BIOGRAPHY
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​Sky Hopinka (Ho-Chunk Nation/Pechanga Band of Luiseño Indians) was born and raised in Ferndale, Washington and Palm Springs, California. In Portland, Oregon he studied and taught chinuk wawa, a language indigenous to the Lower Columbia River Basin. His video, photo, and text work centers around personal positions of Indigenous homeland and landscape, designs of language as containers of culture expressed through personal, documentary, and non fiction forms of media. 

His work has played at various festivals including Sundance, Toronto International Film Festival, and the New York Film Festival. His work was a part of the 2017 Whitney Biennial, the 2018 FRONT Triennial, the 2021 edition of Prospect.5, and the 14th Gwangju Biennial in South Korea and the Göteborg International Biennial in Switzerland in 2023.

He was a guest curator at the 2019 Whitney Biennial and has had solo exhibitions at the Center for Curatorial Studies–Bard College in 2020, at LUMA in Arles, France in 2022, and in 2024 at the Frye Art Museum in Seattle, WA and Kunsthalle Friart in Switzerland.

His films, videos, and photographs are in collections at the Museum of Modern Art, the Solomon R. Guggenheim Museum, the San Francisco Museum of Modern Art, Museum für Moderne Kunst in Frankfurt, Germany, The Whitney Museum, the Amon Carter Museum of Art, and the Walker Art Center amongst others.

He was a fellow at the Radcliffe Institute for Advanced Study at Harvard University in 2018- 2019, a Sundance Art of Nonfiction Fellow for 2019, an Art Matters Fellow in 2019, a recipient of a 2020 Herb Alpert Award for Film/Video, a 2020 Guggenheim Fellow, and was a 2021 Forge Project Fellow. He received the 2022 Infinity Award in Art from the International Center of Photography, is a 2022 MacArthur Fellow and was a winner of the 2023 Baloise Art Prize at Art Basel.

​He currently lives in Brooklyn, New York, and is an assistant professor in the department of Art, Film, and Visual Studies at Harvard University.

FRAMES OF REFERENCE, SPRING 2025
SKY HOPINKA
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PROGRAM : Monday, March 24th - 6pm
Jepson Hall 118, Jepson School, University of Richmond

Wawa (2014)
Featuring speakers of chinuk wawa, an Indigenous language from the Pacific Northwest, this film 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.

Jáaji Approx. (2015)
Logging and approximating a relationship between audio recordings of my father and videos gathered of the landscapes we have both separately traversed. The initial distance between the logger and the recordings, of recollections and of songs, new and traditional, narrows while the images become an expanding semblance of filial affect. Jáaji is a near translation for directly addressing a father in the Hočak language.

Visions of an Island (2016)
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.

I'll Remember You as You Were, not as What You'll Become (2016)
An elegy to Diane Burns on the shapes of mortality, and being, and the forms the transcendent spirit takes while descending upon landscapes of life and death. A place for new mythologies to syncopate with deterritorialized movement and song, reifying old routes of reincarnation. Where resignation gives hope for another opportunity, another form, for a return to the vicissitudes of the living and all their refractions.

“I’m from Oklahoma I ain’t got no one to call my own. 
If you will be my honey, I will be your sugar pie way hi ya way ya hi ya way ya hi yo”
​–Diane Burns (1957-2006)
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Fainting Spells (2018)
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.

Kicking the Clouds (2021)
This film is a reflection on descendants and ancestors, guided by a 50 year old audio recording of my grandmother learning the Pechanga language from her mother.   After being given this tape by my mother, I interviewed her and asked about it, and recorded her ruminations on their lives and her own.  The footage is of our chosen home in Whatcom County, Washington, where my family still lives, far from our homelands in Southern California, yet a home nonetheless.

Sunflower Siege Engine (2022)
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.