Cinema began in wonder, the wonder that reality can be transcribed with such immediacy. All of cinema is an attempt to perpetuate and to reinvent that sense of wonder.

…

Until the advent of television emptied the movie theaters, it was from a weekly visit to the cinema that you learned (or tried to learn) how to walk, to smoke, to kiss, to fight, to grieve. Movies gave you tips about how to be attractive. Example: It looks good to wear a raincoat even when it isn’t raining. But whatever you took home was only a part of the larger experience of submerging yourself in lives that were not yours. The desire to lose yourself in other people’s lives . . . faces. This is a larger, more inclusive form of desire embodied in the movie experience. Even more than what you appropriated for yourself was the experience of surrender to, of being transported by, what was on the screen. You wanted to be kidnapped by the movie — and to be kidnapped was to be overwhelmed by the physical presence of the image. The experience of “going to the movies” was part of it. To see a great film only on television isn’t to have really seen that film. It’s not only a question of the dimensions of the image: the disparity between a larger-than-you image in the theater and the little image on the box at home. The conditions of paying attention in a domestic space are radically disrespectful of film. Now that a film no longer has a standard size, home screens can be as big as living room or bedroom walls. But you are still in a living room or a bedroom. To be kidnapped, you have to be in a movie theater, seated in the dark among anonymous strangers.

excerpt from The Decay of Cinema, Susan Sontag, 1996

Human Resources isn’t a movie theatre, but it once was Cinema Land.

On Saturday, February 2nd, in the name of cine-love, Lucy Bull invites you to join her for a 24 hour movie marathon at Human Resources. This event will begin promptly at 6PM and end at 6PM the following day. It coincides with the beginning of Bull’s occupation of the marquee with the painting The Damage, on view 24/7 through February 17th.

The films were not chosen with a particular theme in mind. Instead, it’s a mix of films that inspire and haunt with their sensuousness and authenticity… but also because they’re fun.

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Lucy Bull (b.1990, New York) is a Los Angeles based artist. She has recently exhibited with AWHRHWAR (Los Angeles), Mother Culture (Los Angeles) and Andrew Edlin Underground (New York). In 2017, Bull published “Plume” with Onestar Press (Paris). She also runs a table-top exhibition platform called From the Desk of Lucy Bull.