The Event is open to all and welcomes all submissions.

More detailed information regarding MNKino and MNKino 30: Leap @ Rosalux Gallery after the jump.

MNKINO History and General Info

MNKINO (www.mnkino.com) was founded in July 2009 by Lindsey Borgenson and Andy Dayton. It’s a monthly excuse for anyone to make a film, and to meet others who like doing the same. It’s not just for film school graduates, MFA candidates, or videographers. It’s for you. Every month, we’ll give you a word, object, idea, a “Mystery Meat.” You have one month to produce a short video (under 5 minutes in length) inspired by the theme. Generally, our monthly screenings happen in a gallery or studio space and are attended by anywhere between seven and 50 individuals and include between three and ten community produced video submissions.

This month’s MNKINO Info: 

MNKINO 30: LEAP

Commemorate Leap Day with a video! Put together a short 5 minute or less video inspired by the theme LEAP (Leap of Faith? Quantum Leap? Leap Frogs?), and bring it to share. Watch the “mystery meat” video here.

Wednesday February 29th

Screening at 7:30PM

Rosalux Gallery

Submissions

Planning on bringing a video? Video files (.mov, .avi, .mp4, etc.) are easiest for us — DVDs take time to load, flash drives work best, but videos uploaded and accessible on the internet sites like Youtube or Vimeo also work.

Top row (left to right): Mary Sullivan, Neil Rasmussen, David Bowman, Scott Neff, Hallie Bowman
Middle row (left to right): Reed La Plant, Shawn McNulty, John Stewart
Bottom row (left to right): Amelia Biewald, Suzy Greenberg, Terrence Payne, David Whannel, Darrin Mueske

Panorama:

Inaugural Exhibition @ Rosalux Gallery

by J.P. Johnson
March 6, 2002
Pulse Twin Cities

Twelve well-known local artists have come together have come together for the opening exhibition at Rosalux Gallery. Exhibiting oil and pastel paintings, installations, collage work, black and white photography and computer design, Rosalux starts off with visual arts for everyone. The gallery, situated in the ever popular NE area, sports an open, if not a bit sparse, white-walled space with high vaulted ceilings, a leather couch and all of the trappings for an urban art affair. Terrence Payne, one of the artists included in the initial show, is the creator behind the new gallery. “There is no reason that artists can’t get organized and show their own work,” states Payne and so they do. Payne’s art co-op offers a six week show, an opportunity to change the gallery space to fit your whims and some basic PR for a small monthly membership fee. Payne, tired of giving half his money to galleries in commissions, created Rosalux as an alternative to the basic gallery scheme and as a place for serious artists to pool resources and ideas. Of considerable note at his first show are Neil Rasmussen, Shawn McNulty and Darrin Mueske. Rasmussen shows off his most notable talent for capturing clean and well-lit shots of specific Minneapolis intersections. His photos change ordinary intersections that you have witnessed ad infinitum while commuting into poignant pictures and thoughtful still frames. Shawn McNulty has perhaps the most innovative art in the show, painting in oils with an unrivaled sense of color and shape. His abstract paintings illustrate how the effective use of simple symbiotic patterns can be just as gripping as traditional portraits. Darrin Mueske’s initially confusing collages grow on the viewer and astonish. His images change constantly so that what once seemed to be an inanimate “Angry Chair” morphs into the monstrous. Before you leave, pay close attention to Terrence Payne’s sentimental, narrative, two-piece painting called “Trading Ten for One.” Although technically, this piece embodies the sensitive and compelling nature of Rosalux. His painting speaks to a family incident, his brother and the sketchy endeavor of deciding to trade one part of your life for the possibility of another. Rosalux, if it continues like it has begun, should be a gallery to watch and look to in the coming seasons.

There is a neon welcome sign to Open Door 7, Rosalux’s seventh annual juried exhibition, and it reads like this:

“sssslllluuuurrrr”

The cursive letters—which emanate a rainbow glow in some kind of big, gay onomatopoeia—are positioned provocatively to face the door. Which means they will, collectively, be the first thing you see should you set foot in the Northeast gallery anytime between now and February 26.

You should know that this is a piece by the local conceptual artist Broc Blegen. (Claim to fame: He ran the anarchic, short-lived 1419 Space, an art-school party—I mean, ”interdisciplinary art”—venue that was shut down by the city last spring.) But you should also know that it’s really a piece by Glen Ligon, a Bronx-born artist known for politically freighted text paintings and installations.

Here’s the thing: Blegen, as a kind of hobby, makes replicas of easy-to-duplicate contemporary art. The work—chosen over hundreds of other submitted work to be included in this show—is a copy.

You can get mad about this. You can view it as sneeringly cynical, a gibe by some art school snot too young to be jaded. (And I will admit, that was actually my first reaction.) Or you can view it as earnestly practical: The guy can’t afford a real Ligon to hang in his living room, so he made his own. Pretty soon, you start to wonder about collecting contemporary art in general—about the market’s indifference to virtuosity, about what it would mean to collect a copy of a collectible. Then there’s the whole addition of the GLBT signifier, which seems apt for a piece associated with an artist interested in race, sexuality, and identity.

At any rate, you will think about all of this stuff, and you will still have only seen the first piece in the show. There are about 20 more to view.

In this way, Open Door 7 is the best kind of art show. There’s some madness here. And you would be well within your rights to hate some of the pieces. But there’s a method to all of it—a mature, intelligent, surprisingly accessible method. Nothing is boring to look at. Even Blegen’s piece, perhaps the show’s most opaque, is easy on the eyes. And you need only to do a quick Google search to get the brainy heft of it. Makes you wonder what other nuggets of insight are lurking just beneath the surface.

The smart seduction comes courtesy of this year’s juror, Steve Dietz. He’s the guy, you’ll remember, behind Northern Spark, last summer’s 24-hour, “nuit blanche,” metro-wide public art bonanza. If you went, you know it was an awesome urban spectacle (in the most literal sense of the word “awesome”), regardless of your art-world chops. Open Door 7 is the same way.

Take the two Evie Woltil Richner portraits, my favorite pieces in the show. The Florida artist takes printed images of deceased relatives and draws delicate, finely detailed shrouds of feathers around each. They are somber, ruminative—and so handsome to stare at they are addictive.

Janet Abrams artWhat else is there? A computer-generated sculpture of an audio pattern, mapping a famous line from the 1987 film Wall Street. A shockingly thorough cataloguing, told through wallpaper, of Amazon.com’s global best sellers. And Janet Abrams’s gorgeously violent destruction of secondhand metal kitchen utensils [see right].

There’s other great (and not-so-great) stuff, too. But I don’t want to spoil the surprise. So go. Get your lid flipped.

Open Door 7
Through February 26
Gallery Hours: Saturdays and Sundays from 12–4 p.m.
Rosalux Gallery
1400 Van Buren St. NE, Mpls.
rosaluxgallery.com

http://mcad.edu/events-fellowships/gallery-exhibitions/intersections

Press release coming soon!

Opening Reception: Free and open to the public.  Friday February 10th from 6pm – 10pm.
Exhibit Dates: Exhibition opens February 9th and closes February 29th.

Artists will be notified of acceptance or non-acceptance no later than January 11th, 2012.  Opening Reception Friday February 10th from 6pm – 10pm.  Open and free to the public.

Exhibit runs: January 2 – 29, 2012
Opening Reception: Saturday, January 7, 2012, 7-11 PM

Fruit Phonics: New works by Daniel Buettner

The works of Minneapolis-based artist Daniel Buettner are littered with material object imagery. From things lost under the couch you didn’t know you needed until you found them to tasty new toys advertised in magazines. His paintings speak to the innate human desire to want as much as they are a commentary on beauty in its most simple form. Buettner pairs logical form and nebulous space in a single work of art in ways that make perfect sense. Did you ever think you could love a pair of sneakers or a slice of avocado? You will.

In this exhibition, Fruit Phonics, Buettner erases the thin line in your brain that separates a painting from a collage. The objects, painted in a cripplingly realistic fashion against dark collaged backgrounds, appear as though they have been cut out and glued down on the canvas. The backgrounds provide non-specific environments for the objects and echo softly with sub-layers of photographic imagery. Whether Buettner challenges your idea of real beauty or not, his works are passively intentional and subtly powerful.