Sky Hopinka

Moments of resistance are collapsed and woven together; from documentation of the Indigenous led occupation of Alcatraz, to the reclamation of Cahokia and the repatriation of the ancestors, to one’s reflections on their body as they exist in the world today, These are gestures that meditate on the carceral inception and nature of the reservation system, and where sovereignty and belligerence intersect and diverge.

Moments of resistance are collapsed and woven together; from documentation of the Indigenous led occupation of Alcatraz, to the reclamation of Cahokia and the repatriation of the ancestors, to one’s reflections on their body as they exist in the world today, These are gestures that meditate on the carceral inception and nature of the reservation system, and where sovereignty and belligerence intersect and diverge.

Moments of resistance are collapsed and woven together; from documentation of the Indigenous led occupation of Alcatraz, to the reclamation of Cahokia and the repatriation of the ancestors, to one’s reflections on their body as they exist in the world today, These are gestures that meditate on the carceral inception and nature of the reservation system, and where sovereignty and belligerence intersect and diverge.

In late 2021, Cleveland’s baseball team was reborn as the Guardians. The documentary, directed by Lance Edmands, chronicles the saga of that name change, which has its roots in a forgotten legend named Louis Sockalexis, and the tragedy that enveloped his story more than a century ago.

An experimental documentary, Kicking the Clouds is centered on a 50-year-old cassette tape of a Pechanga language lesson between the director’s grandmother and great-grandmother, and contextualized by an interview with his mother in his Pacific Northwest hometown.

“Hopinka’s video Mnemonics of Shape and Reason (2021) traverses the memory of a place and space visited by the artist. Employing an original syntax of storytelling, the artist interweaves scattered and reassembled landscapes with layers of captured audio, poetic text, and music. A rhythmic account of the spiritual implications of colonial plunder, Hopinka’s fluid reflections transmute ideas of spiritual malleability tied to land, sky, sea, myth, place, and personhood.”

An experimental look at the origin of the death myth of the Chinookan people in the Pacific Northwest, following two people as they navigate their own relationships to the spirit world and a place in between life and death.

An experimental look at the origin of the death myth of the Chinookan people in the Pacific Northwest, following two people as they navigate their own relationships to the spirit world and a place in between life and death.

An experimental look at the origin of the death myth of the Chinookan people in the Pacific Northwest, following two people as they navigate their own relationships to the spirit world and a place in between life and death.

An experimental look at the origin of the death myth of the Chinookan people in the Pacific Northwest, following two people as they navigate their own relationships to the spirit world and a place in between life and death.

An experimental look at the origin of the death myth of the Chinookan people in the Pacific Northwest, following two people as they navigate their own relationships to the spirit world and a place in between life and death.

An experimental look at the origin of the death myth of the Chinookan people in the Pacific Northwest, following two people as they navigate their own relationships to the spirit world and a place in between life and death.

An experimental look at the origin of the death myth of the Chinookan people in the Pacific Northwest, following two people as they navigate their own relationships to the spirit world and a place in between life and death.

The last piece in the constellation of works including Kicking the Clouds, Mnemonics of Shape and Reason, and the text Hello Trouble as well as a series of etched photographs. A letter to a sibling, reflecting on our pasts and ourselves, and the parents and grandparents we knew and could never know. Told in three channels, the voices and the texts overlap and are distant, where a return to the road is a return to solitude as the memories of our grandmothers shape a present loneliness and a gathering of futures.

Images of landscapes are cut and fragmented, as a hand guides their shape and construction. The voice tells a story about a not too distant past, and elements of nostalgia are assembled in terms of lore.

Images of landscapes are cut and fragmented, as a hand guides their shape and construction. The voice tells a story about a not too distant past, and elements of nostalgia are assembled in terms of lore.

Images of landscapes are cut and fragmented, as a hand guides their shape and construction. The voice tells a story about a not too distant past, and elements of nostalgia are assembled in terms of lore.

Images of landscapes are cut and fragmented, as a hand guides their shape and construction. The voice tells a story about a not too distant past, and elements of nostalgia are assembled in terms of lore.

A global portrait documenting the year's events, Cinetracts '20 features the work of an international lineup of 20 filmmakers. Capturing the zeitgeist in their own backyard, the artists' short films are the culmination of a year-long residency project.

In this video drawing from Bob Dylan's song "Just Like Tom Thumb's Blues," layers of experiences circling loss and longing are overlaid between images of landscapes and movement. In the song, a stranger's listlessness and exhaustion are woven through and around Juarez, Mexico, and so, too, are these stories woven around original discontent and uncertainty as they move through an uneasy negotiation with the strangeness of the American pioneer spirit.

An exploration of Fort Marion, the US fort where Native American prisoners of war were placed.

In Electric Snakes, Adrian C. Louis’s thirteenth poetry collection, no one is spared his critical eye, including himself. These powerful and often humorous poems cover myriad subjects: Trump, music, zombies, Jimmy John’s, childhood, caller ID, venetian blinds, magpies, love, and Mom.

Told through recollections of youth, learning, lore, and departure, this is an imagined myth for the Xąwįska, or the Indian Pipe Plant - used by the Ho-Chunk to revive those who have fainted.

Told through recollections of youth, learning, lore, and departure, this is an imagined myth for the Xąwįska, or the Indian Pipe Plant - used by the Ho-Chunk to revive those who have fainted.

For Dreaming the Dark: hands that see, eyes that touch, Ana Vaz invited artists and filmmakers whose work trust cinema’s capacity to transform relationships between the body and the camera to propose works that will engage with both perception and embodiment. Could cinema be an art of embodiment? By what rituals and actions could vision become tactile?

Filmed during the 2016 Standing Rock protests in South Dakota, Sky Hopinka's Dislocation Blues offers a portrait of the movement and its water protectors, refuting grand narratives and myth-making in favour of individual testimonials.

This film is an homage to the Gaza Strip and to the possibility of hope beyond hopelessness. Ouroboros, the symbol of the snake eating its tail, is both end and beginning: death as regeneration. A 74-minute experimental narrative film that turns the destruction of Gaza into a story of heartbreak, Ouroboros asks what it means to be human when humanity has failed. Taking the form of a love story, the film's central character is Diego Marcon, a man who embarks on a circular journey to shed his pain only to experience it, again and again. In the course of a single day, his travel fuses together Native American territories, the ancient Italian city of Matera, a castle in Brittany, and the ruins of the Gaza Strip into a single landscape.

The title of this video, taken from the texts of the architect Kengo Kuma, suggests a way of looking at everything as “interconnected and intertwined” - such as the historical and the present and the tool and the artifact. Images and representations of two structures in the Portland Metropolitan Area that have direct and complicated connections to the Chinookan people who inhabit(ed) the land are woven with audio tapes of one of the last speakers of chinuk wawa, the Chinookan creole. These localities of matter resist their reduction into objects, and call anew for space and time given to wandering as a deliberate act, and the empowerment of shared utility.

The title of this video, taken from the texts of the architect Kengo Kuma, suggests a way of looking at everything as “interconnected and intertwined” - such as the historical and the present and the tool and the artifact. Images and representations of two structures in the Portland Metropolitan Area that have direct and complicated connections to the Chinookan people who inhabit(ed) the land are woven with audio tapes of one of the last speakers of chinuk wawa, the Chinookan creole. These localities of matter resist their reduction into objects, and call anew for space and time given to wandering as a deliberate act, and the empowerment of shared utility.

The title of this video, taken from the texts of the architect Kengo Kuma, suggests a way of looking at everything as “interconnected and intertwined” - such as the historical and the present and the tool and the artifact. Images and representations of two structures in the Portland Metropolitan Area that have direct and complicated connections to the Chinookan people who inhabit(ed) the land are woven with audio tapes of one of the last speakers of chinuk wawa, the Chinookan creole. These localities of matter resist their reduction into objects, and call anew for space and time given to wandering as a deliberate act, and the empowerment of shared utility.

The title of this video, taken from the texts of the architect Kengo Kuma, suggests a way of looking at everything as “interconnected and intertwined” - such as the historical and the present and the tool and the artifact. Images and representations of two structures in the Portland Metropolitan Area that have direct and complicated connections to the Chinookan people who inhabit(ed) the land are woven with audio tapes of one of the last speakers of chinuk wawa, the Chinookan creole. These localities of matter resist their reduction into objects, and call anew for space and time given to wandering as a deliberate act, and the empowerment of shared utility.

Texts and performances by the late Indigenous poet Diane Burns bind Sky Hopinka’s dazzling and mysterious blend of original and found sources, which continues the filmmaker’s exploration of language, storytelling, and transcendent ways of seeing.

An Unangam Tunuu elder describes cliffs and summits, drifting birds, and deserted shores. A group of students and teachers play and invent games revitalizing their language. A visitor wanders in a quixotic chronicling of earthly and supernal terrain. These visions offer glimpses of an island in the center of the Bering Sea.

A group of students and teachers gather in an historical mansion in the woods of West Virginia for a week-long retreat in spoken Latin. I observe and I participate while navigating the errata with my camera.

Against landscapes that the artist and his father traversed, audio of the father in the Ho-Chunk language is transcribed using the International Phonetic Alphabet, which tapers off, narrowing the distance between recorder and recordings, new and traditional, memory and song.

Against landscapes that the artist and his father traversed, audio of the father in the Ho-Chunk language is transcribed using the International Phonetic Alphabet, which tapers off, narrowing the distance between recorder and recordings, new and traditional, memory and song.

Against landscapes that the artist and his father traversed, audio of the father in the Ho-Chunk language is transcribed using the International Phonetic Alphabet, which tapers off, narrowing the distance between recorder and recordings, new and traditional, memory and song.

Against landscapes that the artist and his father traversed, audio of the father in the Ho-Chunk language is transcribed using the International Phonetic Alphabet, which tapers off, narrowing the distance between recorder and recordings, new and traditional, memory and song.

Featuring speakers of Chinuk Wawa, an Indigenous language from the Pacific Northwest, WAWA begins slowly, patterning various forms of documentary and ethnography. Quickly, the patterns tangle and become confused and commingled, while translating and transmuting ideas of cultural identity, language, and history.

The video traverses the history and the memory of a place shared by both the Ho-Chunk and the settler. Red Banks, a pre-contact Ho-Chunk village site near present day Green Bay, WI was also the site of Jean Nicolet’s landing, who in 1634 was the first European what is today Wisconsin. Images and text are used to explore this space alongside my grandmother’s recollections. Each serve as representations of personal and shared memory, as well as representations of practices and processes of remembrance.