Tag Archives: Cassils


An exhibition at Human Resources curated by artist and filmmaker Telémachos Alexiou will raise funds for his newest film projects: the feature THE VOICE OF AN ANGEL, and the documentary EMI’S MOVIE, about the life and work of gallerist, curator, yogini, and writer Emi Fontana.

THE VOICE OF AN ANGEL proposes as its core-dogma the idea that a delusion is an essential life force and therefore reminds us that art is a lie that tells the truth. It tells the story of a young self-exiled Greek actor in Berlin, and his awakening of conscience while back in Athens…

“The spell began during my secret explorations of my mother’s bedroom as a little child… I started making up myths and stories about my mother in order to create the illusion I could exert even the slightest of influence on her life before me—as if by doing so I could gain full control over my own fate.” — Telémachos Alexiou

The work in this show “manifests Alexiou’s personal relationships with the artists, shedding light upon the intimate moments, struggles, pleasures and agonies of being queer in 2019. The exhibition’s curation is a love letter to the artists, intended to bridge the geographical distance and emotional longing between continents.”* Exhibiting artists include Ron AtheyLucas Bihler, CassilsAlex ChavesZackary DruckerSpilios GianakopoulosMonilola IlupejuYoung Joon KwakEva MitalaTyler Matthew OyerZander PorterElliot ReedSpyros Rennt, Jason Al-Taan and Alexiou. 

This event is co-hosted by Zak Stone, with performances by Christopher Argodale and Tyler Matthew Oyer, and an afterparty with surprise DJ sets.


Wednesday, May 29; doors open at 7 pm.

Performances by Christopher Argodale at 7:30 pm and Tyler Matthew Oyer at 10:15 pm.

Human Resources

410 Cottage Home Street, downtown Los Angeles.

From top: Eva Mitala, untitled (1), silkscreen; Jason Al-Taan, The Ivy Terrace, 2017, photograph; Monilola Ilupeju, Intimacy Study (1 and 2), 2016, photography and print on plastic foil; Elliot Reed, Lesson, 2018, video still; Tyler Matthew Oyer, untitled (Sigil), 2016, acrylic on paper; Spyros Rennt, Catalin by the window, 2017, photograph; Spyros Rennt, Freckles (joy), 2017, photograph; Lucas Bihler, untitled (1), 2019, photograph; Telémachos Alexiou, Self #2, 2017, photograph and print text; Telémachos Alexiou, Self #3, 2017, photograph and print text, both from the Fassbinder Series. Images courtesy and © the artists.


Participants in the roving exhibition trans.ient, which displayed the work of transgender artists in a U-Haul truck on four street locations throughout Los Angeles, were at the West Hollywood Public Library last night to discuss their practices and the impact of their collaboration.


trans.ient was organized and curated by Kean O’Brien, an multidisciplinary artist whose work primarily concerns community engagement and collaboration. The show featured works in various media–sculpture, photography, installation, sound, and video–by Heather Cassils, Zackary Drucker, Pilar Gallego, Nicki Green, Jules Gimbrone, and Oli Rodriguez. Artists Niv Acosta, Yishay Garbasz, Laub, Madsen Minax, and Finn Paul were not present on the panel.


A number of the artists addressed the importance of creating a space for transgender people to represent themselves, particularly when major institutions aren’t receptive towards their work, and their identity is highly politicized in popular media. This raised an additional question: when is it important to produce self-consciously political work, and when is it important to be personal? In partial answer, Zackary Drucker–who has shown her fantastical films around the world, including the most recent Whitney Biennial–summoned the feminist mantra: “the personal is political.”

Throughout the talk, the queer whimsy of the U-Haul as a site of self-representation and reclamation returned to the fore. O’Brien admired the truck’s ability to squeeze unlikely viewers uncomfortably close together, to address work which unabashedly addressed serious and sensitive topics like violence, sex, sexuality, gender, and familial trauma. He lamented that major art institutions seem interested in transgender artists only when their work focuses on their bodies, and saw trans.ient as a way to combat that tendency.

Lost Lake excerpt from zackary drucker on Vimeo.

“The question we pose to hetero, cis culture is, ‘What does it mean to be in a body?'” Drucker said. “There isn’t a space for the body in an object-based art market. There isn’t a space for the body in digital culture.” Prolific and powerful performance artist Cassils noted that early pieces involved melting blocks of ice with their body, as a way to incorporate the body while resisting commodification. But, Cassils added, it’s a complex issue, and each artist has to decide for themselves how to deal with multiple audiences without sacrificing their integrity.

As the panel closed the tour of trans.ient, they made one thing clear: identity is even less stable than a U-Haul truck, privy to the swells of traffic, the potholes in the road, and the slope of parking spots. Confronting this instability is not just a creative concern but a political priority.