Asha Williams

By:Ian Carter Issue: Biennial of the Americas 2010 Section:The Americas Roundtables

Opportunities for Employment Through Technology Comes from Public-Private Partnerships

Asha Williams is the program manager of Partnership in Opportunities for Employment through Technology in the Americas (POETA), a program designed to provide information and communication technology skills to marginalized and vulnerable populations. From its inception as a pilot program in Guatemala in 2004, POETA has formed over 200 private-public sector partnerships, which enabled it to expand rapidly without sacrificing its mission or reducing its ability to effectively serve its populations. “A key part of the program is capacity building of local organizations, to ensure strong continued local support for the program’s beneficiaries,” says Williams. In doing so, the Secretary General of the Organization of American States, Jose Miguel Insulza, recognized POETA as a “star project in terms of private-public partnerships.”

At its core, POETA recognizes the importance of alternative education for marginalized populations with skills that translate directly into jobs. Williams says, “The program empowers local organizations, at-risk youth and other vulnerable populations. However, on a personal level, the greatest impact of the program is its ability to create inclusion for these young people, particularly young people who felt there was little they could achieve prior to entering the program. Oftentimes, when we speak of educational achievement, we focus on the formal school system. POETA recognizes there are too many young people out of the formal school system in the Americas who need viable chances to develop their skills. Drop-out rates are as high as 45% before 5th grade in Nicaragua and youth unemployment rates are triple that of adult unemployment in some countries.”

To address these issues, POETA is organized around five core areas of focus: POETA Centers, job-readiness training, civic education, job placement and business development, and awareness.

POETA Centers are designed to maximize the importance of technology literacy in the 21st century. By partnering with Microsoft, CISCO and others, POETA Centers educate populations in a wide range of computer skills including online research and business software programs. These centers also educate the greater communities after hours and provide internet access to unconnected populations, bridging the digital divide. Since 2005, over 176,000 community members have benefited from services provided at these centers. Since 2006, POETA has trained over 4,600 at-risk youth in job skills and since 2005, POETA has trained over 27,694 people with disabilities. Job-readiness training is provided to educate individuals who are often entering the job market for the first time. These skills include practical and necessary skills including resumé building and interviewing techniques.

POETA understands that to be successful, these populations need more than job skills. Life skills are just as important. POETA’s program includes education on conflict resolution, sexual health, and other social factors that impact at-risk youth. In doing so, POETA helps these individuals confront daily challenges and readies the youth for future opportunities. POETA has worked to create opportunities for youth in the program to apply what they’ve learned with jobs. POETA hosts job fairs and works directly with businesses to expand so that they can employ more of these individuals.

POETA reaches out to local governments and employers to show the importance of hiring from the educated, yet marginalized and at-risk population. Creating awareness of this is key to the sustainability and growth of POETA.

As the Program Manager, Williams hopes to expand the program to more countries in the hemisphere. “At-risk youth continues to be a main development challenge for many countries in the hemisphere,” she says. The POETA model is versatile and can be adapted to serve any population. Its continued success will be based on involving actors at all levels, with one common goal, the inclusion and empowerment of the most vulnerable.

An Interview with Paola Santoscoy

By: Leanne Goebel Issue: Biennial of the Americas 2010 Section:The Nature of Things When Paola Santoscoy met Adam Lerner in autumn, 2008, she had no idea that the encounter would lead her to Denver as curator of the Biennial of the Americas. At the time, she was a student in the Curatorial Practice MA program at the California College of the Arts. Lerner was still the director of the LAB at Belmar. They talked about the artist Melanie Smith with whom both had worked. Lerner then invited Santoscoy to participate in “B+ (Very Good) Explanations: An Old Fashioned Smackdown” at MCA/Denver in October, 2009. This was an event that pitted Lerner against other curators in a discussion about some of the world's most "difficult" contemporary art. A month later, Lerner sent “Punchin’ Paola’s” vitae to the Denver Office of Cultural Affairs and Santoscoy had one weekend to decide whether or not to take on the enormous task of curating an international art biennial in less than six months.

Santoscoy accepted, and her exhibit, “The Nature of Things” opened on July 1st at the 28,000 square foot McNichols Building in Civic Center Park. The building itself compelled her to oversee the exhibition. “It’s not a white cube, but a historic building in the process and stages of renovation. I thought it was a very generous space with the potential to do specific things and was a good platform to create something in terms of an exhibition project,” said Santoscoy as we sipped coffee in the Highlands neighborhood, where she is living temporarily while in Denver. Santoscoy’s talent is seen when she engages available space and artwork. She envisions an exhibit that is about curiosity and subverting the viewer’s reality.

Santoscoy is utilizing her previous experience to bring together the exhibit on such short notice. The 35-year-old has been working with artists since college and her experience includes directing two museums, a non-profit art space, and an independent art organization. But she’s found herself drawing more on the independent project experiences to help her with the Biennial. "The independent projects are put together very quickly and intuitively. And it is what it is." She invited artists, designers and architects with whom she was already familiar, and the show, she says, “self-generated.” Many of the artworks needed a counterpart or complement, a point of departure that would lead her to another artist. Some of the more ambitious projects and concepts could not be completed in the limited time frame, so another artist’s project was selected instead. In total, 24 artists participated in the exhibit; most are producing new work, something Santoscoy preferred over re-exhibiting existing projects. “The artist’s are amazing,” she added. “They really wanted to do something and they know the situation and the time frame.”

“The moment it started coming together is when the artists’ voices started entering the scene. It’s their voices, criticisms, and ideas that really made the project stronger,” she said. “Those voices and conversations are the creative core of the project. That’s what brought it to life.” She envisions an exhibit that is about curiosity and subverting the viewer’s reality.

Santoscoy knows there are a lot of expectations, but she’s realistic. “I’m doing what’s possible with the time I have and the resources. There are some truly amazing projects being developed for this exhibit.” Jeronimo Hagerman is producing his largest installation ever in the U.S. for “The Nature of Things.” That includes an exterior exhibit using plants. Teddy Cruz’s project involves documenting an architectural phenomenon happening in San Diego, where old houses are being moved to Tijuana instead of being torn down. Gregory Euclide, a Minnesota artist represented by Denver’s David B. Smith Gallery, is creating a large installation that explores the relationship between man and nature. Karlo Andrei Ibarra, an artist from Puerto Rico, is exhibiting a neon sign that reads, “Yo vivo en Estados Unidos.” It will be powered by a solar panel attached to the building. Gabriel Acevedo Velarde from Peru is creating a new video installation about vandalism in Lima. Rael San Fratello Architects from Oakland, California, who are most well known for their “Prada, Marfa” project, are presenting an algorithm that localizes underdeveloped urban spaces. “We are planting seeds to spark conversation. I believe in the works I selected, but there are parts where the connections are stronger and others are not as strong,” said Santoscoy. In the end, “The Nature of Things,” which is taken from an epic by the Roman poet Lucretius, is about perception and how we see the world. Lucretius believed that periodically a few enlightened individuals could escape from human hungers and passions. They found compassion for humanity rather than viewing man as ignorant, unhappy and unsatisfied. Just as Lucretius’ poem was overly ambitious in attempting to explain different phenomenon in the universe, the exhibit is also ambitious in bringing to light issues that are current and relevant in all of the Americas--not just the U.S. The art will be incongruous with the hermetic exterior of the building. The exhibit promises to be challenging and to raise questions about the nature of art today.

This article originally appeared online for adobeairstream.com. Adobe Airstream is an online magazine that covers every facet of arts and culture. Adobe Airstream’s senior editor and writer, Leanne Goebel began blogging in 2005 at leannegoebel.com. In 2010, the blog took first place in Top of the Rockies best arts blog in Colorado. In 2007, she was a Creative Capital | Andy Warhol Foundation Arts Writers Grant recipient.

A History of the McNichols Building

By:Emily Haggstrom Issue: Biennial of the Americas 2010 Section:The Nature of Things





















Just after the Gold Rush, which brought early miners and settlers to the base of the Rocky Mountains, the small town of Denver became known as a fast growing urban epicenter of the west for many rural dwellers looking to get rich quick. The flood of immigrants made for higher birth rates and an increased number of people inhabiting the city.

Most of all, you can see the creatively eco-friendly footprint they have left on the McNichols building alongside each layer from architects of the past.

During this time, the City Beautiful movement of the 1890’s was gaining momentum in towns and cities across the nation. It wasn’t until then that Denver Mayor Robert Speer jumped at the opportunity to turn the city of Denver into an urban sprawl of parks, civic centers and streets that would eventually make up Denver’s most historic focal points. The City Beautiful movement brought Denver many great cultural icons including the Greek Revival designed Denver Carnegie Library that was to sit at the center of the developing Civic Center Park.

The movement captured the hearts of politicians and citizens across the city. When the Beaux Arts library finally opened in 1910 it featured 3-story Corinthian style columns, grand floor-to-ceiling windows and a beautiful skylight that allowed sun onto the third floor black and white mosaic tiled atrium which displayed open book stacks, an art gallery and a place for children to play. The elegant building was the first installation of many in Speer’s dreams for a grand Civic Center. Eventually, the park functioned as a center for social gatherings and as a parkway between government buildings, with the library serving as a principle place for learning in Denver’s growing downtown. In 1955, the library eventually outgrew its space and for the first time since it opened, the lavish building sat empty.

That same year, the Denver Water Board relocated its offices to the old Carnegie Library. The space once wrought in decadence had to be toned down to accommodate office workers. What was supposed to serve as a remodel actually masked the original natural light, decorative beauty and architectural integrity of the building.

The mosaic tile that had ushered guests in to learn was covered by drab carpet. Grand archways and vaulted ceilings were replaced with drop ceilings. Windows that were created under the Carnegie motto, “Let there be light,” were soon covered up with mold and plaster. Carved crown molding and support columns were hidden with drywall, and the grand skylight was filled in with concrete. Even the majestic staircases were boarded up and closed off. It was then renamed the McNichols Building after Colorado’s 35th governor, Stephen McNichols.

Just as the library had expanded and vacated the space, so too did the Denver Water Board, once again leaving the building unoccupied. Decades passed and the building stood stoic, in time going unnoticed by residents who passed through the park or visited the City and County Building.

Finally after years of being overlooked, The Biennial of the Americas organization chose McNichols as the site for its main stage. With funding gathered by the Biennial organization it became possible to renovate a once spectacular building that over the years has become a decrepit, unused and withering landmark. The McNichols building has since been stripped of its 1950s make-under by the architectural group, Tres Birds Workshop, which turned the mold and asbestos infested structure into a well-lit usable space. Let’s be clear though, this building is by no means back to its former glory, but as its sole purpose was to house an eclectic exhibition of art from around the Americas, Tres Birds constructed a raw, rough space that in itself is a piece of art.

Design principals Mike Moore and Shawn Mather of Tres Birds tore out years of terrible architectural cover-ups. After all the demo work was completed, the original character of the building was restored. The original crown molding and brick and mortar from 1910 replaced the modern day plaster and paint. The splintered-wooden frame under the now concrete filled skylight whispers of age old elegance and beauty. In the atrium, out from under the roughed concrete floor peeks mosaic tile. The newly raw columns and beams reveal the unwavering strength of the building that has sustained years of neglect.

Moore and Mather are proud to see what the building has become and allude to the potential that its future holds. You can see their personal touches in the recycled Colorado beetle bark accents and the modern lime green media room dubbed the “Kids Patch”. Most of all, you can see the creative eco-friendly footprint they have left on the McNichols building alongside each layer from architects of the past. Whether Moore or Mather are involved in the next phase of the McNichols renovation is still to be decided, but one thing is for sure, they will leave their indelible stamp on the building and become a part of its incredible history. Controversy and civic pride will hopefully play a part in the development of this cultural iconic structure so that it does not get lost among the fray of new buildings and restorations being done around the park and the gentrifying neighborhood.

McNichols housed the Nature of Things, an exhibition that featured 24 static pieces created by artists from across the Western Hemisphere. The diverse compilation of contemporary art depicted themes of the Biennial which included innovation, sustainability and community. To promote cohesion and collaboration, Nature of Things curator, Paola Santoscoy, commissioned Mexican artist Jeronimo Hagerman to create a site-specific installation on the façade of the building that would attract visitors with its dynamic aesthetic principles. Lime Green Corinthian over Saturn Dublin, 2010, drapes pink fabric to shade the entrance of the exhibit while the Corinthian columns were transformed to represent palm trees seen throughout the Americas.

After the Biennial concludes and the static exhibits are gone, rumors of preliminary plans include possible shops, a restaurant or a museum. However, long-term plans are currently in the hands of the city’s residents, Denver’s Cultural Affairs Office, and the Civic Center Conservancy. The building, which would have been considered a historic landmark and preserved under bond money through Denver’s Historical Society, has since been removed from the list of historical buildings when it was deemed part of the museum complex that sits across the park.

Controversy and civic pride will hopefully play a part in the development of this cultural iconic structure so that it does not get lost among the fray of new buildings and restorations being done around the park and the gentrifying neighborhood. One thing is for sure, anything will be better than seeing the iconic structure sit empty for another 50 years.

You Are Here

By:Emily Haggstrom Issue: Biennial of the Americas 2010 Section:The Nature of Things

An Exhibition of Leading Contemporary Canadian Artists

For local artists, this year’s Biennial was a chance for the modest art community of Denver to showcase its talents and continue momentum that has been steadily growing over the past decade. It was a way to change how American dealers, collectors and artists viewed the city.

Denver is not usually considered one of the more notable art communities in the United States. Not because it lacks the talent but because it lacks the exposure. Avid collectors seek art markets like Santa Fe or New York when choosing to purchase high-end mediums from dealers and individual emerging artists.

Ivar Zeile, owner of Plus Gallery in the up-and-coming neighborhood of Five Points in Denver, is normally considered one of the leading community-oriented commercial galleries in Denver with its high concentration of work from local contemporary artists. However, during this Biennial, Zeile sought to exhibit some of the leading emergent artist in contemporary Canadian art.

In conjunction with Suncor Energy, the Canadian Consulate General and the Biennial of the America’s, Ziele featured innovative work from five profound artists around Canada. And while most of the city and its visitors focused on the countries of Latin America and their rich and diverse cultures, Zeile felt it was important to focus attention on a country, which despite its trading and allied status seemed to appear somewhat insignificant throughout the course of scheduled events. Denver is not usually considered one of the more notable art communities in the United States. Not because it lacks the talent but because it lacks the exposure.

“While the Canadian cultural system provides tremendous support to artists and the creative sector, the geographic proximity and political standing of the country tends to reduce a great deal of effort to the margins,” reads Ziele’s exhibition release. Like most artists, breaking out onto the international art scene is hard enough, but when a country is less known for its creative culture and more known for outrageous stereotypes, it is hard to garner legitimate attention. This common misconception has caused many avid art collectors and reviewers to overlook a country that is not only extremely worldly but rich in creative artistic expression and more importantly, close enough to be involved in the artistic community.

“You Are Here” displays work over a variety of mediums that Ziele hopes will stimulate and push the envelope of what people consider contemporary art. By featuring this selective group, he is capturing all that is happening within the contemporary art scene in Canada. Each piece was handpicked because of its ability for the viewer to lose himself in time and place.





















One of the show's most illustrious artists, ceramic sculptor Brendan Tang, was recently named as a finalist for Canada’s prestigious national Sobey Art Award. His unique combination of traditional porcelain from the Chinese Ming dynasty era and French gilded ormolu blend into and almost drape over Japanimation prosthetics and manage to create a concise window for pop-art fanatics to peer into age old elitism. The contrast of color, sheen and time-periods in his pieces are immense, and the attention they command is equally similar. You Are Here

CGI artist, Alex McLeod who is garnering acclaim in Toronto’s Museum of Contemporary Canadian Art lent graphic ecological environments that twist and turn the viewer’s eye. His use of digital 3D to create art is one-of-a-kind. Each large print depicts a hybrid space that is neither a static nor dynamic piece. Its marshmallow clouds, rock-candy icicles and trees, mixed with sugar glazed virtual fantasy worlds keep the viewer lost in its unidentifiable scale of time or place.

But it was Canadian painter, Andrew Rucklidge’s Landscape’s in Peril that a traditional view of contemporary aesthetics came alive. His use of mixed-media on canvas and dark paint portray an almost ominous scene. Each cryptic landscape has no beginning or end, is no place but yet is everywhere and is a confusion of a time of solitude after what appears to have been a declaration of war on nature.

Multi-directional international solo-exhibitor Luke Painter displays lifelike ink drawings that seek to boggle and re-direct the mind. Displayed at the exhibit was a depiction of a person atop an indistinctive dwelling or figure, with marshy cattails sprouting out through an endless wooden-desert landscape absent of a horizon. The artist's drawings do not stray far from his stylized flash animations of eccentric urban environments. And while Zeile has an innate ability to choose art that bursts onto the "canvas" through forms such as sculpture, paintings, and graphic art, his final artist was and continues to be a familiar face of Plus Gallery, Douglas Walker, who unveiled a selection of work for an upcoming 2011 museum tour. Painting in only blue and white, Walker creates each piece on a diverse medium and uses atypical elements to apply each effect to that specific painting. No pattern is alike and each thin stroke invokes the artist to splash, trace and meander his brush across the piece. Visitors to his traveling museum will be surprised just how much an artist can do with what is typically considered "less."

Zeile is confident in his artistic talents and he has been asked to move his gallery to Denver’s eclectic Santa Fe Art District. But, he finds a sense of peace in staying put. He finds a sense of solidarity in knowing that his pieces are displayed in an area that is nestled amongst luxury condos and vagrant housing alike. Collectors and enthusiasts can be thrilled by his visionary creations. You Are Here and its artists solidifies Ziele’s ability to capture and bring attention to some of Canada’s most cutting edge pieces right in the heart of Denver without the notoriety or placement within Denver’s art district.

Hip-Hopping Into the World of Dance

By:Emily Haggstrom Issue: Biennial of the Americas 2010 Section:The Nature of Things

An Interview with Cleo Parker Robinson

There’s something very harmonious about Cleo Parker Robinson that resonates in everything she does. She is a product of her time, engineered to sway and dance while listening to beats and melodies of music. There is a sincere warmth and exultation of love when she speaks. She radiates a happiness that is deep-rooted in her soul.

She grew up to biracial parents in the Five Points neighborhood of Denver, which at the time was considered the “Harlem of the West” and a predominantly African-American community. During her youth, Five Points was a mecca where people from all around came to experience the best of what was coming out of its culture at the time. The neighborhood, historically known for visitors such as Miles Davis and Duke Ellington, brought powerful energy through music and movement that reverberated throughout the community. The nation and her neighborhood were just emerging from behind the Jim Crowe laws. Races and cultures were coming together. Robinson learned how to live with less and celebrate more, a lesson she was taught by her parents.

She began teaching dance at the age of 15, and by 22 had started Cleo Parker Robinson Dance, which has become an institution for dancers around the world. She has traveled the globe bringing dance to the masses, received awards for excellence and taken her ensembles to prestigious festivals and performing arts complexes across the country.

She resides in Denver, not by accident but by choice, and has become a cultural icon known throughout the performing arts community. She is a pioneer for her time; a great collaborator known for bringing cultures together and creating a philosophy that dance really is a way of life.

ICOSA: What did it mean to you and your company to be chosen as a participant for the Biennial of the Americas?

Robinson: It was really quite an honor. We knew how important this was to our community and to the country and to have such a celebration here in Denver is incredible. To be in that connection and that network was really very special. I think some of the things that we’ve been doing over the last 40 years just tied right in to everything they (the Biennial organization) were doing. Especially with our international summer dance program and celebrating Latin America throughout our history and our youth program is similar. We’ve been working on these for a number of years now bringing in the whole Latino and Hispanic culture and how it relates to the African diaspora and we’ve been doing this for a long time. "It also helps us see how our roots are so absolutely intertwined; that we really are one spirit with many voices. - Cleo Parker Robinson

ICOSA: Cleo Parker Robinson Dance performed with five companies during the Biennial. How did your performance play into the organizations themes?

Robinson: We’ve been working with Jeanette Trujillo-Lucero, Founder and Artistic Director from Fiesta Colorado and Artistic Director Lorenzo Ramirez of Grupo Folklorico Sabor Latino and it was an opportunity for our community and our neighbors right in Five Points, which is growing and "becoming" all the time, to see their local dance companies and their ensembles in their colorful costumes performing the history of the Spanish and the Aztec cultures and seeing how they integrate and come together throughout that history. Our goal was to combine that with our company which has been together for 40 years now with an ensemble that’s quite diverse and focuses on the style of Katherine Dunham who worked for years all over Latin America bringing in the cultural richness of these countries and celebrating them. And that’s what I’ve been doing all these years is following in her legacy. She was such a cultural icon and ambassador and I think she would be pleased to see our cultures come together through the Biennial.

ICOSA: How does your company exude innovation, sustainability, community and collaboration in your everyday business?

Robinson: We’ve found that being unique in Denver means we have to keep meeting the needs of the community, and we have a very diverse community so we’ve always been celebrative and sensitive to their needs. Having a year round school is really one of the ways that we deal with that. We teach everything to keep the body, mind and spirit together and we focus on that unity. We teach all ages, providing programs to seniors and children in the immediate area. A lot of times these programs are free…I think they are some of the most unique programs to allow the students their own creative voices. They are learning all about their cultures by creating murals and poetry around them with music, rapping, recording, filming and, of course, dance to find that creative voice to sustain a community. We are also always partnering with cultural institutions and are in the schools collaborating, offering support to many of the principals and educators who don’t have the expertise within their schools because funding has been cut so much.

ICOSA: Now that the Biennial has concluded, how do you feel about the city of Denver bringing the event here?

Robinson: I think it has uplifted everyone. There is such a higher energy and there is a greater awareness of the contribution of the Americas. I believe that will continue. I think that heightened awareness and celebration will last a long time and we can all keep building on it.

ICOSA: What does it mean to the performing arts community?

Robinson: For us, often times, we don’t see the diversity celebrated enough and I think this gives us permission to celebrate all the time rather than during a particular season, period of time or special affair. For us at Cleo Parker Robinson it will be integrated into our curriculum as we go into the schools and travel the country and around the world. It’s a great bridge to breaking down barriers and it helps encourage people to be bilingual. It also helps us see how our roots are so absolutely intertwined; that we really are one spirit with many voices.

ICOSA: In your opinion, why do you believe it is so important to keep these old cultural dances alive?

Robinson: First of all, it’s like opening your eyes every day and seeing the extraordinary diversity all around you. Like the food you eat, we also need to give ourselves a spiritual feeding. When we know our roots and we feel our roots and we are connected to the fantastic array of music and dance, we can see ourselves and we can see ourselves in each other. I think it makes for a more peaceful and a more powerful society. I think it is a truth.

ICOSA: Do you and your instructors try to help your multi-cultural students understand each other through folkloric dance?

Robinson: Yes, I think it’s just providing the right opportunity for our students to choose and find themselves because people are so diverse. Many people don’t even know their own backgrounds and I think what it does is encourages them to look broader and deeper and to continue to discover themselves and experience true joy. I’ve had students who say they didn’t even know about their cultural history or even how they felt about it because they are always growing. I think for students of all ages and backgrounds we provide the opportunity to come to the studio, which is a universal place for everyone with or without money, to explore their own culture or somebody else’s culture, and to find the human voice within it until it empowers them. It helps them feel better about themselves and the way their own world is.

ICOSA: In your lecture series at the University of Colorado, how do you discuss the role cultural arts plays in social transformation?

Robinson: I think we are all raised reflections of society, in society, and art itself is a reflection of society. So we’re forever working within those social structures and in movement itself. As we learn the dances and create the dances, we realize that they are not isolated from what’s going on socially. I think we as artists choose how much we want to focus on social transformation. I’ve always been one because I came out of the 70’s; it was a time when we saw change take place because of the social consciousness of the society but also because of the direct role artists played in helping to create that transformation. So, I come from that and, I know how important it is and, I know how powerful that is. My works, I hope, have always been socially relevant and I talk about racism, sexism and all the “isms.” I start with racism because I think it is such an engrained product of all of the colonialism that’s gone on throughout the world. So, as we talk about the Biennial we are also talking about an aspect of that, and how it has shaped our attitudes about religion and the roles men and women play. They’re all based on those historic social factors. We should never have anyone who cannot have the opportunity to experience the arts and the best of them, the excellence, and so community and excellence should be synonymous.

ICOSA: In 1999 you were appointed by President Clinton and confirmed by the Senate to serve the on National Council on the Arts that advises the Chairman of the NEA on agency policy, programs and grant applications. Through your service how did you increase potential for programs like yours?

Robinson: Through the council, I have a great opportunity to see everything that’s going on in the country; it’s a powerful experience. Talk about diversity. We see people in Appalachia being as creative as people in New York City, in the middle of these Broadway shows where there is extraordinary creative magic. But we see it in some of the least expected areas, in some of the smallest communities because it is really about people and creativity. I’ve learned a lot about access and about making art and experiences accessible to everyone and about the kind of effort and sacrifices people are making to see that happen. It was inspiring for me. I think just my knowledge of it at every point, I used that information, and every decision I made was around that insight and awareness.

ICOSA: With all of your experience and expertise why did you choose to stay in Denver instead of moving to performance centered cities such as New York, Chicago or Los Angeles?

Robinson: I think it was very simple. I loved growing up in Denver. I was born in Denver and raised in a community that has been rich in my spirit and yet I saw things in other communities that I wanted to happen here. I knew if I left I couldn’t see it take place or make sure it happened here. I thought, we should never have anyone who cannot have the opportunity to experience the arts and the best of them, the excellence, and so community and excellence should be synonymous. We should be able to have them at the same time. It could be a pioneer community by doing things that people had never seen done here before. If I didn’t do it, who was going to do it?

Cultural Partners

By:Brittany Noland, Emily Haggstrom, Tessa Harvey Issue: Biennial of the Americas 2010 Section:The Nature of Things

Galleries and Museums of the Biennial

Denver’s Biennial of the Americas brought civic leaders, heads of state, government officials and ambassadors from around the Western Hemisphere to celebrate cultural diversity along with the cohesion and collaboration of our partners within the Americas. However, it was evident that to stay in line with the theme of classical biennials, Denver would need to include not just strength in politics but its support for the creative arts and the communities across the Americas.

Notable citywide cultural and artistic centers housed exhibitions that would feature art, ideas and innovations of the diverse cultures of the Americas. With 39 participating venues, guests and locals had the pleasure of visiting a variety of exhibits in locations across Denver and its surrounding metropolitan area. Featured below is a sample of representative galleries and museums that participated in the Biennial.

Museo de las Americas – Liberadores

The Museo de las Americas was one of the satellite locations for programming and was an intrinsic part of the Biennial experience. The opening on June 24 of the exhibition Liberadores, curated by executive director Maruca Salazar, was the first of the Biennial events in the city. Selected by a jury, the exhibit features artists from across the continent including Xavier Cortada, Miami/Cuba; Ana Maria Hernando, Buenos Aires, Argentina; Cliff Fragua, Jemez Pueblo, USA; Liliana Folta, Argentina; Oscar Muñoz, Popayán, Colombia; Daniel Salazar, Denver, USA; Fernando Sanchez, Puerto Vallarta, Mexico; Paula Winograd, Bogotá, Colombia; and Seth Wulsin, New York, USA/Argentina. The exhibit was comprised of a variety of media from sculpture to film, and covered everything from the liberation of the Pueblo in the Southwest to the Chicano movement in the 1960’s.

July continued to be an exciting and busy time for Museo. Museo hosted a film night in collaboration with Su Teatro which featured films by internationally renowned performance artist Guillermo Gomez- Peña and director Daniel Salazar. Guillermo also held the world premiere of a performance piece created especially for the Biennial called Strange Democracy. In his honor, Museo held a garden party that was attended by community members, Biennial staff and Mayor Hickenlooper. Other highlights from the month included a performance by the Colorado Chamber Players. The gallery transformed into a magical space as music composed by Silvestre Revueltas, Miguel Chaqui and Astor Piazzolla filled the air. That same week, Miguel Tarango presented a web discussion, called Digital Isolation. He arranged a conference with participants from around the continent that included a professor, a performing artist and a graphic designer. They enlightened guests with their thoughts on how digital media can isolate cultures from one another based on their access to the Internet.

Flobots.org, the non-profit organization founded by the Flobots, brought two local groups of youth, Bridges Without Borders and the Minor Disturbance together for a slam poetry presentation. The youth explored how borders and walls intersect lives. Their poetry reflected on relationships between countries like the United States and Mexico, and Palestine and Israel.

During the month, Museo also hosted workshops and tours of the Liberadores exhibition and hosted the second annual Museo de las Americas Summer Camp. This year’s theme was heroes, to coincide with exhibit and Biennial ideals. It incorporated visual arts, dance and music to provide students with a more holistic experience and was sponsored free of charge for DPS students in grades K-6.

The Museum of Contemporary Arts, Denver (MCA) – Energy Effects

MCA curators, Adam Lerner and Paul Andersen approached the Denver Office of Cultural Affairs to construct an exhibit that would correspond succinctly with the themes of sustainability, innovation and art for Denver’s inaugural Biennial. After careful consideration and thorough planning, Andersen and Lerner retooled an exhibit that had been in the works to include artists from across the Western Hemisphere, and finally Energy Effects: Art and Artifacts from the Landscape of Glorious Excess was produced.

With an established exhibit, MCA became one of the citywide cultural partners that would lend to the creativity and imagery of the newest international event to descend on Denver. MCA’s large scale exhibit, Energy Effects, explored the U.S. culture's definition of energy and its relationship to sustainability. The exhibit encouraged visitors to discuss energy in an enlightened way and to look at other perspectives on energy. Andersen explained that people have more than they need to sustain life and it is that leftover energy, that excess, and what people decide to do with it that really gives a culture its identity. "Art doesn’t fit easily into discussions of conservation because, it’s by nature, an excessive practice; it’s not something we need in order to survive." - Paul Andersen

This large scale exhibit started in the parking lot across the street of the MCA with a life-size, site specific, recreation of Gonzalo Lebrija’s, Entre La Vida y La Muerte, originally done in video and lambda print. The installation, which featured a remodeled classic car, hovered over a large metal core in the center of a carved out pool in a nose dive into what appeared to be a head on collision of object and earth. The recreation paid homage to Lebrija’s original work done two years earlier.

Inside the MCA, visitors were left captivated at not only the sheer size and scale of each piece but the amount of energy that had to have been spent to create these enormous works of art. Hanging directly overhead, completed by Orly Genger, were hundreds of mathematically rigorous metal catenary surfaces enveloped entirely in beige cashmilon. This arduous piece spanned the entire width of the third story above the museum hallway. Some sections of this organic looking piece had additional sub-divided curves that hung from its ends, which then was subdivided again and hung off the next until it appeared to sag almost seven feet off the ceiling. It looked as if a blanket of crocheted cashmilon was covering an area of coral reef.

What was so interesting about pieces throughout this exhibit was the time, effort and desire to see experiments carried out. Each work was clearly time tested through logic and mathematical equations, and some were even outside the traditional view of contemporary art. The exhibit featured not only art, but it also illustrated events, scientific experiments, and phenomena.

The exhibit's relation to the Biennial drew towards the connection of energy and conservation and how to develop a more complex understanding of what conserving energy truly means. “Art doesn’t fit easily into discussions of conservation because, it’s by nature, an excessive practice; it’s not something we need in order to survive. If you use your energy to create art, scientific experiments, or a spectrum of things in between, it’s not bad,” said Andersen. So as people conserve their energy it also challenges them to use that excess energy to create amazing works of art that provide aesthetic effects for people, instead of creating something like war.

The exhibit also featured a 126-pair collection of used sandals created over 17 years by Viviane Le Courtois; a Titan IV Rocket Engine that was considered for a mission to Saturn; two B61 Thermo-Nuclear weapons that were never used; a full-scale particle accelerator created by an artist who built the machine solely from a set of blueprints; a small-scale view of the Statue of Liberty built within the eye of a needle in which the artist worked through his heartbeats to create; and a video of a man’s journey across America.

Capsule – Objectophilia

During the summer months, it is typical of many people to clean out their closets and garages to hold yard sales. They do this to get rid of things they don’t need, reorganize their houses, or downsize. With every object they find in their house there is one question that arises, “Do I need this, or should I get rid of it?” Many people consider it for a second and move on to the next object without ever worrying about it again. There are, however, a large number of people who are caused great anxiety over getting rid of their belongings. Some of these people are considered hoarders; their houses end up so full of unnecessary items, that the space can get to the point of being unlivable. Sometimes, people’s appreciation for and inability to detach from objects turns into objectophilia, a condition described by artist, Lauri Lynnxe Murphy, as a love of objects so intense that individuals form emotional relationships to inanimate things.

It was this idea that inspired Murphy to resurrect her former gallery, Capsule, for the month of July, to put on a show that spanned 20,000 square feet of space over two locations. Objectophilia was a vintage-inspired show of impressive scale. The second largest exhibit of the inaugural Biennial of the Americas showcased the works of 48 artists and was also the only exhibit that featured works from the Denver art scene. This was important to Murphy, not only the show’s curator, but a known local art activist, who stated that it is, “Important to see that Denver has culture and doesn’t just import culture.” Seventy percent of the exhibit was comprised of works from the Denver area.

Objectophilia was made up of art created from plates, trash, books, Christmas bulbs, rope, doll heads and many other, sometimes quirky, objects. One striking example was that of a dog named Sparky. The sculpture created by Claudia Roulier was structured using a taxidermy form as his base. His taxidermy eyes gave him "life;" he was like Frankenstein, made up of mismatched parts. He had sprigs of synthetic hair sprouting from his head, nuts, bolts, screws, even an old bike chain protruding from his painted body, all standing stoic on ceramic feet. Objectophilia was made up of art created from plates, trash, books, Christmas bulbs, rope, doll heads and many other, sometimes quirky, objects.

Being near a large mass transit station and close to businesses, the location off 16th and Delgany in downtown Denver got a lot of unforeseen foot traffic. Passersby would wander into the space to take a look around, probably never having had the intention of viewing art when they set about their day. A group of construction workers from across the street even walked in one day. They were overheard muttering about how they didn’t understand art; nothing they saw made sense to them, until they saw Sparky.

Objectophilia was a show of layered messages. It exemplified the love of objects and simultaneously a frustration with the restrictions of keeping objects, and for one artist, a hatred of her mother’s hoarding. It also channeled the destruction that creating objects can have on Earth. The viewer experienced an almost voyeuristic feeling when viewing all the items that belonged to someone. It was a feeling as if one was looking into the past and experiencing certain emotions, depending on how the items were arranged. Whether they loved the objects, wanted nothing to do with them, thought there were too many of them, or had a blatant yearning for nature, the show certainly tied into the ideas of innovation, art, sustainability and community of the biennial. Objectophilia was comprised of non-traditional art and most assuredly left a stamp that Murphy hoped it would - that Denver's art scene is strong and thriving.

Denver Art Museum – Shaped by Culture: New World Landscapes

While there are great civilizations that existed throughout pre-Colombian Central and South America, most have disappeared or been conquered. However, there are many that still exist and continue to thrive in the very regions they’ve been rooted in for centuries. And while there are many of these civilizations and sites to explore, it is Edward Ranney’s depiction of Peru that stands at the forefront of the Denver Art Museum's collaboration with the Biennial of the Americas. Shaped by Culture: New World Landscapes, is a presentation of 30 black and white photographs from historic pre- Colombian sites in the Americas.

Encapsulated within the existing New World department, which displays work from before the Spanish Colonial era, photographer Edward Ranney captures the existence of Mesoamerican creations through the lens of his camera, showcasing the enigmatic architecture of the ancient Incan and Moche civilizations. Shaped by Culture: New World Landscapes, is a presentation of 30 black and white photographs from historic pre-Colombian sites in the Americas. The depictions allowed visitors to understand the culture of these ancient people and their magnificent creations.

“Ranney has shown a singular devotion to the Americas,” said photography curator Eric Paddock, who worked closely with the artist and chief curator Margaret Young-Sanchez to select the works. “His work has developed, and his knowledge of these places and the relationships between their environments is both beautiful and wise.”

His photographs reflect the passion Ranney has for the region, the rich culture and unbelievable knowledge of the indigenous people. Displayed within the photographs are sacred temples, sacrificial sites and huacas, alongside barren coastal plateaus and valleys of a lost empire that spanned countries. Further stills reveal carved out agricultural ridges that make up the countryside of Peru and stone work so precise that architects and stone masons still remain confounded at the spectacle.

These images are part and parcel to the current landscape in Peru and have been adopted from the old culture into the new generation of Peruvians, Ecuadorians, Chileans and Bolivians. And while sites continue to be discovered and explored, people like Ranney will continue to illuminate the surviving beauty of these places and what they represent. It is Ranney’s perspective that gave visitors an unblemished understanding of the past and present of these cultures and how each one has been absorbed into the current landscape to create a natural environment that will continue to be alive and revered for decades to come.

Shaped by Culture: New World Landscapes by Edward Ranney will run through September 26, 2010, in the Denver Art Museum’s New World Galleries.

The Counterterrorism Education and Learning Lab – Anyone, Anytime, Anywhere

When this inaugural event was being produced, it was important for both the C.E.L.L. and the Biennial to address the most salient issue of modern time in conjunction with Western Hemisphere allies. While most galleries sought to show their dynamic cultures through art and dance, the C.E.L.L. broached the poignant issue that faces each country throughout the Americas, some more personally then others — terrorism.

“We recognize that terrorism is a global issue and that our Western Hemisphere allies and partners in this particular front are very important for that type of transnational security operation to happen. The Biennial recognized that and we ultimately hosted a forum in which 800 people attended. And while there are so many wonderful things to celebrate with our allies, there are also things in which we need to be very serious about,” said Executive Director Melanie Pearlman.

Located within Denver’s museum complex sits the C.E.L.L., a non-profit institute that is dedicated to educating citizens about the threat of terrorism and empowers them in ways to mitigate the threat. Through relationships with several think tank organizations, this organization continues to create programing that is relevant and timely through research of evolving and emerging threats.

It is the only exhibition of its kind, due to the difficult subject matter, that in itself is inherently violent, continuously evolving and extremely politically charged. Creator Larry Mizel, through other museum ventures, realized how powerful exhibits could be to convey very difficult subject matter. He felt it was important to address terrorism since the issue is not going away.

This 6,000 square foot state-of-the-art multimedia exhibit was created in such a way that content, related to new terror attacks could be updated within the exhibits system almost immediately. Foremost thought leaders from think tanks across the United States helped to develop content while Emmy® and Academy® award winning designers and videographers helped to align content the way viewers see it. To ease and orient visitors through the exhibit, questions about terrorism are illuminated on the floors and ceilings, while patrons journey through the exhibition. “We recognize that terrorism is a global issue and that our Western Hemisphere allies and partners in this particular front are very important for that type of transnational security operation to happen." - Melanie Pearlman

Just within the entrance, the exhibit climaxes virtually instantaneously with Faces of Terror, which flashes images of bloodied victims, crying faces and streets filled with mournful citizens. Just above the images, names of victims in these terrorist attacks from around the world scroll across a red-lit LED ticker screen that snakes through the wall and into the next room.

It is here that visitors are equipped with a card that represents a victim of terror whom they will follow throughout the exhibit to find out just what became of their stolen and shattered life. Within the automated doorway, visitors are led to Terrorism Within Our Time, which features a series of interviews and riveting videos regarding the history and evolution of terrorist attacks over the last 25 years. It explains terrorists' mind-sets, ideologies and tactics. It reviews the types of organizations and the attention they attract while simultaneously questioning the intent of these domestic and international terrorists.

Because terrorism is a global threat, the next doorway leads to Terror Strikes Worldwide. Inside visitors scan monitors playing 30 different Associated Press videos with commentary following attacks such as the bombings in London, Madrid, Colombia and Japan. Each video seeks to convey the ideologies these different terrorist groups and individuals professed in an attempt to justify their attacks. Across from these screens, is text from The Memorial Institute for the Prevention of Terrorism’s assessment on The Evolution of Terrorism and the Threats that Exist, which is embedded into a map of the world. Underneath is another exhibit titled The World Speaks – Condemning Terrorism and Condoning Terrorism. This displays quotes from demagogues inciting violence and on the reverse of the double-sided placard reads a quote from world leaders condemning terrorism.

The rest of the room displays exact replicas of bombs used in specific attacks, while the opposite wall features different everyday items used to create and/or disguise bombs. After a timed countdown, visitors are then led to a room with floor to ceiling monitors that show the outcome of a terrorist attack. These screens simultaneously flash intense scenes from the prior room’s display and shows women, children and men in a scene that only evil could perpetuate.

The last room guides visitors through facts and myths of terrorism and what is being done not only from the side of victims and policymakers, but from the terrorists themselves. Juxtaposed videos demonstrate how these groups continue to incite violence and what is being done to mitigate such violence.

With its sterile simplistic environment, access timed entryways, gripping sounds and vivid imagery; the C.E.L.L. elicits deep substantial emotions from its visitors. This exhibit may seem that it is not for the faint of heart, but each citizen should and must understand the roles of terrorism and just how to detect and defend against them.

The Nature of Things

By:Susannah Connell Issue: Biennial of the Americas 2010 Section:The Nature of Things

An Artist Exposé By Susannah Connell

The Nature of Things was chosen as the primary exhibit for Denver’s 2010 Biennial of the Americas. Located in the newly renovated McNichols building, the exhibit was showcased over three floors as well as on the exterior of the Civic Center Park location. Serving as the main showcase for 24 artists from various countries within North, Central and South America, The Nature of Things gave a beautiful representation of the varying artistic styles throughout the Americas.

Artists were hand picked based upon how their chosen aesthetic fit into the overall Biennial themes of sustainability, innovation, community and the arts. The Roman poem De Rerum Natura (On the Nature of Things) served as the inspiration for the exhibit, laying the groundwork for a discussion of the Western Hemisphere and the voices within. Through differing countries, diverse backgrounds and innovative artistic mediums, Denver was bestowed a brilliant gift of cultural history with a fully encompassing perspective of the Americas.

Lime Green Corinthian over Saturn Dublin, JerόnimoHagerman

The Biennial of the Americas main stage was held at the McNichols Building in Civic Center Park. As the face of the Biennial it was only appropriate that the building’s facade be outfitted with its own unique site-specific “vegetation intervention.”

The iconic three-story Greek revival temple’s Corinthian columns were draped with pink fabric representative of canopies over outdoor markets in Mexico, and then topped with planters that emblemized palm trees of the southern part of the Western Hemisphere. Created by outdoor artist Jerόnimo Hagerman, Lime Green Corinthian over Saturn Dublin, 2010, presents an aesthetic dynamic that connects outside visitors to a familiar place, while drawing the locals in to a scene they might only find in a city somewhere in Central or South America.

These Corinthian palm trees hover over the handmade lime green Acapulco chairs that lie in wait for visitors to stop and rest their feet in the cascading pink shade, while contemplating their relationship to nature. Once inside, through the expansive windows, visitors can perch atop pink tinged palm trees and observe the art that is both inside and out.

Hagerman creates a tropical fantasy to change visitors' current realities and to draw them into the complexities between, “the human dimension and the vegetative world.” Each of Hagerman’s projects were meant to lure the viewer into a different place and time. They provoke social awareness and present a situation for people to react around them.

United, Cypher13 Design Studio

Welcoming the public to have a seat and begin the exhibit with an open dialogue on the Americas is United, a 17-foot long interactive, three-dimensional foam map of the 35 nations commissioned for this event. The piece provided functionality as a comfortable gathering place while also prompting open discussions with its white color. The geographical shape was the creation of Cypher13 Design Studio out of Boulder, Colorado. The design team of Todd Berger, Alex Henry and Lucian Foehr created a platform for guests to cross borders physically and mentally all while opening a space for the most important detail — communication.

Continental, Karlo Andrei Ibarra

Powered by a single solar panel and glowing in neon light is Continental, a text piece created by Karlo Andrei Ibarra of Puerto Rico. Stating, “I live in America,” but written in the Spanish language is meant to help viewers think past the standard idea of America as the Western Hemisphere. The word America is typically used to describe the United States of America, which in turn allows the other countries completing the continent to be forgotten and the former to be over-emphasized. In one neon statement, Ibarra continues the conversation of borders and restrictions within the Americas and what it truly means to “live in America.”

E Pluribus Unum, Sandra

In a coin installation containing 347,208 pennies, E Pluribus Unum by Sandra Nakamura of Lima, Peru comments on the undocumented population of Hispanic workers living in the U.S. Each penny represents one million U.S. tax dollars paid by this population since the 1970’s. The pennies are not attached to the floor, seemingly free, yet all are tails side up showing the Latin phrase, E Pluribus Unum translating to “Plural Unit.” It is a translation of unity around the ideals upon which this country was founded. Nakamura quantifies a previously unknown population that clearly opposes that philosophy, by contributing to the system, yet surviving legally outside of it.

Arroz Riso Arborio and Moongate Escape, Lucia Koch

In a double photograph installation entitled respectively, Arroz Riso Arborio and Moongate Escape, artist Lucia Koch of Sao Paulo, Brazil has created extensions of space within the McNichols Building. Typically working with light for architectural interventions within spaces of transition, Koch created two site-specific pieces using photographs portraying bottoms of cardboard boxes with windows to the outside world that she envisions.

Slow Walking Machines, Martín Alonso

Upon first glance, Slow Walking Machines by Martin Alonso of Santiago, Chile appear to be static, yet wheeled objects. It takes a moment to realize that they are in fact moving, 12 inches a day at most, due to the auto vents on the machines reacting to the natural changes in air temperature. This unexpected observation is the very lesson Alonso is teaching his viewers as it applies to simple everyday happenings as well as larger social and cultural stereotypes. His lesson is: Slow down; don’t be so quick to judge or make assumptions; things may not always be, as they seem.

Rorschach America, Armando Miguelez

In a twenty-five piece series of ink silk-screens, Armando Miguelez of Mexico City, Mexico has created his own test in Rorschach America. Miguelez has doubled the image of many of the American countries to mimic the classic psychological inkblot test. Continuing to challenge one’s perceptions, this new test applies to geographic boundaries, expectations and presumptions about the nation state. What are the perceptions now?

Hijos de la Nada, An Audience-Specific Pop Experiment, Gabriel Acevedo Velarde

An awful act of national vandalism unexpectedly prompts racist attacks in the video installation, Hijos de la Nada by Gabriel Acevedo Velarde of Lima, Peru. Four Peruvian teenagers defaced architectural ruins in Chan Chan, Peru in January, 2010, and then uploaded it to YouTube. The reactions to the video should have been overwhelmingly horror over what was done to a national treasure, yet this took a back seat to the opposition over the vandal’s skin color. It is this very racially prejudiced reaction that Velarde blames the government for propagating and thus creating an even larger divide within the country he calls home.

Radicalizing the Local: Post Bubble Urban Strategies, Teddy Cruz

In Radicalizing the Local: Post Bubble Urban Strategies, architect Teddy Cruz asks Americans to take responsibility for shaping their environment. Focused upon the dynamics of the borders of Tijuana, Mexico and San Diego, California, Cruz uncovers how the same area, geographically speaking, can differ so greatly economically and architecturally. Both cities have reminders of each other within their confines, Mexican workers in San Diego and San Diego’s urban waste in Tijuana. Cruz’s ongoing research looks for answers to bring balance to such areas architecturally and socially.

The Epoch of Encroachment, Joseph Shaeffer

Nature takes the world back from mankind in the Epoch of Encroachment, a mixed media installation by Joseph Shaeffer. Based upon smaller scale pieces that Shaeffer has developed over the last three to four years, Epoch examines the idea of nature as a conscious being, one that is capable of eventually protecting itself from man’s overbearing powers. Part artistic exhibit, part scientific testing and filled with objects representing both the natural world and the man-made world, Shaeffer certainly produces an intriguing argument for the fight over this planet.

Earthscrapers or Unnatural Building, San Fratello Architects

Harmoniously bringing together traditional manufacturing and natural architecture is the aim of Rael San Fratello Architects from Oakland, California in the ongoing research project, Earthscrapers or Unnatural Building. Through the process of three-dimensional printing and rapid prototyping the architects are able to ostensibly create any item out of any substance. Their current focus is on testing the most abundant material available (soil) for safety and strength so that it may be able to build structures quickly and resourcefully. With the help of their research we may again one day live amongst structures that are made by the earth, but have the strength for the future.

Clausurado, Victor Muñoz

Clausurado, a series of five photographs by artist Victor Muñoz of Medellin, Colombia are all missing one major component of a normal, thriving city – people. Shown are beautiful photographs of unsettling images of the streets of his hometown. All of the buildings are boarded up and inhabitants have since moved on to safer places, leaving behind a skeleton of a city. This forced mass exodus is due to the constant warfare over drug cartels and the guerilla combat that the residents had no choice but to try to live through. In an attempt to take a stand against the wrong doings, the homeowners barricade their doorways and windows, protecting what little remains inside. Does this simple act of defiance indicate a return of life at some point or has this city lost its heartbeat for good?

Local Code: Real Estates, Nicholas de Monchaux

Taking urban planning to the next level is the idea within Local Code: Real Estates by architect Nicholas de Monchaux of Brooklyn, New York. Using San Francisco as a model and utilizing a digital mapping system over the city, Monchaux uncovers thousands of empty, unused city-owned pieces of land that are unable to be sold and are not maintained. Together these random areas of alleyways, ditches and neglected public spaces create one big opportunity for the city. These forgotten bits of land are often associated with spots of high crime and environmental issues. Through Monchaux’s projected renovations, these parcels would add positively to the community by significantly lowering costs on energy and environmental expenditures. These “spaces between places” may be small but collectively have the ability for change on a grand level.

Quasi Symmetry, Clark Richert

Upon first glance, Quasi Symmetry, by Denver, Colorado artist Clark Richert appears to be a set of two beautifully patterned prints. However, like most of Richert’s works the general aesthetic is simple and pleasing to look at, but the pathway to the end result was far more technical than one would imagine. Quasi Symmetry represents the unstable controlled system that is capable of bringing balance to chaos known as the golden ratio, or pi, which can be measured by geometric forms. So it is not surprising to look closely at these patterns and realize that repetition is completely absent and the placement of all of the dots is a result of a very intricate template based in mathematics, science and nature. Since the 60’s and 70’s, Richert has been following the idea of “form follows function,” and so far it appears he has remained ahead of the game, as this suggestion is still relevant today.

Because There’s a There, Here’s Just Fine, Gregory Euclide

The landscape of the Rocky Mountains takes center stage in Because There’s a There, Here’s Just Fine by Gregory Euclide of Le Sueur, Minnesota. Euclide has created miniaturized environments for various areas within the city of Denver, complete with small versions of the snow-capped mountains surrounding the urban spaces. This topography is not just a replica of the real land, but is created out of items, natural and man-made that can be found there. The process begins by Euclide pouring paint or an adhesive over the natural location. After the liquid has dried it has now captured different pieces of the land and is representative of its surroundings. The artist helps the viewers take a closer look at where many people think they want to live and where they actually live.

Welcome to New America, Rubén Gutiérrez

In a video documentary entitled Welcome to New America by Rubén Gutiérrez of Monterrey, Mexico, an otherwise small and remote group of neighborhoods near Lima, Peru take on big personalities as they each choose to represent a different American country. These residents may not have much, but what they do have they are very proud of and keep protected behind gated entrances and flags representing their chosen country. In the video, the viewer watches a soccer match between local teams of Brazil, Mexico, Cuba and the United States on a field situated at the center of all the neighborhood entrances. Hardships may have brought all of these people together, but the desire for independence and creating a new American history sets the tone for the future.

Milwaukee Murals Refitted, Santiago Cucullu

In a floor-to-ceiling wall mural, Milwaukee Murals Refitted by Milwaukee artist Santiago Cucullu invites the viewers to make their own evaluations of the meanings within the work. The mural is a compilation of many separate images taken from various street murals found around the city of Milwaukee. The artist is allowing Vietnamese culture, Mexican labor leaders and local Milwaukee heroes to all share the same space equally. By not allowing any one subject to outshine the other, Cucullu opens the floor to new social discussions, giving these minorities back their voices that had previously been silenced.

None of the Above, Alexis Rochas

Suspended high into the ceiling is None of the Above, a lattice of lightweight metal rods created by artist Alexis Rochas of Los Angeles. The spider web of interlocking metal rods and OCTA.bot units expands into every possible inch of existing space from where it is located. To maximize space, the OCTA.bot units have eight possible crossbars, and the metal rods reduce waste by having great strength, yet remaining lightweight. The structures can be taken apart, transported and reassembled easily, giving this idea even greater environmental benefit. Even if there is no obvious function for the piece yet, Rochas shows us the possibility for viable, sustainable building options in the future.

Dawn, Darío Escobar

In Dawn, a sculptural series of painted baseball bats, artist Darío Escobar touches on multiple facets past and present of his hometown Guatemala City, Guatemala. The initial reaction may be to the gold coloring of the bats, reminiscent of the gilded idols once worshipped in prehispanic Guatemala. Yet the more modern eye could draw out the recurrence of the bats as a symbol of the industrial assembly line that uses the inexpensive materials and labor force within Guatemala. Escobar manages to weigh down a simple object with the burden of an entire country’s history.

Palas por Pistolas (Pistols for Shovels), Pedro Reyes

In the project Pistols for Shovels by Mexico City artist Pedro Reyes, viewers are given a beautiful example of finding possibility in a horrible situation. The project began in the city of Culiacan, Mexico, which at that time held the highest rate of handgun deaths in the country. With the help of the city government, 1,527 handguns were gathered and then melted down to become shovels. Not only are these weapons now purposeful objects for everyday use, but they are also being used to plant trees in Mexico City as well as Vancouver, San Francisco, Lyon, and Denver.

Silence Dogood, Miler Lagos

Silence Dogood by Colombian artist Miler Lagos, is a sculptural roll of newspapers that creates an impact that could only be achieved with his chosen medium displayed in such a large quantity. Unusual to see in this technological age of electronic social media and news distribution, the newspaper represents a former moment in time. Should people be accepting of this new way of spreading news? It’s not just a question of convenience anymore; the printed word’s impact on nature cannot be overlooked, as nations are faced with depleting natural resources. Once used as Benjamin Franklin’s pseudonym, Silence Dogood is yet again grabbing attention for critical social issues.

Untitled (fabric panels), Felipe Mujica

For Chilean artist Felipe Mujica, everything and everyone exists in relation to one another. For this reason it is clear why he chose to reinterpret the open space within the McNichols building with ceiling hung fabric panels. At the simplest level, the panels move the viewers through the space in a specific direction while giving them a glimpse of the possible final design of the building’s interior. Yet, as fluid fabric, light shows through and air adds motion to the panels allowing guests to experience a natural openness of the space. Similarly, the movement permits the mind to see the transitional and adaptable abilities of the panels, truly turning them into a work of art.

Po’ e Paisagem and Cantos, Brígida Baltar

Brazilian artist Brígida Baltar uses the most fragile of mediums (brick dust) to create objects that have always been seen as symbols of strength and endurance in Po' e Paisagem, a display of mountains similar to those surrounding her hometown of Rio de Janeiro and the U.S.'s own Rocky Mountains. Baltar began her exploration into brick dust after completing an excavation in her own home and the byproduct has since served as the vehicle for many works, including Cantos, a beautiful patterned floor installation. The artist has since added unusual materials such as dew and fog to her toolbox and enjoys employing such forms to showcase her surroundings and the natural architecture.

Paisajes and Invisible Cities, Estefanía Peñafiel

In Paisajes and Invisible Cities by Estefanía Peñafiel of Paris, France, one match is not enough. However, when multiples of this simple tool are employed, the results are dramatic and force the viewer to take notice. Typically thought of as destructive, fire is seen here as an opportunity for renewal in areas in need of community action. Penafiel shows that relentless actions from a cooperative effort bring about great change from even the most unlikely of instruments.

Green Schooling Provides Lush Education

By:Brittany Noland Issue: Biennial of the Americas 2010 Section:The Nature of Things

Speaker Series Addresses a Growing Movement

The 2010 Biennial of the Americas hosted a speaker series that integrated innovators, artists, and leaders from across the Americas to address the pressing issues and ongoing innovations affecting the Western Hemisphere. Lauren Higgins, curator of The Nature of Things Speaker Series, described it as an opportunity to “learn from and reflect on, diverse perspectives and inspiring multi-sector interdisciplinary approaches to the future of our local and hemispheric communities.”

A presentation about green schooling fit perfectly with the Biennial themes. Smart by Nature: Schooling for Sustainability, a talk given by Dr. Michael K. Stone with the Center for Ecoliteracy, was based on the book he wrote by the same title. It focused on teaching today’s children sustainability as they move through our school systems. This movement, which may sound like a new idea to some, is growing in popularity in the United States and across the globe. Green schooling goes beyond the idea of sustainability, and fosters innovation and community awareness.

Dr. Stone described sustainability as being more than eco-friendly. He said it is, “More than just keeping the Earth going, it’s how people can improve their lives and live abundantly on this finite planet. It promotes a better way of living for our children and grandchildren.” He entertained and educated the audience on the many ways sustainability creates and enhances communities by giving specific examples of when and how schooling for sustainability has been successful.

In order to explain the way schooling for sustainability works, Dr. Stone used a metaphor. He said to think of a school as an ecosystem. The way it works is similar to the way nature works - it is part of a larger system. A school is part of a physical space, a community, a city, a nation and the world. It takes in goods from these other systems, such as building materials, office supplies, food for the cafeteria, even students and staff, and changes it in some way and then sends it back out into the world. This too, comes in various forms, like graduating students who have a “deeper connection to the Earth, their community and a commitment to make the world a better place. The school may also send other goods and products, and even waste, back into the larger systems. Each step of this process," he said, "can be an opportunity for learning."

The unspoken question of how this fits in with curriculum was adequately addressed. Stone said, “The answer is that it becomes part of the curriculum.” He gave an example of an elementary school that would have the teachers spend the last ten minutes of the lunch hour with the kids, overseeing and instructing them on recycling and compost habits. The teachers had it built into their union contracts that these ten minutes counted toward the academic day. This was a very real-world way for young kids to understand, not only the benefits of recycling and compost, but also how it can easily be executed at the end of a meal.

Dr. Stone included additional success stories from across the United States. For example, the city of Chicago mandated that all new city-built buildings be energy efficient. He described a school that created community and enhanced learning by priding itself on being the first “green” school in Illinois. Leaders used the building to teach the children about energy efficiency and what “green” means, while using it as model within the community for technology and energy efficient building models. Green schooling goes beyond the idea of sustainability and fosters innovation and community awareness.

Another anecdote focused on a vegetable garden at a middle school that taught students how to grow and harvest fresh food, as well as the reward of eating it. Dr. Stone shared that even the pickiest of eaters gained. As one teacher said, “He’s picking everything in the garden and eating it!” In fact, school gardens are one of the simplest and most cost-effective ways of teaching sustainability. Stone said, “Seeds don’t cost a lot and many schools have a patch of land that isn’t being used. A lot of times this also adds to the aesthetics of the school, which in turn pleases the community.”

The range of these sustainability projects can be as large as the building itself, as complex as wastewater filtering, as was done by an independent high school, or as simple as a garden. Schooling for sustainability has taken on many forms in many different school systems and climates.

There are many ways schooling for sustainability can be accomplished Administrators, teachers, parents and students have successfully started green school projects with proven results. Indeed research about green schooling is abundant and there are many organizations similar to the Center for Ecoliteracy that are trying to educate the world on this new educational process. For those who are interested in this movement – you are not alone.

For more information about the Center for Ecoliteracy, please visit www.ecoliteracy.org.

Biennial Artists Question The Nature of Things

By:Jeanine Spellman Issue: Biennial of the Americas 2010 Section:The Nature of Things Like Hermes and Mercury of ancient times, artists are messengers. These talented beings possess a special ability to sense the world around them and express their observations in ways that ignite imagination, peak curiosity, evoke emotion, and stimulate social discourse. Using images, words, and sounds, artists touch the spirit of humanity.

Following the footsteps of artists whose works captured and depicted social statements of their times, France's Jacques- Louis David, Spain's Francisco Goya and the Mexican social muralists - Diego Rivera, Jose Orozco and David Alfaro Siqueiros, the contemporary artists exhibiting at the 2010 Biennial of the Americas gave voice to topical issues ranging from heritage and consumerism to sustainability and connectedness. While their media, video, dimensional art, and photography, may differ from the paintbrushes of their predecessors, their works continue to question the nature of things. While their media, video, dimensional art, and photography, may differ from the paintbrushes of their predecessors, their works continue to question the nature of things.

A Question of Heritage

A blatant act of vandalism at the pre-Columbian ruins of Chan Chan set off a cultural storm within Peru and was the catalyst that galvanized Peruvian artist Gabriel Acevedo Velarde to confront what aspects of heritage are revered.

Located near the northwest coast of Peru, the Chan Chan Archeological site was added to UNESCO’s List of World Heritage in Danger in 1986, in response to natural threats such as earthquakes, flooding, and impacts of climate change. However, it was an act of humans rather than nature, which damaged this cultural icon.

On a graduation trip during November, 2009, four “indígeno” students armed with an idea and a video camera set out to secure, “15 minutes of fame.” The students kicked and stoned a section of millennia old sand and mud reliefs at the ancient ruins, as they recorded their actions and talked of posting their "achievement” on YouTube.

When the video was uploaded in January, 2010, it created a national uproar. The desecration was deemed an attack on Peru’s image and its cultural heritage. Swift responses came from the highest levels of government, including Peru’s President Alan Garcia, who publicly deplored the behavior, asking, “Is this what we are teaching our children?”

While Peruvians were enraged at the act of desecrating a cultural treasure, Velarde graphically pointed out that the same national outcry over vandalized ruins does not exist regarding the ongoing and widely accepted discrimination of Peru’s indigenous population, the descendaents of those who built Chan Chan.

“Racism is prevalent in Peru,” said Nathan Cline, a Biennial docent, who lived in Peru for six years working with at-risk families and orphans. “The country has a class-oriented society, where the unspoken practice is the lighter the skin, the better. As a general rule, this fuels the discrimination of the darker-skinned indigenous descendents by the lighter-complexioned colonial Spanish descendents,” Cline explained. Set against this cultural backdrop Velarde’s video and rap commentary depicts two “indígeno” viewing their ancestral images housed in a museum juxtaposed against images of the new Peru with its high-rise buildings replacing older structures, Inca Cola, and storefront displays of uniforms, indicative of positions people hold within society. All the images are interspersed between the moving sands of time, which along with the carnage of the scraped buildings, ultimately engulf the indigenous viewers.

And the kids of Chan, Chan, how are they? Even through its pixilated I recognize their color From the highlands we had to be Indians we had to be You’ve confused me Which Indians do you mean? the punks in the video…? …Or the ones who made Chan Chan? — Excerpt from, Hijos de la Nada by Gabriel Acevedo Velarde and Rafael Polar Pin.

A Lost Community?

In a photo series entitled Clausurado, Columbian artist Victor Munoz, of Medellin, Colombia presented an eerie series of large panoramic images depicting his former hometown. Empty streets are lined with abandoned homes and storefronts, all standing with walls and doorways brick-filled in response to ongoing strife related to drug cartels and guerrilla combat. Although residents have fled the city, the structures depict an odd tenacity and resilience. Munoz leaves viewers questioning, how many lives were disrupted and forever changed due to pervasive conflicts and acts of violence? Has the community really lost its city, or is it a hostage of the times, waiting to be revived? “The country has a class-oriented society, where the unspoken practice is the lighter the skin, the better. As a general rule, this fuels the discrimination of the darkerskinned indigenous descendents by the lighter complexioned colonial Spanish descendents.” - Nathan Cline

Sustainable Communities?

The multi-screen videos of Guatemalan architect Teddy Cruz called out problems of urbanization and socio-economic issues related to cities that share the same geographical area, but are divided by borders. Highlighting a stretch of border between San Diego, CA., and Tijuana, Mexico, Cruz showed areas of poverty, where discards from wealthy communities north of the border, such as used tires, wood platforms, and garage doors, are repurposed and become housing by those living south of the border. At other points along the border, tract home communities mimic California suburbs in layout and architecture. Each of these models of architecture evolved based on either scarcity and conflict or abundance. To build sustainable communities, new models for urban planning are needed, models that involve much more than the recycling of materials and LEED certified buildings. Urban planning that integrates economic, social, and environmental elements will lead to the development of truly sustainable communities.

Is Perception Reality?

Chilean Martin Alonso’s Slow Walking Machines featured simple, small mechanical vehicles that appear to be standing still. However, they are moving, albeit at a minuscule pace of 12 inches a day. This calls into question, what does the viewer see? What does the viewer miss?

Current research indicates that the time it takes to make first impressions has decreased from 7 to 10 seconds, to the blink of an eye in the past decade. Alonso’s work poses, what are the consequences of instantaneous judgment in a social context? Would perceptions and experiences be altered if people were to slow down and see the bigger picture?

Folkloric Ties the Bind

In a world where cell phones and Internet access are available in even the most remote communities, what impact are these technologies having on folklore, the music and traditions that bind communities together by place, beauty, identity and values? Argentinean Luis Maurett is exploring this phenomenon. Maurett’s lifelong passion for music inspired his interest in studying how cultures interpret the natural world and ecosystems through sound. This interest led to his Transfolklorico (Across Folklores) project, which records the distinctive music and traditions of communities and studies the impact Western culture is making via its infusion through technologies.

Maurett has captured colorful costumes and music tied to traditions of indigenous peoples living in Argentina, Colombia and Peru. Although their folkloric music and dances are linked by generations, they are not static. According to Maurett, Western culture has a romantic idea of what folklore is, attempting to freeze it in a past place and time; however, that purity doesn’t exist anymore. Instead, he said folklore is constantly adapting, as illustrated by the integration of the guitar into indigenous music, which the Spanish introduced to the continent. Like the introduction of the guitar, Maurett emphasized that cultural folklore is constantly evolving, as new sounds, and costumes are incorporated into existing music, celebrations and practices. He views exposure to new ideas through technology as part of the natural adaptive process, which will enrich versus dilute cultural identities and traditions. However, he expressed that sustaining folklore and its ties to the meanings behind heritage traditions falls on community elders who must engage today’s youth. For when the songs, dances and rituals become mere entertainment or no longer serve a social function, they are forever lost.

These Biennial artists have planted seeds for thought and put forth essential questions, the answers impacting the legacy created for future generations. Will new solutions and behaviors be adopted to address the extraordinary challenges now facing modern citizens? Or will fractured systems and ideologies prevail, ensuring a lesser quality of life for all? The answers will be found in the mystical realm where human nature intersects with the nature of things.

Stategic Relationsips in the Western Hemisphere

By:Barry Featherman Issue: Biennial of the Americas 2010 Section: Building Bridges

Having recently returned to the United States from the Inauguration of President Juan Manuel Santos in Bogotá, Colombia, I was inspired by the way the country has progressed over the last decade from a nation wracked by drug violence and terrorism to one that is secure, prosperous, experiencing substantial investment, and is poised for amazing growth. This visit to Bogotá gave me the opportunity to also reflect on my involvement this summer with the Biennial of the Americas and how the relationships we forged while there, created cultural and political “bridges” for years to come.

I believe that the United States must recognize that one of our most important strategic relationships is Latin America. Over the last two decades we have witnessed the emergence of the region as an important player on the world stage, both economically and politically. There have been new opportunities for trade and investment across the region, especially in Brazil, Chile, Colombia, and Peru, while many countries are establishing and implementing more stable democratic governments. And, with the progression of the region, the U.S. should be reaching out to consummate relationships in new and exciting ways. Prosperous neighbors mean meaningful trading partners and the reduction of poverty and suffering that have afflicted many developing economies.

Furthermore, technological innovations are allowing other cities and regions to develop as economic and political nuclei. We are seeing it in the smallest hamlet to the largest metropolitan cities across the hemisphere. No longer are the national capitals the center of development and wealth. There are new leaders - like Denver - that are “moving the needle forward” toward change and who are embracing the best ideas, no matter where they are from. It will not just be decisions made in Washington D.C., London, New York, Paris, Moscow, Tokyo, Beijing Mexico City, Lima, Buenos Aires, Sao Paulo, Brasilia or Santiago that will drive future policies. But it will be Morelia, Cali, Arequipa, Cordova, Cuenca, Porto Alegre and yes, Denver, that will spearhead creative, collaborative ways to lessen poverty, better education, and create social structures that are needs-centric and become models for others. This will have a profound impact on the way we all live our lives.

Two years ago in Denver, the idea to convene a forum of artists, intellectuals, government leaders, and businesspeople from various countries across this hemisphere took shape. The concept was to provide an atmosphere where major issues like poverty, education, energy, the environment, social exclusion and women's rights could be discussed in a series of roundtables and exhibitions. These forums would challenge stereotypes, seek solutions, and promote mutual respect and understanding. It was the genesis of the Biennial of the Americas.

At first, everyone asked, “Why Denver?” My response was, “Why not Denver?”

Led by Denver’s inspirational Mayor John Hickenlooper, Biennial planners took the analogy from the 1989 film “Field of Dreams” and decided that, “If you will build it they will come.” The vision of creating better cohesion and collaboration throughout the hemisphere was daunting, but I committed to helping since I had spent nearly two decades working in Latin America and the Caribbean with the private sector, multilateral institutions and various governments. The timeframe was aggressive…could we accomplish everything in less than two years? And, even if we could, would such an ambitious undertaking crash or soar? I soon learned that through visionary leadership and sheer determination that it could soar. Hickenlooper’s tenacity, intellectual prowess and interest in developing relationships throughout the hemisphere was contagious for all who were committed to the success of the Biennial.

Multilateral institutions like the Organization of American States and the Inter-American Development Bank welcomed the idea of participation and brought their best and brightest. Education advocates like Harriet Fulbright, civic leaders like Oscar Morales, the Latin American Diplomatic Corps, Nobel Prize winners, the U.S. State Department, leaders in the arts and humanities, and many others contributed their time, energy and intellectual thought to make this an amazing gathering. Education advocates like Harriet Fulbright, civic leaders like Oscar Morales, the Latin American Diplomatic Corps, Nobel Prize winners, the U.S. State Department, leaders in the arts and humanities, and many others contributed their time, energy and intellectual thought to make this an amazing gathering.

As the executive director of the Global Center for Development and Democracy working under the leadership of President Alejandro Toledo and in consort with over 20 former Latin American presidents who serve on our international advisory board, I became convinced that the Biennial could serve as a platform to promote A New Social Agenda for Latin America for the Next 20 Years. Eight former Latin presidents who contributed to the development of the Social Agenda made their way to Denver to present the document and participate in the activities of the Biennial. The presence of the former presidents and their willingness to immediately participate was illustrative of the growing importance of America’s West and the impact that cities like Denver are having on commerce. It also demonstrated the commitment of the former presidents’ to take this agenda to the people — to empower people to get involved and become partners for growth and development. The awe-inspiring presentations of the former presidents highlighted the key aspects of the Social Agenda, a consensus document which outlines a roadmap out of poverty while ensuring basic healthcare and nutrition, access to education, capital through microfinance and low cost energy for the poor.

I also proudly served as a panelist on the trade roundtable which highlighted the important opportunities that trade liberalization and economic integration has on economies. The discussion was very timely, given that two Latin American countries, the Republic of Colombia and the Republic of Panama, have Free Trade Agreements pending with the United States.

Support for the Biennial from the private sector was also impressive. In addition to my work as executive director of the center, I understand the importance of the private sector to growth in the region – they are a driving force for hemispheric prosperity. The international law firm of Duane Morris, where I am the director of Government Affairs, hosted a dinner and reception in honor of the former presidents recognizing the importance of these dialogues. Duane Morris is focused on Latin American opportunities and has great interest in programs such as the Biennial because of the opportunity to educate citizens about the importance of the region. Many other international companies did the same because they either already work in the Latin markets or hope to expand product or service offerings there.

I wonder what the legacy of this gathering might be. Hopefully, events like the Biennial will proliferate and prosper - this hemisphere needs it! The Americas need new forms of communications and engagement - the arts will be a critical component of this, as will the roundtable discussions which fostered open debate and dialogue about the state of the hemisphere.

Over the course of my career I have fought against poverty, promoted economic growth and argued for a clean and safe environment as a legacy for future generations. I have long held to the belief that inter-American relations should be designed to create an enabling environment with the participation of all. This is critical for the U.S. because prosperous neighbors mean meaningful trading partners and the reduction of poverty and suffering. As the world continues to shrink, we must highlight our common destiny.

Although I live in Washington, D.C., there is a special place in my heart for Denver. Indeed, the warmth of its people and the fact that it opened its arms to the hemisphere is an example for other cities to follow. I was inspired.

Barry Featherman is the Executive Director of the Global Center for Development and Democracy headquartered in Lima, Peru with offices in Washington, D.C. and Madrid, Spain. He is also a Director of Duane Morris Government Affairs in Washington, D.C.

Promoting Positive Change in the Hemisphere

By:Donna Mullen Good Issue: Biennial of the Americas 2010 Section: Inspirations

Over the years, my career has afforded me the opportunity to lead seven international events. From Pope John Paul II’s visit for the 1993 World Youth Day to The Summit of the Eight, I have been given the chance to change the fabric of national and international communities. In November of 2009, I was once again in a position to promote positive change – this time for the Western Hemisphere.

As the President of Operations and Finance for the Biennial of the Americas, I led the effort to organize the month-long celebration of the Western Hemisphere. The scope, reach and potential for this event was unlike any other I have ever managed. For the first time ever, there was a citizen-driven effort to celebrate the culture of the Americas and to find ways to collaborate on some of the most pressing issues of our time.

The excitement of being the leader of another historic event for Denver was unprecedented. So was the timeline I was given to pull it all together. With only seven months to plan and execute the Biennial, the pressure was on.

Working with a dynamic team of amazing individuals, for most of whom this was their first large-scale international event, we were able to pull off nothing short of a miracle. The resounding enthusiasm with which the Western Hemisphere, and particularly our fair city of Denver, embraced the event is proof that there is a need to build a stronger global community, one based on collaboration and connection.

With over 300 events across the state of Colorado, the Biennial raised awareness of the diversity of cultures and innovative ways to address some of the issues shared by the 35 counties in this hemisphere. Taken together, this event was one of the largest international events to take place in the U.S. this year.

I am thrilled to have been given the opportunity to establish the foundation for this monumental occasion with far-reaching impacts that will continue to build each time it is produced. Two years from now, I suspect this event will be billed as the international event that no one will want to miss.

Yours Truly, Donna Mullen Good President, Operations and Finance

Generating Energy: Art + Ideas

By:Adam Lerner Issue: Biennial of the Americas 2010 Section: Inspirations

The Biennial of the Americas was conceived in 2004 when I was asked by the Denver Office of Cultural Affairs to come up with ideas for a city-wide art event that would cultivate civic pride and bring national attention to Denver. I presented a few alternatives but the possibility of an event that would gather artists and thinkers from all over the Americas stood far above the rest. It was ambitious, probably the most ambitious of all the ideas I presented. The name Biennial of the Americas implies a grand scale and wide reach. That explains why it took until 2006 for the idea to gain momentum, thanks to the leadership of the Denver Office of Cultural Affairs led by Erin Trapp, who set the vision forward.

I imagined the Denver biennial as a return to the origin of the genre, which began in the late nineteenth century, as a cousin of world’s fairs and international expos. These events were founded as forums for nations to showcase their contributions to civilization. Toward this end, the arts would often stand alongside science, technology and industry. Now, when so many of the world’s problems are interconnected – when global economies and cultures are interconnected – it makes more sense than ever to develop international platforms for shared insights and creativity. When I presented the concept of a biennial, I tried to emphasize the civic nature of the event. There are art biennials all over the country: the Whitney Museum of American Art in New York, Site Santa Fe in New Mexico, the Corcoran Gallery of Art in Washington, D.C., to name just a few. These are all hosted by individual institutions or museums that put on grand displays every two years. There are also art fairs in cities across the country that provide a platform for galleries to showcase art for collectors and aficionados. These are dynamic events, but they are not civic-led. I knew Denver was capable of generating civic support above and beyond the specific interests of institutions and commercial endeavors. When so many of the world’s problems are interconnected – when global economies and cultures are interconnected – it makes more sense than ever to develop international platforms for shared insights and creativity

On the summer evening in 2010 when Denver’s Biennial of the Americas kicked off, I was proud to see thousands of people crowded around the Museum of Contemporary Art. We had a day-long opening for our exhibition Energy Effects, a partner exhibition of the Biennial, and there was a steady flow of visitors throughout the day. But something magical happened that evening as the massive crowd assembled outdoors. A rock-n-roll marching band beat their drums and danced. A group of artists that make fire-breathing robots showed up to stage a spectacle. And fifteen hundred people appeared on cruiser bicycles, many of them in costume. It felt like right there was the organic, creative force of the city. In the middle of the crowd was a 1969 champagne-colored Chevy Malibu, a classic muscle car turned on its nose, poised just above a large puddle of water. It was artwork by Guadalajara artist Gonzalo Lebrija, a project realized by a partnership between MCA Denver, Amy Harmon’s Urban Market Partners and the Biennial of the Americas. It looked absolutely still but it had enormous presence. The night of the opening, it was like a lightening rod conducting all the excitement around it. It reminded me what we wanted to achieve with a city-wide event. It reminded me that art and ideas generate energy.

Adam Lerner is the Director and Chief Animator at the Museum of Contemporary Art in Denver.

Looking Forward to 2012

By:John Hickenlooper Issue:Biennial of the Americas 2010 Section: Inspirations

Denver immersed itself in international art, culture, cuisine and ideas in July with the inaugural Biennial of the Americas. It was a memorable celebration across 41 of Denver's finest cultural institutions. Vibrant dance performances, energetic concerts, provocative art exhibits and engaging speakers celebrated the richness of our hemisphere.

More than 10,000 saw the Biennial's headline art exhibition, The Nature of Things, at our newly-restored landmark McNichols Building in the heart of the city.

Renowned Mexican artist Jeronimo Hagerman's colorful installation decorated the exterior of the McNichols Building. Inside, Pedro Reyes’ exhibit Palas Por Pistolas, made 20 shovels from melted guns voluntarily turned in by the citizens of Culiancan, a Mexican city with the country's highest rate of handgun deaths. These shovels were subsequently used to plant a peace tree at the Denver Botanic Gardens and trees at Carson Elementary School.

Beyond art, the Biennial's speaker’s series brought together local and international philosophers, scientists, public servants and others. At The Americas Roundtables and Summits at the Ellie Caulkins Opera House, world leaders, dignitaries and industry experts identified common challenges, sought joint opportunities, and promoted a shared vision for a more cohesive hemisphere.

There were plenty of opportunities for just plain fun, too. Children enjoyed a creative space where they got to explore art, music and new media. And, more than a dozen concerts featured hot bands from across the hemisphere.

This summer was just the beginning. Denver looks forward to convening the Biennial again in 2012. This convocation of the Americas' leading and emerging minds in the arts, sciences, culture, politics and technology aims to help develop a unified vision for the future of the Western Hemisphere.

We hope you'll join us.

-Hick Mayor of Denver

Denver is an International City

By:Ted White Issue: Biennial of the Americas 2010 Section: Inspirations

Greetings:

Denver has shown its potential to be the epicenter of the Americas thanks to the Biennial of the Americas. Eight former presidents, a handful of Brazil’s most successful CEOs, inspiring artists from across the Americas, and over fifty of the Western Hemisphere’s brightest minds flocked to Denver this past July. The Biennial hit Denver with a whirlwind of activity and color, and it did so on time and on budget, thanks to the invaluable efforts of the Biennial staff and board of directors. Mayor John Hickenlooper brought together a team of individuals to convert a vision into reality. He chose wisely. His vision of Denver hosting the Biennial of the Americas became reality thanks to the excellent work that went on behind the scenes.

We owe a debt of gratitude to the tireless efforts of the staff and dozens of volunteers who were led by CEO Erin Trapp, President of Operations and Finance, Donna Good, and President of The Americas Roundtable, Jim Polsfut.

The board of directors worked efficiently and cohesively to ensure the Biennial’s success. We met regularly to resolve major issues, ensure budgets were met, and help secure sponsorships. My fellow board members got the job done and did so without compensation. Please join me in thanking the Biennial board of directors. Without their dedication, the Biennial would still be just a vision.

The inaugural Biennial of the Americas was an ambitious undertaking that was by all measures a tremendous success. This "world's fair of ideas" successfully established Denver as the epicenter of the Americas. Greater collaboration among the 35 countries of the Americas is already taking place. Colorado benefited financially from the influx of activity, and the impact will be even greater as the Biennial grows in magnitude.

Congratulations to everyone involved in this monumental and successful event! Sincerely,

Denver Biennial Of The Americas Board Of Directors Edward (Ted) White Chair, Board of Directors, Biennial of the Americas Chair, Transaction Section - Moye White, LLP

Thomas Williams Treasurer, Board of Directors, Biennial of the Americas CEO - Williams Group LLC

James R. Mulvihill Founder & Principal Black Creek Capital, LLC

Don V. Bailey Chairman & CEO Triton Investment Company

Mario Carrera Vice President and General Manager Entravision Communications Corporation

Michael T. Fries President & CEO Liberty Global, Inc

Erin Trapp Ph.D. Secretary, Board of Directors, Biennial of the Americas Director - Denver Office of Cultural Affairs City & County of Denver

Roxanne White Chief of Staff, Mayor John Hickenlooper City & County of Denver

Amy Harmon Managing Partner Urban Market Development, LLC

Patricia Barela Rivera Principal PBR Consulting

Zee Ferrufino CEO Latino Communications

VISITA DENVER

By:Jayne Buck Issue: La Bienal de las Américas 2010 Section:City Exhibitions and Special Events La Bienal de las Américas ofreció a Denver una oportunidad única para empezar la marca de la milla ciudad de alta como empresa cultural, el destino de turismo y convenciones de las 35 naciones que componen las Américas.

Además de tener mucho en común con sus vecinos, Denver también proporciona a los visitantes con un destino cómodo y fácil de alcanzar. Con el décimo aeropuerto en el mundo, ocupando una ubicación geográfica central en el continente, una fuerte apreciación de las artes y un clima de alta montaña que imita a muchas ciudades en América del Sur, Denver está idealmente para convertirse en el epicentro de turismo y negocios para el hemisferio occidental.

VISIT DENVER anteriormente había comercializado a la ciudad en partes de Canadá y México, pero nunca ha intentado algo de esta magnitud. Por lo tanto, la programación de la Bienal fue una sincronización perfecta para lanzar una campaña de medios de comunicación masiva de las relaciones públicas — a nivel nacional e internacional. Visit Denver

En el lado de las relaciones públicas, se enviaron más de 5.000 medios nacionales e internacionales de comunicación, incluyendo una versión de PR Newswire, y las noticias de la Bienal fue recogidas por CNBC y apareció en la pantalla de noticias al aire libre en Times Square. Un envío de medios de comunicación con información detallada sobre la Bienal fue enviado a 100 medios de comunicación principales contactos de VISIT DENVER y bienal de historias fueron afinados durante las visitas de los medios de comunicación de lado del escritorio en Nueva York, Chicago y Washington D.C. Para alentar a la prensa local, la cobertura de este evento de primera vez, VISIT DENVER copatrocinó una recepción de medios de comunicación en los jardines botánicos de Denver que asistieron más de 75 escritores de viajes locales y medios de comunicación. Además, hubo tours de prensa internacional de México, Canadá y el Reino Unido durante las festividades de dura meses. VISIT DENVER ofrece tours de la bienal, y historias se incluyeron en boletines electrónicos, 250.000 copias de la guía oficial de visitantes a Denver y el sitio Web de la mesa, www.VISITDENVER.com. Además de promociones de U.S., VISIT DENVER trabajó con la Oficina de turismo de Colorado y sus representantes en el mercado en la ciudad de México para distribuir un comunicado de prensa a medios de comunicación mexicanos que promueven bienal de Denver con un paquete de vacaciones de Denver sobre Travelocity. Paquetes de ciudad bienal similares fueron ascendidos a lo largo de América del Sur.

Y, como socios de la bienal, VISIT DENVER presentaba el espectáculo internacional en los mercados de la unidad regional seleccione de Phoenix, Dallas y Kansas City. Anuncio de la campaña, incluyendo multicultural llegar a los hogares hispanos en esas ciudades, también incluye publicidad impresa, inserciones de periódico, correo directo, radio, promociones en línea, y compra de palabras clave de Google. Más de 100 hoteles de Metro Denver, atracciones, restaurantes y los minoristas que se asoció en esta campaña para ofrecer ofertas y descuentos. Como resultado de la campaña corta, pero selectiva, tráfico de sitio Web a www.VISITDENVER.com aumentó un 60%, llegando a 1,3 millones de visitas en el inicio del evento.

Mediante la promoción de la bienal a través de estas relaciones públicas y campañas de marketing, VISIT DENVER fue capaz de incorporar un fuerte elemento internacional, multicultural en de marca la ciudad, mientras el lucimiento de Denver como un destino cultural, de negocios y turismo a un mercado enorme, nuevo, 35-nación de las Américas.

Jayne Buck Vice presidente de turismo

Summit of Bilaterial Ambassadors

By:Camron Moore Issue: La Bienal de las Américas 2010 Section:City Exhibitions and Special Events

The Summit of Bilateral Ambassadors

was an opportunity to focus attention on the many challenges and unifying activities facing the Western Hemisphere as a whole, with a gathering of diplomats, who offered frank discussion. The views of the eight ambassadors provided a broader vision of what they strive to achieve when working with partners throughout the Americas — like generating broad-based growth through free trade, developing sound economic policies, and investing in the well-being of people from all walks of life. Western Union, a leading bank in the United States with growing operations in Latin America, hosted the luncheon.

Participants included Dr. Arturo Valenzuela U.S. Assistant Secretary of State for Western Hemisphere Affairs; Ambassador Vilma Martinez, U.S Ambassador to Argentina; Ambassador Arturo Sarukhan, Ambassador to the United States from Mexico; Ambassador William Brownfield, U.S. Ambassador to Colombia; Ambassador Hugo Llorens, U.S Ambassador to Honduras; Ambassador Francisco Villagrán de Leon, Ambassador to the United States from Guatemala; Ambassador Arturo Fermandois Ambassador to the U.S. from Chile; and Ambassador Luis Valdivieso, Ambassador to the United States from Peru.

Victoria Lopez Negrete, Western Union senior vice president, general manager, and Hispanic Product Manager for Mexico said, "At Western Union we have a long history of service and commitment in the Western Hemisphere, and we were pleased to be a sponsor of this historic first Biennial of the Americas. We believe in supporting the communities where we do business. Remittances, the money workers around the world send home to their loved ones, promote economic opportunity and reduce poverty. Public-private partnership is critical in this era of globalization and the Biennial aims to promote a broader vision of the hemisphere’s common destiny."

The representative members and sponsor of this roundtable live the mission of the Biennial of the Americas everyday seeking collaboration and cohesion throughout the Western Hemisphere.

Presentación de sombrero

By:Annette Perez Issue: La Bienal de las Américas 2010 Section:City Exhibitions and Special Events ICOSA fue honrado y humillado a pasar tiempo con los ex jefes de Estado durante su viaje al Instituto Aspen. Como un recuerdo del gran estado de Colorado, editor ICOSA Gayle Dendinger y Sheplers, almacenar un desgaste de occidental, talentosos genuinos sombreros de vaquero a cada jefe de Estado y al alcalde. Los sombreros fueron bien recibidos y, en definitiva, se lució en la portada de esta cuestión.

Ofrecer salud y esperanza a Panamá

By:Bridget Boyd Issue: La Bienal de las Américas 2010 Section:City Exhibitions and Special Events Durante la bienal, proyecto C.U.R.E. celebró en el almuerzo su quinto anual First Ladies' en Denver, Colorado, dar la bienvenida a la primera dama de Panamá, la Sra. Marta Martinelli. Más de 1.600 negocio distinguido, dirigentes comunitarios y sociales se reunieron en el Grand Ballroom del Hotel Hyatt Convención Center para asistir a lo que ahora se ha convertido en almuerzo de recaudación de fondos más grande de Denver.

Aproximadamente el 10 por ciento de la población de Panamá es indígena y vivo en las regiones del país donde la atención médica adecuada a menudo no está disponible inmediatamente. Como primera dama Martinelli explicó, "estas personas viven en zonas remotas de difícil acceso geográfico en un país que lucha por una mayor igualdad y una mejor distribución de la riqueza y las oportunidades."

Disposiciones establecidas por el proyecto C.U.R.E. dotará a las comunidades lucha con la infraestructura de asistencia sanitaria necesaria para disminuir la mortalidad infantil, mejorar la salud materna y combatir enfermedades mortales como el VIH y la malaria, así como enfermedades comunes tales como la diarrea.

La primera dama de Colorado Jeannie Ritter, fue el Presidente honorario del evento y se unió a la ex primera dama de Colorado, Francis Owens. Otras sillas fueron Susan Kiely, asistencia humanitaria y la esposa del CEO de MillerCoors, Leo Kiely y Dr. AnnaMarie Jackson, esposa del fundador del proyecto C.U.R.E., Dr. James W. Jackson.

C.U.R.E. proyecto continúa a recaudar fondos para suscribir los costes de recogida y entrega de suministros médicos y equipos para Panamá. Para contribuir a este esfuerzo, por favor, visite projectcure.org/donate.

Jam de skate de todas las Naciones

By:Annette Perez Issue: La Bienal de las Américas 2010 Section:City Exhibitions and Special Events Durante el fin de semana del 10 de julio, la bienal se asoció con nuestras Naciones energías (ONE) para alojar un atasco de skate en el centro de la ciudad Skatepark de Denver. Más de 200 patinadores amateurs, patinaje sobre empresas de leyendas y skate participaron en la reunión de fin de semana. Junto a la competición de patinaje sobre hielo era una zona de entretenimiento donde bandas locales como hacia carreras deletreado atrás, Gabriel YAIVA, Boyz de cerveza, Trickshot, y la rendición de Skyline realiza. Se estableció un mercado para los no-patinadores que tenía proveedores nativos americanos, organizaciones sin fines de lucro, grupos de jóvenes, bailarines, artistas, cineastas y grupos ecológicos, mostrando su trabajo. All Nations Skate Jam

Foro de CEO de Brasil

By:Annette Perez Issue: La Bienal de las Américas 2010 Section:City Exhibitions and Special Events No sólo fue la ciudad de Denver en el escenario internacional para la Bienal de las Américas fue también en el punto de mira internacional para el foro anual del Director General de U.S.-Brasil. El Foro consistía en 20 directores ejecutivos de las empresas en los Estados Unidos y Brasil, que se reúnen dos veces al año para ofrecer orientación a ambos gobiernos sobre las formas de reforzar la interacción positiva entre los países. Mientras que en Denver, los temas se concentran en negociaciones sobre un tratado bilateral de impuestos, facilitación de la reforma aduanera, la energía y la infraestructura.

El campus en el laboratorio nacional de energía renovables (NREL) sirvió como la ubicación de la Conferencia y es uno de los más avanzados tecnológicamente y instalaciones eficiente de energía en el mundo. Los participantes incluyeron James Hackett, Presidente, Presidente y CEO de Andarko Petroleum Corporation; Lee McIntire, Presidente y CEO de CH2M HILL; William Rhodes, Presidente, Presidente y CEO de Citibank N.A.; Gregory Page, Presidente y CEO de Cargill; Kent Muhtar, Presidente y Director Ejecutivo de the Coca-Cola Company; Tim Solso, Presidente y CEO de Cummins, Inc.; David B. Speer, Presidente y Director Ejecutivo de Illinois Tool Works, Inc.; John Faraci, Presidente y CEO de International Paper; Greg Brown, Presidente y Co-CEO de Motorola Inc.; Stephen Angel, Presidente, Presidente y CEO de Praxair, Inc.; Carlos Alberto Vieira, Director General de Banco Safra S.A.; Luiz Roberto Nascimento, vice presidente de la Junta de Camargo Corrêa S.A.; Frederico Fleury Curado, Presidente y CEO de Embraer; Jorge Gerdau Johannpeter, Presidente de la Junta de directores del Grupo Gerdau; Marcelo Odebrecht, Presidente y CEO de Odebrecht S.A.; Marco Antonio Stefanini, CEO de Stefanini IT Solutions; José Luís Cutrale, CEO de Sucocítrico Cutrale Ltda; Roger Agnelli, CEO de vale; y José Roberto Ermírio de Moraes, Director Ejecutivo de Votorantim Participacoes S.A.

Este foro fue copresidido por el Secretario de comercio de los Estados Unidos, Gary Locke y Casa Blanca adjunto consejero de seguridad nacional, Michael Froman. Tras el Foro CEO, los participantes bustled al edificio McNichols donde se celebró una mesa redonda para resaltar los temas de energía y el comercio.