A GRAMMAR BUILT WITH ROCKS—a two-part group exhibition at Human Resources and ONE National Gay & Lesbian Archives at the USC Libraries, curated by Shoghig Halajian and Suzy Halajian—“presents artistic practices that trace the racialized and gendered relationship between bodies and land, and question narratives of socioecological crisis that contribute to the displacement and erasure of people and collective formations.
“The project appropriates its title from Édouard Glissant’s writings, as it looks to the ways in which the landscape contains, unfolds, and narrates its own history.”*
In a related program, Jumana Manna’s WILD RELATIVES (2018) will screen at Redcat in December.
A GRAMMAR BUILT WITH ROCKS
Through November 4.
Human Resources, 410 Cottage Home Street, Chinatown, Los Angeles.
Through December 22.909 West Adams Boulevard, Los Angeles..Monday, December 10, at 8:30 pm.Redcat, 631 West 2nd Street, downtown Los Angeles.
“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.
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.
Flawless Sabrina. Photograph by Mary Ellen Mark.
This week we visited the new exhibition of Martin Laborde at Corner Door; we learned more about Kenneth Anger, we passed by the exhibition Juiceworks, we watched artist movies made by Heidi Bucher and Liz Magic Laser; and we wished you Happy Valentine’s day with the song Je t’aime…moi non plus performed by Serge Gainsbourg & Jane Birkin.
The air in Human Resources was fragrant, full of fresh citrus. Shimmering ceramic bowls of tangerines, lemons, and grapefruits lay scattered about the gallery, adding splashes of bright color to the cool and dimly lit space.
Michael Parker’s interactive Juiceworks installation ended today at Human Resources Los Angeles. Over the past several months, Parker created dozens of ceramic juicers, bowls, plates, and cups, and arranged them on halved-log tables in HR’s white cubic space. The instruments themselves look like the briny vertebrae of mysterious sea creatures, fragments of barnacle-coated abalone shells shining opalescent under the soft glow of ethereal lamplight.
When I visited, several small groups had gathered around tables, sitting on low stools of wood and soft coiled rope, chatting as they juiced their citrus. I picked up a delicate ceramic bowl, its pale blue rim mottled fuscia like a head of cabbage, and washed it in a nearby sink. Even the basins full of running water were made of porcelain.
As I sipped from my cup of fresh-squeezed juice, I looked around the room and noticed that citrus fruit had brought us all together. A symbol of Southern California utopianism, citrus has–since the early days when Orange County meant oranges–been commodified, transformed into a major agribusiness. Cold steel machines in distant factories do our juicing, further alienating our labor as Marx once predicted. But sitting there with a handmade porcelain tool and cup in hand, I felt connected to the fruit and their tart, refreshing taste. This was a juicery of dreams.