history with both cities. It seemed meaningful to pay a tribute, starting in Los Angeles and ending in his hometown, to two cities that have been (and still are) a reference for artists and writers whose practice blurred the boundaries of poetry, performance, fiction and art.”*

Join Jennie Liu, David Horvitz, Lucky Dragons, Felicia Atkinson, LeRoy Stevens, Julien Bismuth, Krysten Cunningham, and Yann Sérandour for Parts One (at Human Resources) and Two (at CalArts, as part of REFRAMING THE HOUSE OF DUST) of the local iteration of the event.

 

WHILE I WAS ALSO LISTENING TO NY & LA

PART ONE, Thursday, March 22nd, at 8 pm.

HUMAN RESOURCES LOS ANGELES, 410 Cottage Home Street, Chinatown, Los Angeles.

PART TWO, Friday, March 23, from 3 pm to 8 pm.

HOUSE OF GLASS, CALARTS, 24700 McBean Parkway, Valencia.

* criee.org/While-I-was-also-listening-to-NYLA

calarts.edu/reframing-the-house-of-dust-activations

See: hyperallergic.com/david-antin-cultural-icon

David Antin.

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LIGIA LEWIS AT REDCAT

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In MINOR MATTER—part two of her Blue, Red, and White trilogy that began with Sorrow Swag—dancer-choreographer Ligia Lewis and her dancers Jonathan Gonzalez and Tiran Willemse interrogate the color red as a medium between love and rage. 

“[With this piece] I knew that I was working specifically with a very strong relationship to space, so I wanted to animate the periphery as much as possible. I knew that I was trying to interrogate a certain type of body and a certain type of embodiment. I was also trying to play with duration, or at least with creating a relationship to time that had an articulation of memory, and the present, and a sort of posturing towards the future… happening simultaneously…

“I have a very contentious relationship with abstraction, at least in early notions of abstraction being ‘pure’ or unadulterated form, so I go in knowing that I’m not entirely going to get that, or maybe not entirely interested in it, but it’s an interesting place to start for me…

“I was thinking about marks and traces in space, which is me thinking through what it means to be a marked body on stage. How do you leave a mark or a trace?” — Ligia Lewis interview with Emily Gastineau

Returning to L.A. after a preview at Human Resources—see Evan Moffitt’s review—MINOR MATTER is presented as part of this month’s Pacific Standard Time Festival: Live Art LA/LA.

 

LIGIA LEWIS—MINOR MATTER

Friday and Saturday, January 12 and 13, at 8 pm.

Sunday, January 14, at 6 pm.

Redcat, 631 West 2nd Street, downtown Los Angeles.

See Hannah Black on Lewis.

See Martha Kirszenbaum, interview with Ligia Lewis, Kaleidoscope 29 (Spring 2017).

Above: Kaleidoscope 29 (Spring 2017), Ligia Lewis cover.

Below: Ligia Lewis, minor matter. Photographs by Martha Glenn.

THE QUEEN

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Jack Doroshow (Flawless Sabrina)—“a fierce role model and pioneer of performance and queer cultures with a legacy that spanned seven decades of advocacy, activism, and drag”—died on November 18.*

Dirty Looks and Human Resources will pay tribute to this icon with a screening THE QUEEN (1968), director Frank Simon’s first-of-its-kind documentary of the drag pageant Sabrina staged in 1967 in New York City.

(A glimpse of THE QUEEN was widely seen in the opening titles of Season One of Transparent.)

 

FLAWLESS SABRINA TRIBUTE—THE QUEEN, Monday, December 18, from 8 pm to 11 pm.

HUMAN RESOURCES, 410 Cottage Home, Chinatown, Los Angeles.

* humanresourcesla.com/event/flawless-sabrina-tribute

dirtylooksnyc.org

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Flawless Sabrina. Photograph by Mary Ellen Mark.

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A.K. BURNS RECEPTION AND SHOW

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Join A.K. Burns for the opening reception—and California premiere—of A SMEARY SPOT, Burns’s 53-minute, four-channel video installation, which will remain on view through mid-December.

This work constitutes the first in an ongoing five-part cycle titled NEGATIVE SPACE. The presentation at Human Resources is curated by Clara López Menéndez.

 

A.K. BURNS—A SMEARY SPOT, opening reception Tuesday, November 28, from 6 pm.

A SMEARY SPOT, November 28 through December 17.

HUMAN RESOURCES, 410 Cottage Home, Chinatown, Los Angeles.

* humanresourcesla.com

*“A SMEARY SPOT was shot in two locations: in the deserts of southern Utah and inside a black box theater, where performers deliver recitations of appropriated and altered texts that compose a loose manifesto on being. Inside this cinematic experience is a surreal narrative of bodies in transition—bodies that change, move, slip between, act and act out. Among these bodies, the land, the water, the waste pile and the theater are not simply stages upon which actions occur, [but] sprawling protagonists.

“In a moment when the logic of political power seems unyielding, this work presents an aesthetic vision—a speculative space that unbinds us from delusional inherited behaviors, where the present categories of body, mind, land, ‘one’ and ‘other’ are dispersed in favor of a new relationality. Through moving image and an elaborate (6-channel) sound track, A SMEARY SPOT allows us to inhabit this metaphysical offering, decisively rethinking our conception of language and boundaries (political, social, bodily) and their ensuing impact in contemporary understandings of politics.”

A.K. Burns, A Smeary Spot, Part One of Negative Space (2012–ongoing).

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