Skip to main content

Free First Saturday: ¡Hola, Cuba!

Juan Carlos Cremata Malberti and Iraida Malberti Cabrera's, Viva Cuba, 2005 (photo: courtesy Film Movement)

Tickets & Info

Warm up this winter by dancing to Latin inspired beats, listening to the sounds of everyday Cuba, and watching an award-winning Cuban film for kids. Stop by the Art Lab and make your own prints inspired by revolutionary posters found in Adiós Utopia: Dreams and Deceptions in Cuban Art Since 1950.

Gallery admission is free for everyone on the first Saturday of each month from 10 am to 6 pm, with a variety of family activities scheduled from 10 am to 3 pm.

Music: DJ Don Cuco
10 am–3 pm
Dance to DJ Don Cuco’s Latin-inspired beats all day.

Art Activity: Printmaking
10 am–3 pm
Learn basic relief printmaking techniques and create your own images inspired by the Cuban revolutionary posters of the 1950s and 60s.

Experience: Sounds from Cuba
10 am–3 pm
Listen to authentic sound recordings of daily life in Cuba. Brought to you by Minnesotan brothers Jesse and Jonah Marks, who founded The Touch of Sound in order to showcase the diversity of the the world in a unique and unexpected way.

Performance: Bomba Umoya
11 am & 1 pm
Learn dance moves from members of Bomba Umoya, a Minneapolis-based Afro-Caribbean performance group.

Tours: Adiós Utopia
12 noon & 2 pm: Spanish-language tour
1 pm: English-language tour
Learn about the exhibition from our expert educators.

Film: Viva Cuba
2 pm
An award-winning Cuban children’s film, Viva Cuba is the dramatic tale of two young friends who go on a runaway adventure across the country when their parents’ differences threaten to come between them. Directed by Juan Carlos Cremata Malberti and Iraida Malberti Cabrera. 2005, Cuba, 80 minutes, in Spanish with English subtitles, recommended for ages 9 and up.

Free First Saturday is sponsored by

<p>Free First Saturday is sponsored by</p>
Ameriprise Financial

Program Support

THE MEDTRONIC FOUNDATION

Related events

Adiós Utopia: Dreams and Deceptions in Cuban Art Since 1950
Installation view of Wilfredo Prieto’s Apolítico in the exhibition Adiós Utopia: Dreams and Deceptions in Cuban Art Since 1950. Photo: Dylan Nelson for Walker Art Center

Adiós Utopia: Dreams and Deceptions in Cuban Art Since 1950

Related articles

Belief in the Potential Object: Technological Disobedience in Cuba

Belief in the Potential Object: Technological Disobedience in Cuba

A battery charger for non-rechargeable batteries, a Soviet-era fan repaired with telephone parts and vinyl records, a beer can mousetrap: for years Havana-born Ernesto Oroza has been documenting such examples of "technological disobedience" in Cuba. Here, the artist discusses his focus on objects born out of necessity and his artistic practice, one that spans roles of design theorist, art practitioner, and pedagogue.
Cinema Beyond the Revolution

Cinema Beyond the Revolution

How is revolutionary Cuban Cinema still revolutionary today? Our six-part series examining this question concludes with a perspective from Havana-based critic and film studies professor Gustavo Arcos Fernández-Britto, who reframes perception of today's Cuban cinema away from historical and revolutionary contexts toward the concerns of contemporary life and culture in Cuba.
One Way or Another: How to Hold the Gaze of the Revolution’s Subaltern

One Way or Another: How to Hold the Gaze of the Revolution’s Subaltern

Sara Gómez's One Way or Another works like a Marxist fable, writes Havana-based film scholar Dean Luis Reyes, one that expresses the contradiction between the wish to understand the historical character of social formations and the background of irrationality, of the unpredictable darkness that lies inside each individual.
Iconoclasm & Experimentalism: From Revolutionary Roots to Today’s Cuban Cinema

Iconoclasm & Experimentalism: From Revolutionary Roots to Today’s Cuban Cinema

From the founding of ICAIC to Juan of the Dead, and beyond: Michael Chanan, author of Cuban Cinema (2004), dives into the legacy of Cuba's revolutionary cinema and socialist film production in order to look at its influence on the situation new independent Cuban filmmakers face today.
Cuban Cinema of the Sixties: From Myth to Reality

Cuban Cinema of the Sixties: From Myth to Reality

In the third installment of our six-part series on Cuban revolutionary-era cinema, Juan Antonio García Borrero defines the ideologies and anxieties of the filmmakers from the 1960s. Untangling the myth of revolutionary cinema from its reality, he asks, "Was Cuban cinema of the Sixties a myth invented to satisfy the anxieties of those who faced Hollywood, or is there a visible cultural evolution in all that production?"
Humberto Solas's Lucía: From the Silk Noose to the Conscience

Humberto Solas's Lucía: From the Silk Noose to the Conscience

In the second installment of our six-part series on what makes Cuba's revolutionary-era cinema still revolutionary today, Camaguey–based filmmaker and educator Oneyda González looks at the gender politics in Humberto Solas's 1968 work, Lucía.
How Are Revolutionary Cuban Films Still Revolutionary Today?

How Are Revolutionary Cuban Films Still Revolutionary Today?

For now, Cuban cinema remains terribly underrated, writes critic and filmmaker Alejandro Veciana, but in light of the current spike in interest, perhaps soon the film community will justly revere Cuban revolutionary cinema in the same ranks as other national movements like the Brazil's Cinema Novo, Italian Neorealism, or the Czech New Wave.
Revisiting and Remembering: Why Restage the Neighborhood Media Project?

Revisiting and Remembering: Why Restage the Neighborhood Media Project?

So, why look the Neighborhood Media Project, an early-’80s community screening program, now? What is the significance of remembering it? Simona Zappas concludes her four-part look at the Twin Cities–based mobile media group's brief, yet storied history, and its ties to the Walker's Adiós Utopia exhibition.
Neighborhood Media Project: Taking Control of Their Media

Neighborhood Media Project: Taking Control of Their Media

"A group of us got together and said, ‘Hey, you know, what if we were using film as a vehicle so people could tell their own stories about taking control of their media?'" Gary Cunningham, Neil Sieling, and Denise Mayotte remember the genesis, growth, and ultimate dissolution of the Neighborhood Media Project (1979–1982).
Mobile Cinema and Grassroots Screenings: Beyond the Twin Cities

Mobile Cinema and Grassroots Screenings: Beyond the Twin Cities

The Neighborhood Media Project, which screened some 60 films at community centers across the Twin Cities from 1979 to 1982, took inspiration from both revolutionary Cuba's mobile cinemas and from Cuban films included in its screening roster. Its organizers were drawn to the work of Cuban filmmakers who explored their politics and reflect them in both the form and content of their films. Cuban cinema presented a chance for these beliefs to be presented not as an alternative to dominant culture but rather as the culture and politics of the nation itself—a truly exciting concept for a grassroots leftist community group.
Introducing the Neighborhood Media Project

Introducing the Neighborhood Media Project

From 1979 to 1982, the Neighborhood Media Project hosted some 60 film screenings at community centers across the Twin Cities and the upper Midwest. Created in conjunction with the exhibition Adiós Utopia, this series chronicles the project's history, its neighborhood-based mission of providing people of color and low-income residents with "media resources for their efforts to build community strength," and its links to mobile cinemas of the Cuban Revolution.

Dates & Tickets

No dates are currently available for this event.