FILM SCREENING & EXHIBITION OPENING

Sky Hopinka’s “Fainting Spells”

Thursday, Sept. 13

7 p.m. film screening at the Walker (725 Vineland Pl., Mpls)

9 p.m. reception at Bockley Gallery (2123 W 21st St., Mpls)

Milwaukee-based filmmaker Sky Hopinka, who is Ho-Chunk/Pechanga, explores the connections between his homeland, language and identity in five films that screen tonight. A discussion between Hopinka, assistant curator/archivist Ruth Hodgins and Walker Reader managing editor Paul Schmelzer will follow the screening. Afterwards, visitors can head over to Bockley Gallery for an opening reception of the artist’s exhibition. Show runs through Oct 20. All programming is free.

Above: Luisa Fernanda Garcia-Gomez, "Explosions #1," (2017-2018). Pen, marker and watercolor on paper. Image courtesy of Burnet Fine Art.

OPENING

Explosions: Luisa Fernanda Garcia-Gomez

Opening reception: Thurs., Sept 13, 6-8 p.m.

Burnet Fine Art & Advisory (775 Lake St. E., Wayzata)

Colombian artist Luisa Fernanda Garcia-Gomez makes mixed media drawings and installations as a way to cope with the violence of her youth in Medellín during the narcotraffic war. Growing up, random explosions became a part of her daily life. Garcia-Gomez has been in the U.S. now for 10 years; previously she emigrated to France, where she worked for ELLE Magazine and completed an MFA at the University of Paris in Saint-Denis, France. She also holds an MFA from the University of Wisconsin-Madison. The exhibition ends Nov 3.

OPENING

kNOw Spaces by Jordan Weber

Law Warschaw Gallery at Macalester College (1600 Grand Ave., St. Paul) [/]

Opening reception: Sept. 14, 6-9 p.m.

Hours: Mon.-Fri. 10 a.m. - 4 p.m.; Thurs. 10 a.m. - 8 p.m.; Sat. & Sun. noon-4 p.m. 

Artist Jordan Weber has named his exhibition in a very punny way: Is it about no space, know space, or some other space all together? His show of sculpture and programmatic artwork delivers a critique of society’s inability to provide sustainable practices, from soil and air cleansing to sustainable food supplies. If we are not a sustainable society at all, what will happen?  Weber’s investigation leads him to questions of communal empowerment, and how that could be possible. Exhibition ends Oct. 25.

Above: Sara Cwynar. Tracy (Gold Circle), 2017. Dye sublimation print on aluminum, 30 x 38 inches. Courtesy the artist; Cooper Cole, Toronto; Foxy Production, New York.

OPENING

“Image Model Muse” by Sara Cwynar

Minneapolis Institute of Art (2400 Third Avenue S)

Exhibition opens Sept. 14

Hours: 10 a.m.-5 p.m. Tue.-Wed. & Sat.; 10 a.m.-9 p.m. Thu.-Fri.; 11 a.m.-5 p.m. Sun.

Admission: Free.

Brooklyn-based, Canadian-born artist Sara Cwynar investigates the ways that color makes people want to buy things, how women have been depicted in images, and the ways that kitsch idealizes an often-times bleak world. Working primarily in photography and film, Cwynar’s conceptual photographs ask questions about how “reality” is filtered through media, thus manipulating perceptions and emotions. This exhibition presents 11 photographs along with three of her most recent films, “Soft Film” (2016), “Rose Gold” (2017) and “Cover Girl” (2018).

Above: Siah Armajani, Seven Rooms of Hospitality: Room for Deportees, 2017 (Courtesy the artist and Rossi & Rossi)

ONGOING

Siah Armajani: Follow this Line

Opening Sunday, Sept. 9

Walker Art Center (725 Vineland Pl, Mpls.) 

Hours: 11 a.m. - 5 p.m. Tues., Wed., Sun.; 11 a.m. - 9 p.m. Thurs.; 11 a.m. - 6 p.m. Fri., Sat.; closed Mondays 

Cost: $15 adults; $13 seniors (62+); $7.50 active military; $10 

The iconic Minneapolis bridge was touched up recently in preparation for the Walker Art Center’s gigantic “Siah Armajani: Follow this Line” retrospective, opening Sunday. With 35 works spanning six decades, the Walker has the world’s largest institutional collection of Armajani’s work. The loosely arranged exhibition features more than 100 works including some of the artist’s earliest pieces, created when he was a young dissident living in Tehran. It surveys the architectural focus of Armajani’s work in the 1970s, ’80s and ’90s to his overtly political sculptures of the 2000s onward. The show will travel to New York’s Met Breuer museum in February. Exhibition ends Dec 30.

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