Dawn Kasper and Human Resources

Performance artist Dawn Kasper came out of the riot-grrl scene, received an MFA in the ucla Department of Art’s New Genres wing, and these days has been exploring her musical side with the Los Angeles collective Human Resources. Existing in the sweet spot between the white-cube MFA iterations of the art world and the disco-balled halls of live music, Human Resources, which is headquartered in a performance venue of the same name in L.A.’s Chinatown, is composed of Kasper, musician Giles Miller, brother and sister Eric and Kathleen Kim, and musician and composer Devin McNulty. Kasper’s performances have the verve, raw power, and directness of late a/ v lab punk while functioning as art, with roots in the aggressive physical rituals of Ron Athey and Marina Abramovic. From her actions involving the brutal stagings of car crashes and motorcycle accidents, Kasper’s work has matured and fed from her relationship to music.Her most recent performance in Los Angeles, Music for Hoarders, filled the large back space at Honor Fraser Gallery with detritus: a rusted saw that may have once belonged to installation artist Jason Rhoades along with furniture, boxes, and magazines. Kasper explains that she “wants to ask the questions: What does it mean to hoard emotions? What does it mean to hoard sound?” For the performance, she handled the various junk items to a sonic accompaniment provided by a band drawn from the L.A. music scene. “I recruited people by any means necessary,” she says. “Some were more involved than others. Some just showed up on the day, like Ariel Pink—he sat down and just clicked in with Geneva Jacuzzi and Jason Yates.” What resulted was an ethereal, improvisational cacophony: punk John Cage. Kasper will be putting on Music for Hoarders this spring in New York and a new performance, inspired by a 1971 Vito Acconci work, at L.A.’s Emma Gray HQ this March. Kasper’s and the collective’s melding of music and art through performance reinvigorates both. The result is something exhilaratingly fresh in a shared territory.This article appears in the February issue of Modern Painters.    https://ift.tt/2rHFt7P Louise Blouin

source https://www.blouinartinfo.com/node/3591011


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