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on missing a beat

September 7th, 2014 by helga fassonaki






August 13th, 2014 by helga fassonaki

developed for radio only – explores the relationship between body, microphone and air movement.  investigates a sound concept without exposure to the ‘missing element’ – the physical contact between audience and performer.


Thursday April 2 – KCHUNG (Los Angeles, CA) – Crystalline Morphologies w/ DJ Gabie Strong, 7 – 9pm PST

Sunday October 26 – WSPN (Saratoga Springs, NY) – The King Loser’s Cut Out Bin w/ DJ Phil Donnelly – 10 – 12am
Saturday October 25 – WAVE FARM WGXC  (Acra, NY) – Saturday Night Special – 8pm
Monday October 13 – KDVS  (Davis, CA) – Live in Studio A with DJ Christine Richers (will air Oct 18 @ 10pm)
Sunday October 12 – KALX  (Berkeley, CA) – The Berkestir – 12 – 3pm
Saturday October 11 – KCHUNG (Los Angeles, CA) – Crystalline Morphologies w/ DJ Gabie Strong, 1 – 3pm
September 1 – WXYC (Chapel Hill, NC) – 4pm


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Crystalline Morphologies sound+vision on KCHUNG TV

July 23rd, 2014 by helga fassonaki

“This is an experiment in sonic feedback set against visual dissonance. Features videos and camera work by John Pearson, with sounds by Ted Byrnes, Aisling Cormack, Helga Fassonaki, Matthew Hebert, Greg Lenczycki, Jorge Martin, RJ Russell, Andrew Scott, Jared Stanley, Gabie Strong. Live video production by Jens Jonason, Luke Fischbeck and Margie Schnibbe”
Saturday July 26 2-14
12:30 – 1:30 pm PDT
UCLA Hammer MuseumAdmission to the Made in L.A. exhibition is free. Parking is $3.Live sound and video performance for KCHUNG TV
2014 Made in L.A. exhibition @ UCLA Hammer Museum
Broadcast live on 

KCHUNG TV – Episode 8 – July 26, 2014 from KCHUNG TV on Vimeo.

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Holy Conch

July 14th, 2014 by helga fassonaki

Helga Fassonaki, Oaxaca 2014

‘…one does not speak in a shell, one listens’ – (Patti Smith from poem ‘Conch’)

This project was inspired by Akio Suzuki’s ‘Listening Point’ project, Oto-Date, which I had the opportunity to experience under Suzuki and Aki Onda’s instruction during Field Studies 2014 in London.   A group of us were given maps and told to find one or more ‘listening spots’ that we later shared with the group.   No recorders, no instruments – our tools were our eyes and ears.  Our ears like shells brought us closer to an audible landscape. Holy Conch was realized with a similar intention – through the minimal act of listening allow the senses and mind to peel wide open.   Holy Conch was specifically realized while doing a residency in Oaxaca, Mexico.  Upon arrival to Mexico, I was quickly roused by the many different sights and sounds coming from every direction – It was sensory overload times 100.  I couldn’t focus on my intended project. Instead I wanted to be out of my studio and fully immersed in the cityscape.

After giving into the vibrant distractions, I decided to use churches as my listening spaces to somewhat escape the loudness – from bands to rockets to dance classes to kids shouting to drum circles to the iconic gas truck that drives with a jingle much like an ice cream truck to a man yelling ‘aqua’ every hour everyday, etc.  In contrast, I thought churches could act as spaces for inner-reflection – a solo dwelling place ideal for listening.  I located 18 churches in the Central Oaxaca area and for the remaining duration of my residency I visited a few a day.  Using each of these resonating chambers in essence as my work studio, I sat or stood underneath the dome ceilings or walked around the canals for as long as I felt like being there.  I often returned to the same church but never quite had the same experience twice.  These churches were never actually without sound.  With their doors open and much noise bleeding through, the churches were like the holy filters of society.  Sounds reflected, echoed, resonated, and transformed – yet there was silence in the form of stillness as separation from the outside world itself acted like a filter.  But with the sound of church bells came a subtle reminder of the hierarchical shape present within – a cone shaped golden spiral one can both listen through and hide within.

With a map and my notes, I invite visitors to have their own listening experience of Holy Conch, Oaxaca.

Please download PDFs and experience:


Holy Conch post live performance &  listening environment
June 30th, 2014

I created a listening environment in which I improvised live with segments of recordings I made in the different Churches – a byproduct to share with an intimate audience.  What fascinated me with the churches in Oaxaca was the underlying Pagan beliefs that were practiced before the Spanish arrived bringing over the Catholic religion (around 1521).  Many Catholic churches were built right over Pagan shrines or sacred places. The chosen spots revealed the Pagans’ close relationship with nature and land.

In my alter creation I included raw materials symbolic of a kind of Pagan ritual integrated with a Baroque gold backdrop, an essence of my sensory experiences during holy conch.  The creation of this new listening environment appeared to have meditative effects on the audience.


Obracadobra – Artist in Resident

June 7th, 2014 by helga fassonaki

JUNE 2014
reporting from studio in

slow_movement   3_pieces


Studio sketches –

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June 7th, 2014 by helga fassonaki

Cours de Poetique 



Flower-Corsano Duo, Ashley Paul, yek koo – Tue 15 April, 2014

April 1st, 2014 by helga fassonaki


Tuesday 15 April
@ The Grosvenor

17 Sidney Road, Stockwell, SW9 0TP | Map
London, UK
8:00 | £5 | Buy tickets



Metal Rouge – Three for Malachi Ritscher CD exhibited at Whitney Biennial 2014

March 24th, 2014 by helga fassonaki

Whitney Biennial 2014 – March 7 – May 25, 2014
Metal Rouge’s ‘Three For Malachi Ritscher’ album appears at the Whitney Biennial as part of Public Collectors’ show about Ritscher’s life, work and death.  We also contributed some words to Marc Fisher’s essay that accompanies the exhibition.

Public Collectors @ 2014 Whitney Biennial

Whitney Biennial 2014

Booklet published for the Exhibit can be read online:

Selected Press Links:

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January 10th @ Human Resources

January 3rd, 2014 by helga fassonaki


Gabie Strong
Ted Byrnes / Jacob Wick
yek koo

9pm / $5
Human Resources – 410 Cottage Home Street Chinatown Los Angeles


Metal Rouge UK/Euro Tour Targets – Oct 5 – Oct 25

December 6th, 2013 by helga fassonaki

Volcanic Tongue 10/5/13
1 Target

Cafe Oto - 10/6/13
2 Targets

Kraak - 10/7/13
3 Targets

Ecuyes - 10/10/13
5 targets

Odyssée - 10/11/13
6 Targets

La Cantine de Belleville - 10/12/13
7 Targets

Velvet Club - 10/13/13
8 Targets

Spazio Targa - 10/15/13
9 Targets

Hybrida - 10/16/13
10 Targets

mo.e Thelemanngasse 4/1 - 10/18/13
12 Targets

Walpodenakademie - 10/20/13
13 Targets

The Student - 10/22/13
15 Targets

Roodkapje - 10/23/13
16 Targets

Servants Jazz Quarters - 10/24/13
17 Targets

The New Bradford Playhouse - 10/25/13
18 Targets


How gun control is losing, badly (in charts) by Niraj Chokshi in The Washington Post

Inside the Power of the NRA by Robert Draper

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November 21st, 2013 by helga fassonaki

12 Jacket (3mm Spine) [GDOB-30H3-007}



Metal Rouge – TOUR DATES October 2013

September 14th, 2013 by helga fassonaki

metal_rouge1 metal_rouge2

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DUETS – Performance Excerpts, 6-22-13

September 4th, 2013 by helga fassonaki

DUETS took play on June 22, 2013 at The Fields in Bedminster, New Jersey.
The duos included:
yek koo + Zaimph
Tom Carter + Tom Surgal
Ashley Paul + Greg Kelley
and DJ/video unit: tren::azul

Hosted by EMM
Curated by Helga Fassonaki

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DUETS / 6 – 22 – 13

June 7th, 2013 by helga fassonaki


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Decayke 2: Guts and Stuff, or Contents

May 12th, 2013 by helga fassonaki

The second official issue of DECAYKE features an interview with Helga Fassonaki – ‘The Night We Talked for Hours’ and a group of reviews on Emerald Cocoon’s Alone / Together Series – Together In The Darkness
Check out the whole Issue here: DECAYKE



Bullets through Space

April 12th, 2013 by helga fassonaki

An installation by helga fassonaki
April 9 – May 31, 2013
Window Box Gallery


Window Box Gallery

436 South Main Street
Los Angeles, CA 90013
(map / directions)


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J. Collin / Chalaque / yek koo

March 6th, 2013 by helga fassonaki

Fri 15 – Brooklyn, NY @ Silent Barn w/ Non Horse
Sat 16 – Boston, MA @ Smokey Bear Cave w/ Witch Wolf and Double Awake
Sun 17 – Hadley, MA @ Flying Object w/ Bill Nace Chris Cooper duo
Mon 18 – Albany, NY @ Helderberg  House W/ Zaimph and Burnt Hills
Tue 19 – Hudson, NY @ The Spotty Dog w/ Zaimph
Wed 20 – Ithaca, NY @ Angry Mom Records
Thur 21 – Columbus, OH @ TBA
Fri 22 – Detroit, MI @ M.U.G w/ Moon (YPSI) and M.U.G. House band
Sat 23 – Chicago, IL @ The Dustbowl w/ Circuit Des Yeux
Sun 24 – Bloomington, IN @ Sound Workshop
Mon 25 – Cincinnati, OH @ The Comet w/ Pete Fosco
Tue 26 – Lexington, Kentucky @ Sidecar
Wed 27 – Baltimore, Maryland @ 5th Dimension w/ Metalux


Letter from Sol LeWitt to Eva Hesse

January 4th, 2013 by helga fassonaki

Letter from Sol LeWitt to Eva Hesse

Learn to say “Fuck You” to the world once in a while. You have every right to. Just stop thinking, worrying, looking over your shoulder wondering, doubting, fearing, hurting, hoping for some easy way out, struggling, grasping, confusing, itchin, scratching, mumbling, bumbling, grumbling, humbling, stumbling, numbling, rumbling, gambling, tumbling, scumbling, scrambling, hitching, hatching, bitching, moaning, groaning, honing, boning, horse-shitting, hair-splitting, nit-picking, piss-trickling, nose sticking, ass-gouging, eyeball-poking, finger-pointing, alleyway-sneaking, long waiting, small stepping, evil-eyeing, back-scratching, searching, perching, besmirching, grinding, grinding, grinding away at yourself. Stop it and just DO!

From your description, and from what I know of your previous work and you [sic] ability; the work you are doing sounds very good “Drawing-clean-clear but crazy like machines, larger and bolder… real nonsense.” That sounds fine, wonderful – real nonsense. Do more. More nonsensical, more crazy, more machines, more breasts, penises, cunts, whatever – make them abound with nonsense. Try and tickle something inside you, your “weird humor.” You belong in the most secret part of you. Don’t worry about cool, make your own uncool. Make your own, your own world. If you fear, make it work for you – draw & paint your fear and anxiety. And stop worrying about big, deep things such as “to decide on a purpose and way of life, a consistant [sic] approach to even some impossible end or even an imagined end” You must practice being stupid, dumb, unthinking, empty. Then you will be able to DO!

I have much confidence in you and even though you are tormenting yourself, the work you do is very good. Try to do some BAD work – the worst you can think of and see what happens but mainly relax and let everything go to hell – you are not responsible for the world – you are only responsible for your work – so DO IT. And don’t think that your work has to conform to any preconceived form, idea or flavor. It can be anything you want it to be. But if life would be easier for you if you stopped working – then stop. Don’t punish yourself. However, I think that it is so deeply engrained in you that it would be easier to DO!

It seems I do understand your attitude somewhat, anyway, because I go through a similar process every so often. I have an “Agonizing Reappraisal” of my work and change everything as much as possible = and hate everything I’ve done, and try to do something entirely different and better. Maybe that kind of process is necessary to me, pushing me on and on. The feeling that I can do better than that shit I just did. Maybe you need your agony to accomplish what you do. And maybe it goads you on to do better. But it is very painful I know. It would be better if you had the confidence just to do the stuff and not even think about it. Can’t you leave the “world” and “ART” alone and also quit fondling your ego. I know that you (or anyone) can only work so much and the rest of the time you are left with your thoughts. But when you work or before your work you have to empty you [sic] mind and concentrate on what you are doing. After you do something it is done and that’s that. After a while you can see some are better than others but also you can see what direction you are going. I’m sure you know all that. You also must know that you don’t have to justify your work – not even to yourself. Well, you know I admire your work greatly and can’t understand why you are so bothered by it. But you can see the next ones and I can’t. You also must believe in your ability. I think you do. So try the most outrageous things you can – shock yourself. You have at your power the ability to do anything.


yek koo + Caitlin Mitchell – live @ Human Resources gallery 9-21-12

September 25th, 2012 by helga fassonaki

Documentation (excerpt) of live performance collaboration between yek koo and Caitlin Mitchell. The actual performance was 15 minutes long and featured a radical symbiotic relationship between drum and guitar sounds as the drumming vibrations were picked up by the guitar and further layered and distorted, building up till the projected video showing white noise/light for 12 minutes suddenly became a fire with a burning photo of Mitt Romney.

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Yek koo / John Krausbauer Tour – August 2012

July 17th, 2012 by helga fassonaki


Trapdoor Fucking Exit – Day 3: April 22, 2012

June 19th, 2012 by helga fassonaki

Day 3 of Trapdoor Fucking Exit
Human Resources Gallery, Los Angeles CA
Performances by Maryrose Crook (of The Renderers), LA Lakers, Metal Rouge, Derek Rogers, Bailouts, and Bill Orcutt (non-appearance performance)

Photos taken by Lemuel Barbour, 2012

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Trapdoor Fucking Exit – Day 2: April 21, 2012

June 18th, 2012 by helga fassonaki

Day 2 of Trapdoor Fucking Exit
Human Resources Gallery, Los Angeles CA
Performances by Un Ciego, Gabie Strong, Peter Kolovos, Purple Pilgrims, 500 Mg, and Charalambides

Photos taken by Lemuel Barbour, 2012

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Trapdoor Fucking Exit – Day 1: April 20, 2012

June 18th, 2012 by helga fassonaki

Curated by Helga Fassonaki as part of her exhibition of ‘Touching Them, Touching Me – A Love Song for the Dead C’
Human Resources Gallery, Los Angeles CA
Performances by Adam Willetts (non-appearance) , yek koo, Queen Victoria, Glands of External Secretion, Brian Crook, and Tom Carter

Photos taken by Lemuel Barbour, 2012

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A Love Song for the Dead C – Exhibition Photos

June 4th, 2012 by helga fassonaki

Touching Them, Touching Me – A Love Song for the Dead C
Helga Fassonaki – Solo Exhibition
March 24 to April 22, 2012 @ Human Resources Gallery, Los Angeles CA

Most photos taken by Lemuel Barbour, April 2012

To read the press release click HERE

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Dawn Kasper w/ Lady Noise @ Whitney Biennial 2012

June 3rd, 2012 by helga fassonaki

Lady Noise performing w/ Dawn Kasper, Whitney Biennial ’12

Dawn Kasper Performance at Whitney Biennial 2012

More photos of this performance found HERE
Dawn’s installation and the Lady Noise collaboration is discussed in ARTFORUM

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Helga Fassonaki @ Autonomie for Pacific Non-Standard Time: FAR 1977-Present (3-10-12)

June 3rd, 2012 by helga fassonaki

Helga Fassonaki at Autonomie from Foundation for Art Resources on Vimeo.

March 10 – Pacific Non-Standard Time: FAR 1977-Present

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Yek koo / LA Lakers – Tour 2012

April 26th, 2012 by helga fassonaki

May 2 – Brooklyn, NY with Zaïmph and Aster @ Zebulon Cafe
May 3 – Portland, Maine with Mystic Out-Bop Review @ Strange Maine
May 5 – Boston, MA with Preggy Peggy and the Lazy Babymakers, Howard Stelzer, and Arkm Foam @ Whitehaus
May 6 – Northampton, MA with Bill Nace/Chris Cooper and Horsebladder @ Media Mansion
May 7 – Albany, NY with Burnt Hills @ Helderberg House
May 8 – Buffalo, NY with Totem Pole and VWLS @ The Vault
May 9 – Toronto, Canada with Man Made Hill and HVYWTR @ TRANZAC
May 10 – Pittsburgh, PA with TBA @ The Shop
May 11 – Baltimore, Maryland with Jenny Graf and 8th Frequency @ Current Gallery
May 12 – Philadelphia, PA with Wall Wymyn @ Highwire Gallery
May 13 – Brooklyn, NY with TBA @ Big Snow Buffalo Lodge


Trapdoor Fucking Exit – April 20 – 22, 2012

April 7th, 2012 by helga fassonaki

Emerald Cocoon presents Trapdoor Fucking Exit, a series of performances taking place inside Helga Fassonaki’s
Installation, Touching Them Touching Me – A Love Song for the Dead C, at Human Resources gallery April 20 – 22, 2012.
$10 each night or $20 for all three nights!
Human Resources: 410 Cottage Home St in Chinatown, 90012

Friday April 20th, 7PM

TOM CARTER – Pete Swanson once described him to me as a ‘wizard’ and I think he might be right. His last solo set in LA was one of the most life-affirming demonstrations of the term ‘slow-burn’ that I have ever seen. And you weren’t there. Please use this opportunity to correct yourself.

BRIAN CROOK (NZ) – guitarist/vocalist from The Renderers/The Terminals/Flies Inside The Sun/The Max Block/Scorched Earth Policy etc etc etc. If these names mean nothing to you then you may as well stay at home. Hand down New Zealands best guitarist. Ask anyone.

GLANDS OF EXTERNAL SECRETION – reclusive legends Barbara Manning and Seymour Glass in their first LA performance (3rd performance in 18 years!). In 2003 they released a ‘no instruments’ cover of ‘Tubular Bells’. We have no idea what is going to happen.

QUEEN VICTORIA – “I’m basically only interested in acoustic noise now” – Nick Malkin aka Queen Victoria

YEK KOO – Helga will perform the whole of her new ‘Love Song for the Dead C’ LP in it’s entirety for the first time.

* plus a performance in absentia by ADAM WILLETTS (NZ) – Adam delivers a mailed-in dose of his non-denominational acid electronics from Christchurch.

Saturday April 21st, 7PM

CHARALAMBIDES – Forget obscure psych-folk reissue ‘gems’ hitting the shelves daily, you don’t have to look back to the pre-corporate takeover era to find modern psychedelic music of rare beauty. Tom and Christina Carter are perhaps the greatest living practitioners of the form in America. Having been through various configurations and conceptual approaches from avant-folk, through minimalist improvisation right out the other side into folk-form again over a period of 21 years they have consistently chosen the path less trodden, leaving behind them a body of work as monumental as that of Keiji Haino or The Dead C. Don’t get left behind in the wake of cheap party music and illusionary careerist cash dreams: there are visionaries in our midst.

500 MG – Michael Gibbons of psych warriors Bardo Pond performs in his 500mg guise for the first time in LA. Twisting/burning psilocybe mantras.

PURPLE PILGRIMS (NZ) – Sister duo from Christchurch, fog shrouded choral vox coated with distant reverb guitar. Immersive.

PETER KOLOVOS – Thin Wrist Recordings proprietor plays electric guitar like fireworks built out of stained glass.

GABIE STRONG – Local artist and bassist of Lady Noise.  No-one knows what to expect – bass?

UN CIEGO – Plans to one day release something that isn’t a lathe-cut. Perhaps a one sided c20 in an edition of 5?

Sunday April 22nd, 6PM

MARYROSE CROOK (NZ) – Of The Renderers/The Max Block/Above Ground (whose sole cassette was recently reissued by Siltbreeze). Aching loose country psych ballads from one of the godmothers of the NZ underground.

LA LAKERS (NZ) – New Zealand facsimile of LA basketball team slam dunks improvised tape compositions.

METAL ROUGE – First LA show in a few months and probably the last for a few more. New material. Less interested than ever in ‘entertaining’ you.

DEREK ROGERS – Recent Texas transplant with a million tapes on a million labels everywhere. Laminal.

BAILOUTS – First performance from new duo unit made up of members of The Faraday Trippers and Shelter Death. Something’s brewing in the OC and it’s not just kopi luwak.

*plus a non-appearance performance by BILL ORCUTT – Bill unfortunately couldn’t be with us in person because he’s on tour, BUT he did give us an exclusive new work to premiere. New cubist blues, with no interest in your opinion.


Touching Them Touching Me – A Love Song for the Dead C @ HRLA

April 7th, 2012 by helga fassonaki

For Immediate Release

March 24th – April 22nd 
Opening Reception: March 24th, 7-10pm
Trapdoor Fucking Exit performance series: April 20th-22nd
At Human Resources, 410 Cottage Home Street, Los Angeles, CA 90012

The gap between the moment of performance and the moment of listening is a black hole, one of the strongest conduits of distortion imaginable. “Between thought and expression lies a lifetime”.  The gulf between intent and perception is of unfathomable length and unfathomable depth, and it is in this chasm that we exist as consumers of culture, as collectors of cultural detritus.

For us that consume culture, the artist (the musician especially) is a purely functional device: armor to ward off workday spells, a crowbar to crack open new modes of consciousness, the long pole in the tent preventing the weight of the modern world from completely crushing us.  This is a one-way street, a deal inked by the receiver, with little if any guarantee of equal exchange at the supply end of the chain.  It is a one-way street and we’re happy to keep it that way.  Who wants to meet their heroes? Everyone – so long as the heroes conform exactly to the images we have constructed of them that is.  Perhaps that’s why most instances of fan contact are so tightly controlled: a concert, a signing – it’s for our good, not theirs.  Worst case scenario: artist is met by fan – through direct contact the curtains are pulled back to reveal their work as frail and rickety, the product of human hands and thereby prone to error, failure, greed, heartbreak…  The chinks in our armor would then appear, allowing the world to pour into the heart and head, unmitigated, scalding…

Man is expendable, myth is not.  Myth is the air we breathe, man is but a bag of bones with an insatiable need to procreate and nothing to gift us bar the dismissively obvious.  Fundamentalists and biblical scholars are wrong when they present evidence for the literal existence of Christ.  Nothing could matter less.  Regardless of who was or wasn’t nailed up, the skin of myth walks amongst us still, used as a shield against a world confused and confusing.  Like a Nirvana T-shirt.  Like a Patti Smith song.  Like a Coltrane record.  Like the fiction of Paris in 1920.  Like the fiction of San Francisco in 1966.  Like the fiction of Dunedin in 1987.  Like the fiction of Los Angeles in 2012…

– R. Totale

Human Resources is pleased to present Touching Them Touching You – A Love Song for the Dead C, a solo show by Helga Fassonaki from March 24th through April 22nd with an opening reception on March 24th from 7pm-10pm.  The show closes the weekend of April 20th to the 22nd with Trapdoor Fucking Exit, a performance series, featuring the live performances by Fassonaki and other artists influenced by the legendary New Zealand underground rock band, the Dead C.

Fassonaki’s installation will transform the upstairs exhibition space of Human Resources into a simulacrum of post-punk 1980’s Dunedin, more specifically the Empire Tavern, where the first appearances of the Dead C shook ground. This show is the first in a multimedia and performance series in which Fassonaki situates herself in the position of a Hagiographer, visually depicting the lives of her musical gods – their culture and world that she has incorporated into her own, often through rose tinted glasses.  Through the use of sound, assemblage, performance, photos, and video, she explores her relation to the Dead C, as fan, artist, and musician. In painting her idols in an unfailingly positive light, these hagiographic portrayals also reveal how mass glorification can hide the real facts, truths, and dark areas of a culture. But this is a glorification that also leads to a pulsating energy from within, and an urge to destroy in order to create anew.

About the Artist
Floating between worlds of unconventional music and visual art, Helga Fassonaki’s multidisciplinary practice approaches each of these worlds with insights gained from the other. Her practice, including her music-performance projects, Metal Rouge and Yek Koo, are informed by New York No Wave musicians and their defying of categorization, audience, and convention; the poetic, political and physical chants of Patti Smith; and the raw and damaged sounds of New Zealand’s free noise music of the Le Jazz Non era for stretching the parameters of improvisation.  Informed by such artists and their integration of art, music, and culture, she has created installations, group situations, films, and performances that utilize and question temporality, power structures, subcultures, fan cultures, and the human voice as a crucible for positive transformation.   Fassonaki’s work has been exhibited at UCLA’s New Wright Gallery, Elysian Park Museum of Art, LACE, Blue Oyster Gallery (Dunedin, NZ), Orange County Museum of Art, and California College of the Arts, among others. She has performed in Open Melody Festival at UC Irvine, Ear&Eye Festival (Auckland, NZ), On Land Festival (San Francisco), Human Resources (LA), Public Fiction (LA), and a multitude of other galleries and venues throughout the country. More recently, she performed with Lady Noise and artist Dawn Kasper for the 2012 Whitney Biennale and Autonomie gallery part of FAR’s Pacific Non-Standard Time. She is also the co-founder of the Emerald Cocoon record label, which focuses on experimental, psychedelic, and avant-garde music.

About the Host
Human Resources was founded by a team of creative individuals who seek to broaden engagement with contemporary and conceptual art, with an emphasis on performative and underexposed modes of expression.  Human Resources is a 501(c)3 not-for-profit and seeks to foster widespread public appreciation of the performative arts by encouraging maximum community access. Human Resources also serves as a point of convergence for diverse and disparate art communities to engage in conversation and idea-sharing promoting the sustainability of non-traditional art forms.  For more information about Human Resources, please see

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March 10 – Pacific Non-Standard Time: FAR 1977-Present

March 9th, 2012 by helga fassonaki

Pacific Non-Standard Time: Foundation for Art Resources 1977-Present
Saturday March 10, 7-10PM

333 South Spring Street Unit #E4
Los Angeles, CA 90013

Featuring works by:
Aaron Drake
The Friendly Falcons

Helga Fassonaki
Maya Gurantz
Fatima Hoang & Janice Gomez
Anna Oxygen

The Foundation for Art Resources presents a variation on the ongoing PST events in Los Angeles with a PNST (Pacific Non-Standard Time) contribution. This exhibition aims to celebrate the history of art production supported by FAR from 1977 to the present. FAR’s functions include supporting non-institutional venues, public education and artist-based projects. To this point, we may consider the critical interventions developed by FAR to be a genealogy that is woven within and around the more established trajectories of the Los Angeles fine art world, always injecting a heavy dose of doubt, humor, and/or innovation into artistic practice. With an emphasis on the growth of new art and ideas, as well as the development of an increasingly more diverse community of producers, FAR has been a crucial supplement to much of Los Angeles’s more established canon. As FAR has been a non-white cube, genre-bending/inventing organization since its inception, this Pacific Non-Standard Time event is a welcome response to PST’s sanitized survey format.While this exhibition presents a thematic highlighting of some of FAR’s key moments, the majority of the selections complement FAR’s extensive involvement with music by creating a backdrop focused around sound and/or musically-driven performance, including, but not limited to, documented events of Glen Branca, Mike Kelley, Jim Shaw, Sonic Youth, and the Swans. With the above in mind, FAR’s PNST event seeks to extend and support the trajectory of these historical instances through an evening of performances that could easily be described as de-standardized art practices.Morgan Thomas, a founding member of FAR, described the early activities of the organization and its rampant experimentation as being in search of “an appropriate production model.” While FAR has been through a myriad of configurations since the 70s, the artists included in this exhibition exemplify this drive through a consistent re-tooling of standard practices that is anything but. This evening of performances brings together a dynamic group of artists with a similar interest in expanding the role(s) and/or perceived function of the artist as well as the exhibition space. Such a model of production poses questions about how we think about the concept of performativity in the early twenty-first century. Performance and/or theatricality have become increasingly porous as the “artist” becomes a nexus point defined by the roles of musician, composer, videographer and performer. Be it the transformation of the artist into larger than life “rock stars,” or the mutation of the traditional gallery into a makeshift club, it seems as if all of the issues surrounding performance have taken on the trappings of hyper self-reflexivity. We might even read this drive towards heightened (self-)awareness as a necessary model of production in our contemporary spectacle-driven culture because it challenges of what the condition of performance can be.