MAPPING A GREEN FUTURE

Center for Contemporary ArtsOctober 9 - November 21, 2009

CeNter for CONtempOrAry Arts1050 Old pecos trail, santa Fe, Nm 87505

505.982.1338 www.ccasantafe.org

The Center for Contemporary Arts [CCA] was established in 1979 as a venue for the pursuit of cultural practices fostering ideas and collaborations in multidisciplinary contemporary art with a focus on the intersection between visual and media art, performance, and film culture. This project is made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, and the National Endow-ment for the Arts.

ArtIstsAndrea Polli + Chuck Varga

Jenny PolakJenny Marketou

Basia IrlandJoan Myers

Catherine HarrisBill Gilbert

John Fogarty + Lea RekowBeatriz da Costa

Eve Andree LarameeBrooke Singer

Claudia Borgna CLUI

preseNtersBioneers

New Energy EconomyAIA

516 Arts

WIth suppOrt FrOmGeorge and Fay Young Foundation

Land/ArtVision: ShiftTyler Rogers

Mapping a Green FutureCurated by Lea rekow

October 9 - November 21, 2009Muñoz Waxman Gallery, CCAOpening Reception - Friday, October 9th 5:00pm - 7:00pm

To be opened by the Mayor of Santa Fe, David CossLecture by John FogartyPerformance by Little Globe

CCA is proud to present Mapping a Green Future, an exhibition that looks toward the promise of sustainability, and the challenges we currently face. The connection between the automobile, life and air is explored through Andrea Polli and Chuck Varga’s Cloud Car. Polli’s weather station, Hello, Weather! attempts to de-mystify the collection and use of weather and climate. Bill Gil-bert documents walking the grid, as topography and legalities allow. Jenny Polak negotiates lan-guages of water politics through a sound installation made from conversations with local farmers. Joan Myers panoramic photography of power plants deals with industrialization’s impact on the environment. Eve Andrée Laramée displays documentation of her work with uranium. The Cen-ter for Land Use Interpretation’s [CLUI] Display Facility* draws people to a site-specific project located on the fringe of Albuquerque. Basia Irland documents her rainwater harvesting systems along rivers. Jenny Marketou gathers and disseminates aerial data from the region. Claudia Bor-gna creates a garden installation utilizing recycled shopping bags and showcases her new video in the Moving Image Lab. Catherine Harris, with support from Lee Montgomery, charts the water displacement of the gallery through use of sculptural hydrographs. Beatriz da Costa displays docu-mentation of Pigeonblog, an environmental monitoring device, and Brooke Singer exhibits her data collection on superfund sites. John Fogerty and Lea Rekow create a video booth to ask the public where their electricity comes from. The Bioneers presents their Dreaming New Mexico project. As well, CCA serves as a satellite for the 2009 Bioneers Conference, broadcasting to the CCA cinema-theque. The American Institute of Architects hosts a lecture and workshop by Marlon Blackwell.

*CLUI projects in New Mexico for LAND/ART are presented by 516 ARTS, and are made possible by The FUNd at Albuquerque Community Foundation.

Future Green An essay by Lea rekowThis exhibition invites a re-evaluation of the role of maps and mapping practices in cultural explora-tions of land use. Artists have contributed across a broad range of interdisciplinary fields, working in the visual arts and sciences, cultural studies, archi-tecture, experimental geography, and eco-studies, as well as those with interests in social and cul-tural memory, archival practice, and land use policy.

While the trope of ‘mapping’ has remained a prominent fixture in the lexicon of recent cultural criticism, such as in the breathtaking photography of Joan Myers, the work of many of these artists go beyond exclusively metaphorical applications of mapping, and engage more actively with real world data, as in the GIS tech-nology used by Bill Gilbert, the aerial surveillance data gathered by Jenny Marketou, and the data-generating processes employed by Andrea Polli and Chuck Varga.

Although the world’s consciousness has turned ‘green’ and ‘sustainable’ programs are emerging in every community, blurring these interdisciplin-ary boundaries is becoming commonplace within arts collaborations, such as in the advocacy work and actions presented by John Fogerty, Bioneers, and artists such as Basia Irland, who inspire greater involvement in protecting and critiquing the use of our environmental and human resourc-es through engagement with local communities.

The exhibition also reflects on current develop-ments in other areas of mapping research and prac-tice, as in the pioneering work of the Center for Land Use Interpretation (CLUI); the work of Beatriz da Costa who enlists homing pigeons in scientific data gathering; Eve Andree Laramée’s collaborative search within the scientific community for practi-cal solutions to decontaminating radioactive sites; Jenny Polak’s struggle in the agricultural ethno-sphere; or Brook Singer’s database of toxic sites.

These strategies and interactions present research ap-proaches that could be considered groundwork for eco-logical mapping protocols. And while Catherine Harris offers us the opportunity to ponder the lack of attention we give to our neglected resource allocation, Claudia Borgna’s work elegantly asks, if surrounded by plas-tic plants, are we merely cultivating plastic thoughts?

While the exhibition comments on the impact of human-ity on the environment, it also builds a dialog opening possibilities to change it. It’s the abstract dynamic found in these relationships, in the flow of information in signs, symbols and ideas that may bring with it the power to influence an audience. Visual media can be used to visualize power itself, as a way of interpreting and un-derstanding it. And this understanding can become a basis for challenging it. Art can be used to describe and locate power, to pressure those who hold power, and ultimately to facilitate and generate power by bringing people together - to map their own future.

BioneersDreaming New MexicoFounder Kenny Ausubel coined the term Bion-eers in 1990 to describe an emerging culture. Bioneers are social and scientific innovators from all walks of life and disciplines who have peered deep into the heart of living systems to understand how nature operates, and to mimic "nature's operating instructions" to serve hu-man ends without harming the web of life. Nature's principles—kinship, cooperation, diversity, symbiosis and cycles of continuous creation absent of waste—can also serve as metaphoric guideposts for organizing an equi-table, compassionate and democratic society.

The Dreaming New Mexico project seeks to reconcile nature and cultures at the state level. Taking care of nature means taking care of people, and taking care of people means taking care of nature. We seek systemic, collaborative ap-proaches toward a common vision of restoration. Our focus is on both practical and visionary solutions.

The premise of this project is: Dreaming the fu-ture can create the future. What would success look like? What are our dreams? These transfor-mative questions have propelled a powerful pro-cess of envisioning “do-able” dreams and map-ping how to realize them in New Mexico, as a tool and template for place-based initiatives elsewhere.

The project’s centerpiece is “future maps” created by project co-director Peter Warshall, a gifted polymath biologist, anthropologist, author and longstanding Bi-oneer. Our first future map and an accompanying in-depth pamphlet on “The Age of Renewables” were released in September 2008 to acclaim and interest in New Mexico, nationally and even globally. The maps are designed to serve as points of departure for conven-ings of cross-sectoral networks around a shared vision of restoration. They renewable energy solutions such as solar, wind, biofuels and geothermal, and address issues that keep New Mexico from adopting sustain-able practices by offering practical solutions, based on the collective wisdom of dozens of people and or-ganizations, such as transportation, governance, effi-ciency, environmental justice and energy distribution.

New Mexico will be hit hard with climate change. Al-ready, rapid warming has occurred year-round since the 1960s and continues today and into the future. Temperatures have increased roughly 2°F in the cold season and nearly 3°F in the warm. These increases are more than twice the annual global average over the entire 20th century. Hotter, longer summers are dramatic — increasing more than 15% since the be-ginning of the 20th century. Climate change will di-minish water supply, soil moisture, and snowpack; and droughts will be more severe. All this will change the amount of hydropower, coolant for power plants and mine reclamation, as well as the demand for more electricity. Winter heating needs have been decreas-ing with warmer winters; and cooling needs have increased with hotter longer summers. Agriculture, especially irrigated agriculture, will be hit hardest.

The state is responsible for almost twice the per cap-ita emissions of greenhouse gases than the American average (42 vs. 25 MMTCO2e) because of its inten-sive gas, oil and coal industries. Because of distances, New Mexicans consume almost twice the US average gasoline per capita. New Mexico consumes 23.3 mil-lion barrels of gasoline each year; 2 million more just to asphalt and oil its roads; and 2.4 million in avia-tion gas and jet fuel. About 20% of all greenhouse gas emissions come from transport. Transportation, which reflects population growth, is the fastest grow-ing emitter of greenhouse gases (29% increase in the 1990’s). Over 90% of the state’s power-related GHG emissions occur at coal-fired power plants. Just two coal-fired power plants — San Juan and Four Corners — produce 75% of the total. New Mexico govern-ment oversight does not yet track CO2 and meth-ane emissions from the oil, gas, and CO2 industries.

2009 Bioneers Satellite Conference – Beaming to the CCA Cinematheque The Bioneers Conference is a leading-edge forum where you can see tomorrow today: a future environment of hope. Social and sci-entific innovators focus on breakthrough solutions in-spired by nature and human ingenuity. These visionar-ies are already creating the healthy, diverse, equitable and beautiful world we want to live in—our legacy for future generations and the web of life on which our lives depend. You can connect with hundreds or thou-sands of engaged folks making a real difference. In 2008, more than 12,000 people attended the Bioneers Conference in San Rafael, California and 18 Beam-ing Bioneers satellite conferences across the country.

AboutBioneers fosters connection, cross-pollination and col-laboration by bringing together diverse people and proj-ects, linking strategic networks at the local, regional, national and international levels. The bioneers are en-gaged citizens from all backgrounds and fields who fo-cus on solving urgent problems within a framework of interdependence, taking a "solve-the-whole-problem" approach that is holistic, systemic and multidisciplinary.

Bioneers fosters connection, cross-pollination and collaboration by bringing together diverse people and projects within a broadly progressive framework, con-necting people with solutions to grow social capital for positive change, and linking strategic networks on the local, regional, national and international levels. A core goal is to build a prosperous restora-tion economy that embraces the rights of people and nature, grounded in social and economic justice.

www.bioneers.orgwww.dreamingnewmexico.org

Claudia BorgnaFill My Petals, Stalk My Stems, Drain My Wings and Oasis

Traveling around the world I have come to re-alize that we live in a world overflowing with waste. This realization has led me to investi-gate the relationship between discarded materi-als, such as plastic bags, and the environment.

In the past I have explored how rubbish and man made objects transform landscapes and become more integrated into nature. This process, which I have named “the evolution of landscape,” that is generated by our modern lifestyle of consumption, is interesting to work with and exploit from an artistic point of view. After working for years with all sorts of discarded materials, waste and rubbish, I decided to focus on only working with plastic bags. Plastic bags hold remarkable contradictory qualities. They are worthless and useful, disposable and recyclable, flimsy and strong, ephemeral and eternal, but above all, they are universal. For me, the plastic bag epito-mizes the perfect and quintessential discarded object. It is the symbolic embryo that contains our lifestyle and is the vessel that carries it out in its journey.

By putting the plastic bag in an artistic context I elevate it to another dimension. I take it away from the idea of the banal and obvious, and for an instant transform it into a poetic object by recreating it as a muse. It be-comes a mass-produced muse with forms, lines, and color that cannot help but interact with the surround-ing environment. I have chosen to materialize my ideas through installation because I can better express the concept of environment, space, time and duration. My large installations give a sense of multitude, and mass or mass-production, invade a space almost to the point of suffocation, and are in a state of constant evolution.

BioClaudia Borgna was born in Hamburg, Germany, and raised in Italy. After graduating from Genoa University in foreign literature, she moved to London, where she has been living for the past 15 years. For several years she has attended diverse art courses, both practical and theoretical, which have allowed her to experiment with various disciplines, media and techniques, includ-ing ceramics, life drawing and painting, sculpture and printmaking. This led to her completion in 2005 of a second degree in fine art at the London Metropolitan University. Since then she has been exhibiting in shows in London, around the UK, Europe and the USA, and has attended residencies in the USA, Canada and Eu-rope. She is a recipient of both the Joan Mitchell and he Pollock-Krasner grant and was recently awarded the Royal British Society of Sculptors bursary award.

Her work entails the investigation of what she calls the “evolution of landscape”, a process started and effected by modern life-styles and consumer-ism. Her installations are the materialization of an ongoing observation and questioning of how the “plastic” and the natural realms interact with one another and thereby come to create new ephemeral orders. She mainly works with recycled plastic bags.

www.claudiaborgna.keepfree.de

CLuI Display Facility*

The Center for Land Use Interpretation's (CLUI) site-specific landscape Display Facility on the fringes of Albuquerque will be open to the public Friday and Saturdays 12-5pm throughout the exhibition. This facility will be located at a site that draws people into a part of the city that is not often vis-ited. Inside is information about the region, includ-ing an exhibit about the New Mexico landscape.

*CLUI projects in New Mexico for LAND/ART are presented by 516 ARTS, and are made possible by The FUNd at Albuquerque Community Foundation.

AboutThe Center for Land Use Interpretation is a research organization interested in understanding the nature and extent of human interaction with the earth’s surface. The Center embraces a multidisciplinary ap-proach to fulfilling the stated mission, employing con-ventional research and information processing meth-odology as well as nontraditional interpretive tools.

The organization was founded in 1994, and since that time it has produced over 30 exhibits on land use themes and regions, for public institutions all over the United States, as well as overseas. Public tours have been conducted in several states, and over ten books have been published by the CLUI. CLUI Archive photographs illustrate journals, popular magazines, and books by other publishers, and have been used in non-CLUI exhibitions, and acquired by art collectors.

The CLUI exists to stimulate discussion, thought, and general interest in the contemporary landscape. Neither an environmental group nor an industry af-filiated organization, the work of the Center inte-grates the many approaches to land use - the many perspectives of the landscape - into a single vision that illustrates the common ground in “land use” de-bates. At the very least, the Center attempts to em-phasize the multiplicity of points of view regarding the utilization of terrestrial and geographic resources.

www.clui.org

Beatriz da CostaPigeonBlogPigeonBlog provides an alternative way to par-ticipate environmental air pollution data gather-ing. The project equips urban homing pigeons with GPS enabled electronic air pollution sensing de-vices capable of sending real-time location based air pollution and image data to an online mapping/blogging environment. Pigeonblog is a social public experiment between human and non-human animals.

BioBeatriz da Costa is an interdisciplinary artist and researcher, who works at the intersection of con-temporary art, engineering, politics, and the life sci-ences. Beatriz is a former collaborator of Critical Art Ensemble and a co-founder of Preemptive Me-dia, an arts, activism and technology group. Beat-riz is an Associate Professor of Arts, Computation, Engineering at the University of California, Irvine.

www.beatrizdacosta.net

John Fogarty and Lea rekowWhere’s Your Power

In this work, John Fogarty and Lea Rekow create a video booth where visitors will be able to describe where their electricity comes from and where in the future they would like to see it come from. The video booth will be part of a piece that includes 3.5 tons of coal, which is the amount of coal used by every American every year. As Americans we are largely disconnected from the power we use every day; we turn on our lights and we don't know that we are burn-ing huge amounts of coal - contaminating our water and air and harming our health - to make that hap-pen. We want to make that connection, and in turn, build the political power necessary to chart a new course for energy in New Mexico and in America. In a community action, the installed coal will be walked to the Round House, and gifted to all state legislators.

We have an opportunity right now to re-energize our economy by solving global warming, but we need to reach people at a visceral level in order to create the requisite political will. Despite the overwhelming sci-entific data showing the necessity of bold action, the climate movement has been largely moribund and has failed to enact substantive legislation at the state or federal levels. Mapping a Green Future grew from this pressing need to bring arts to the climate movement.

The challenges before us - climate change and peak oil - will require us to quickly rethink our energy system in America. It will be a restructuring of our entire society, and will require all segments of our society to come to-gether to develop solutions. The arts community will play an important role in lighting the path to a future that is powered by the sun, the wind, and the land.

John FogartyDr. Lucy Boulanger and Dr. John Fogarty, physicians and public health advocates, founded New Energy Economy, a not-for-profit devoted to the development of a new energy economy based on renewable sources. New Energy Economy believes that responsible planning and the right leadership will lead to prosperous com-munities and a better future for generations to come.

New Energy Economy is presently developing a di-verse network of advocates who are helping soci-ety transition from fossil and nuclear fuels to new energy sources such as wind and solar. The work has a variety of impacts including the creation of new jobs in some of the lowest income communi-ties, reduction of air pollution, preservation of wa-ter supplies, and the slowing of climate change.

In recent months they have been organizing advo-cates from Native American and Hispanic communi-ties along with environmental and business lead-ers to develop renewable energy models to replace polluting methods currently in use. They are also working to develop new communications strate-gies to more effectively reach broader audiences.

Dr. Boulanger and Dr. Fogarty’s advocacy efforts around clean energy started after working as clini-cians on the Navajo reservation. As physicians they have witnessed an epidemic of lung and kidney dis-ease among their patients, stemming from previ-ous decades of uranium mining activities on Navajo lands. Uranium used in the first atomic bombs and for much of America’s nuclear weapons stockpile came from more than 1,100 uranium mines operated on the Navajo Nation. Underground miners were exposed to high levels of radiation, and the mining activities left behind radioactive waste in many communi-ties. This waste now contaminates water supplies, harms air quality, and threatens future generations.

Although the last uranium mine on Navajo Nation closed in 1986, new uranium mining operations have been proposed for two Navajo communities, Crownpoint and Church Rock, located in New Mexico. These new mines will likely contaminate the only source of drinking water for 15,000 Navajos living in a high mountain desert area.

Realizing that nuclear and fossil-fuels energy systems disproportionately affect communities of color; Dr. Boulanger and Dr. Fogarty are look-ing to a new roadmap for energy development.

Dr. Boulanger was born in Burlington, VT and received her medical degree from the University of Vermont. She completed her internal medicine residency at Highland Hospital in Oakland, CA, and then moved to New Mex-ico in 1996 with the Centers for Disease Control as an officer in the Epidemic Intelligence Service. She also is Board Certified in Infectious Disease after having com-pleted a fellowship at the University of New Mexico and received the Diploma of Tropical Medicine and Hygiene from the London School of Tropical Medicine.

Dr. Fogarty was born in Iowa City, IA and received his medical degree from the University of Wash-ington. He completed his residency training at the University of New Mexico and is Board Certified in Family Practice. Since 1997 he has worked with the Pueblo, Apache, and Navajo peoples of New Mexico as a physician in the Indian Health Ser-vice. Dr. Fogarty also has a strong interest in public health and teaches courses on health, human rights, and globalization at the University of New Mexico.

www.newenergyeconomy.org

Lea rekowLea Rekow is currently Executive Director of the Cen-ter for Contemporary Arts, in Santa Fe, New Mexico. Lea is active in media-making, curating, arts consult-ing, publishing and filmmaking. She is an associate of Lalutta Media Collective and a member of New York Women in Film and Television. Lea has lived and traveled in developing countries for most of her adult life. She has produced numerous environmen-tal and ethnographic projects, including a documen-tary based on the continuing civil war in Burma. She has performed with media-activist group EBN, and produced several publications, including DRIFT with Lee Ranaldo of Sonic Youth. Lea founded Gigantic ArtSpace, has curated for PS1 radio, and is cultural advisor to the Australian consulate in New York.

Previously, Lea has worked as director of Harmonic Ranch, director at the Center for Peace and Human Security, taught at Pratt Institute, and as a producer for Simon and Schuster Interactive. In the US, her work has been shown at such places as the Angelica, Lowes cinemas, and Village cinema in New York, and been presented at academic institutions including Cal Arts, Pratt Institute, and SUNY Binghamton. She has shown extensively in greater Asia, Europe, South America, Australia and the U.S. She has sat on pan-els for New York Foundation for the Arts, School of Visual Arts, Parsons School of Design, Amnesty Inter-national, as a juror for the MacArthur award and as an advisor for the Lower Manhattan Cultural Council. Her work as filmmaker, artist, curator and gallerist has

been reviewed in the New York Times, Art in America, Art Forum, Time Out New York and more. She has re-ceived awards, scholarships and commissions from the Ann Arbor Film Festival, One World festival, the government of Victoria, Pratt Institute, the University of Southern Cross, and Griffith University. Her work is held in several private and academic collections. Lea holds a Masters degree in film and digital me-dia, and is a doctoral candidate at Griffith University.

www.learekow.com

Bill GilbertAttempts to Walk the Grid SeriesBill Gilbert documents walking the grid, as topogra-phy and legalities allow, as an exploration of place that mediates between an abstract representa-tion of the land through maps and a direct, physical experience of walking across the planet's surface.

BioBill Gilbert began teaching sculpture at UNM in the Department of Art and Art History in 1987. He has long held an interest in redefining the very nature of how students are educated in the visual arts. This vi-sion became a reality– the Land Arts of the American West program, an interdisciplinary, field based stu-dio curriculum – with support from Dean Christopher Mead, College of Fine Arts, former UNM President Louis Caldera, and Patrick Lannan, President of the Lannan Foundation who endowed the Lannan Foun-dation Chair in the Land Arts of the American West program, which Gilbert now holds. In 2000, along with Professor Emeritus John Wenger and a dozen ea-ger students, Gilbert initiated the first Land Arts trip which covered five states and some 8,000 miles. Two years later, he began collaborating with Chris Taylor from The University of Texas at Austin, and during the next four years they traveled with dozens of students, guest artists, writers and historians throughout the Southwest and parts of Mexico. Professor Gilbert will discuss this "experiment" in pedagogy, as he calls it, and how this has both affected and intersected with his work as an artist and a teacher. Following the lecture, Gilbert will sign copies of his new book Land Arts of the American West (Austin: University of Texas Press, 2009) which he co-authored with Chris Taylor.

www.unm.edu/~wgilbert

Catherine harrisWith support from Lee montgomeryFlow Line/The Augean Stables Revisited

We are interested in imagining ways to live with eco-logical process rather than impose upon it. Imagine a future in which building patterns will function as living networks, seeking to embrace the dynamism of ecological changes rather than resist them. What would life be like living with floods, fires, debris flows?

For CCA Santa Fe, to reflect the watershed runoff from Old Pecos Trail and trace its implied path through the Munoz Waxman Gallery building, one hundred sculp-tural flow meters hang from copper tubing attached to the existing 16 foot center steel truss work. The flow meters hang in an undulating path showing the hydrograph of the area’s rainfall over a typical year. Each flow meter is a 3” diameter twisted wire “propel-ler“ with local wool felted as a paddle on an alumi-num axle. Above the “propeller” a line of copper pipe will drip a controlled water drop, powered by a hand operated pump assembly at the north end of the gal-lery. Visitors will be able to make the water flow and the propellers turn, tracing the pattern of the natural water flow. On the wall at the southern end of the in-stallation’s path calculations show the Old Pecos Trail watershed flows, the area hydrograph, a topographic analysis of the building’s position in the water flow of the area, images of monsoon water in the area, and a plan delineating the muddy area at the northern end and the retention basin at the southern end of the Munoz Waxman Gallery. This project places the interrupted water flow in the hands of the gallery visitor, “clean-ing” the building’s relationship to the land it stands on.

BioCatherine Page Harris teaches Art and Ecology in the Art and Art History Department at the University of New Mexico. She received her MFA from Stanford University and her MLA from UC Berkeley. Harris received a fellowship at the Vermont Studio Center, created a Sustainability Master Plan for their cam-pus, and a solo art show. She works with the Cen-ter for Land Use Interpretation and spent a funded residency in Wendover, UT. She has practiced as a landscape architect, working on public and private projects, and delivered a paper on artist residencies and walking at the Council for Educators in Land-scape Architecture meeting in Tucson, AZ. Catherine’s work has been shown in venues from the Lab in San Francisco to Emily Harvey Gallery in New York City. This is a return for Catherine, in the widening gyre of life, as one of her first group shows was a Men-tors show at CCA with Meridel Rubenstein in 1989

www.catherinepageharris.org

Basia IrlandGathering of WatersA green future cannot be mapped without healthy wa-tersheds. The cartography of the next generations must include communities working together to insure clean, viable river systems. The Gathering of Waters proj-ects establish working relationships between people, and connect diverse cultures along the entire length of rivers emphasizing that we all live downstream. It is imperative to work together to face upcoming chal-lenges, especially here in the increasingly arid South-west. In New Mexico, hydrologic studies have shown that climate change will produce earlier snowmelt and lower stream flows in the Rio Grande, resulting in the drop of ground water levels. My work in this exhibition includes sculptural backpack/repositories containing canteens, logbooks, maps, video documentaries, and photographs from three of the five Gathering of Waters projects. Included are: the Nisqually River, Washing-ton State; Boulder Creek, Colorado; and the 1,875 mile-length of the Rio Grande, which begins in the San Juan Mountains of Southern Colorado, flows through New Mexico, becomes the border between Texas and Mex-ico, and then enters the Gulf of Mexico at Boca Chica.

A Gathering of Waters; Rio Grande, Source to Sea took five years to complete. Hundreds of participants were invited to put a small amount of river water into a can-teen, write in a logbook, and pass these downstream to another person. Connections were made that have been lasting, and groups are working together that never would have met otherwise. In order to partici-pate in this project, you had to physically be at the river and interact with someone else downstream, thereby forming a kind of human river that brings awareness to the plight of this stream that is always asked to give more than it has. In the video documentary about this project, my son, Derek, stands in the middle of the Rio and says; “Ask not what this river can do for you, but what you can do for this river.”

BioBasia Irland, Professor Emerita, University of New Mexico, creates international water projects fea-tured in her book, Water Library, University of New Mexico Press, 2007. Irland often works with scholars from diverse disciplines building rainwater harvest-ing systems; connecting communities along lengths of rivers; launching carved ice books embedded with seeds into rivers to aid with stream bank restoration; filming and producing video documentaries; and cre-ating waterborne disease projects around the world, most recently in Egypt, Ethiopia, India, and Nepal. Ir-land is the recipient of over forty grants including a Senior Fulbright Research Award for Southeast Asia, Woodrow Wilson Foundation Fellowship Grant, and a National Oceanic and Atmospheric Research Grant. She lectures and exhibits extensively. Essays about her work have been included in books published in Germany, England, Switzerland, and the U.S. She has produced nine video documentaries about water.

www.basiairland.com

eve Andrée LaraméePrototype Designs for Portable Filters for Water Contaminated with Radium and Burial at Los Alamos

Eve presents her work on uranium in the Southwest. She is working on simple, inexpensive clay filters to fil-ter uranium isotopes out of water. She is also working on repurposing a uranium mine in Brazil as a solar array and may present her documentation and models of this.

"I am interested in the ways in which cultures use sci-ence and art as devices or maps to construct belief systems. I try to draw attention to areas of overlap and interconnection between artistic exploration and scien-tific investigation, and to the slippery human subjectiv-ity underlying both processes. Through my work I spec-ulate on how human beings contemplate and consider nature through both art and science in a way that em-braces poetry, absurdity, contradiction and metaphor."

BioEve Andrée Laramée has been exploring the mutable, triadic relationship between art, science and nature for over twenty years. Her work has been exhibited throughout the United States and in Europe, including exhibitions in New York, England, Germany, Italy, Swit-zerland, France, Israel, Poland, China and the Czech Re-public. Her work has been exhibited at the Venice Bien-nale, MassMOCA, the Museum of Contemporary Art, Chicago; the New Museum of Contemporary Art, New York; the High Museum of Art, Atlanta; the Contempo-rary Arts Museum, Houston among other institutions.

She has received awards from the Pollock-Krasner Foundation, the New York Foundation for the Arts, the Mid-Atlantic Arts Foundation, the National Endow-ment for the Arts, the Guggenheim Museum, the Andy Warhol Foundation, MacDowell Colony, among others.

Laramee is Professor of Interdisciplinary Sculpture at the Maryland Institute College of Art. Previously, she has taught sculpture, installation and critical theory at The Cooper Union for the Advancement of Art and Science, Massachusetts Institute of Technology, the Rhode Island School of Design, Sarah Lawrence Col-lege, New York University, and Fairfield University. She lives in Brooklyn, NY; Baltimore, MD; and Santa Fe, NM.

home.earthlink.net/~wander/

Jenny marketouRed Eyed Skywalker #4My work that emerged from the mid 90's never com-mitted to a style but rather built open communication systems and social contexts for expression. I am espe-cially interested in social networks and various modes of production in order to create visual experiences and new forms of representation, which grows out of my interest to visualize things that are not in themselves visual. One approach requires structure and hierar-chy and the other requires inhabited experience, en-actment or performance and very active viewer par-ticipation. They are fragile, unstable and displaced.

Although my projects are often discussed in relation to technology and surveillance, I incorporate these con-cepts with playfulness, humor, and public participation in order to humanize these with other proliferating issues of social space, which I consider imperative issues within our culture. In my public street games and participatory installations I create open fields of enactment between the work, the psychological space of imaginary playgrounds and the participants.

Meteorological balloons equipped with wireless (wi-fi) video surveillance cameras investigate visual forms of representation and narrative under intense com-munication and during participatory and performa-tive situations and spectacles which take place in the public space of parks streets, galleries and museums.

The wi-fi cameras capture the visual compelling video data during enactments of the viewer-turned-player/pro-tagonist of the narrative and are usually broadcast live on monitors. The meteorological helium filled balloons like air vessels open up time and space for exploration and imagination. While they also make a reference to the use of balloons in war reconnaissance, the mobility and ephemeral quality of the balloons exaggerates the vulnerability within our ever-constricting social space.

BioJenny Marketou was born in Athens, Greece. Since 1984 she has lived and worked in New York. She has been awarded grants and artists residencies worldwide and holds a Master of Fine Arts from Pratt Institute in Brooklyn, New York. She has lectured extensively and has taught as an adjunct professor Photography and Interdisciplinary studio art at The Cooper Union School of Art and Science in New York City. She is the author of the book "The Great Longing: The Greeks Immigrants of Astoria, Queens" Kedros Publishing.

Marketou’s 2008 exhibition venues included: Le Grand Palais, Paris, France; Chelsea Art Museum, New York, New York; Fiacs3 Biennial International of Contemporary Art of Seville, Spain; Tina_B Bien-nial Festival of Contemporary Art of Prague, Schez Republic; Anita Beckers Gallery, Frankfurt/Maine, Germany; Ileana Tounta Art Center Gallery, Athens, Greece; Museum Abteiberg, Monchengladbach, Ger-many; Strozzina Center of Contemporary Art, La Fon-dacione Palazzo Strozzi, Florence, Italy; Kunstverein Ludwigshafen, Ludwigshafen Mannheim, Germany.

www.jennymarketou.com

Joan myersWestern Power SeriesJoan Myers' photographs span the last quarter of the twentieth century and several lo-cales. She is known for her platinum-palladium prints, a hand-coating process where the im-age becomes part of the drawing paper on which it is printed. Myers' work is in the Mu-seum of Modern Art, the Center for Creative Photography, the George Eastman House, The San Francisco Museum of Modern Art, and the National Gallery of Art, Washington. Myers' work is in the collections of individuals and corporations such as Paine Webber, Chase Manhattan Bank and Wells Fargo Bank. Six books of her work have been published:

• Wondrous Cold: An Antarctic Journey, May 2006• Pie Town Woman The Hard Life and Good Times of a New Mexico Homesteader (2001)• Salt Dreams: Land and Water in Low-Down California (1999)• Whispered Silences: Japanese Americans and WW II (1996)• Santiago: Saint of Two Worlds (1991)• Along the Santa Fe Trail (1986)

BioJoan Myers was born in 1944 in Des Moines, Iowa, and had an early interest in the sciences and math-ematics. At Stanford University, her concentration on Renaissance and baroque music performance led to a B.A in 1966 and a M.A. in musicology in 1967. In the early 1970's Myers turned to photography. To-day she utilizes various digital methods, as well as the platinum-palladium process and continues her exploration of hand-applied color. She maintains her residence and studio near Santa Fe, New Mexico, and teaches workshops throughout the country. In 2002, the National Science Foundation awarded Joan Myers an Antarctic Artists and Writer’s Grant to photograph at McMurdo Station, surrounding field stations, his-toric huts, and the South Pole during the 2002-2003 austral summer. A SITES show entitled "Wondrous Cold: an Antarctic Journey" is scheduled to begin tour-ing in May 2006, accompanied by a book published by Smithsonian Books. In 2001 Ms. Myers' book Pie Town Woman was published by University of New Mexico Press and received an award for Best Illustrated Trade Book from the Publishers Association of the West. Joan Myers' book, Salt Dreams: Land and Water in Low-Down California, a ten-year photographic study of the Salton Sea in southern California with text by William deBuys, was published by University of New Mexico Press in 1999 and won the Western States Book Award for non-fiction. Also in 1999, Ms. Myers completed a series "Western Power" for the National Millennium Survey directed by James Enyeart at the

College of Santa Fe. Another series, "Women of a Cer-tain Age", includes nudes of women over the age of forty. In 1988-1989, she photographed the medieval pilgrimage route across northern Spain to Santiago de Compostela. The University of New Mexico Press pub-lished her book entitled Santiago: Saint of Two Worlds in 1991, and the exhibit was toured by the Albuquerque Museum. In 1983-1985, she photographed the Japa-nese Relocation Camps from the 1940s; a SITES exhibit tour began in 1996, accompanied by a book, Whispered Silences. In 1982, Joan Myers received a NEA/Mu-seum of New Mexico Survey grant to photograph the Santa Fe Trail, a project that resulted in a SITES three-year exhibit tour and a book, Along the Santa Fe Trail.

www.joanmyers.com

Jenny polakGreen in TranslationJenny will meet and conduct interviews with Spanish-speaking local people who work on the land, as gar-deners or builders or on farms around Santa Fe. The ex-changes will explore less affluent, more rooted people’s understanding of sustainable energy and environmental protection. Conducted in Spanish despite her relative ignorance of the language, the efforts to communicate will be recorded by Polak and the resulting audio and documented vocabulary will become an installation.

BioJenny Polak is an artist making architectural installa-tion, drawings and web projects. Her designer alter ego, Design For The Alien Within, promotes hypo-thetical hiding and dwelling places for people without immigration documents. Her furnishings, infrastruc-tural elements, maps and building kits are mutated by the dangers of today’s immigration and border politics. Yet these fictitious solutions for immigrant-citizen struggles are brought to you in the cheery terms of interior design consumption. Polak comes from England and family histories of hiding and mi-gration are behind her preoccupation with illegal assistance of undocumented and stateless people.

www.jennypolak.com

Andrea polli + Chuck VargaCloud Car / Hello, Weather!

Living and working in cities with large populations has given Andrea Polli and Chuck Varga a very pub-lic-focused perspective on media art and ecology. Their work has been focused on how art can play a vital role in understanding the how and why of cli-mate change, through interpretation of the data and direct communications with scientists. Andrea Polli and Chuck Varga explore the connection between the automobile, life and air with their Cloud Car, a car fit-ted with special effects equipment that produces a cloud of mist, enveloping car and rider. With Hello, Weather! Andrea Polli attempts to de-mystify the collection and use of weather and climate data by bringing artists, technologists, ecologists and envi-ronmentalists together by creating workshops around Polli’s permanent installation of a public weather sta-tion. Several Twitter links and an interactive map will allow the audience to participate with the station.

BiosAndrea Polli www.andreapolli.com is an artist, As-sociate Professor in Fine Arts and Engineering and Director of Interdisciplinary Film and Digital Media at The University of New Mexico. Polli’s work has been presented widely in venues including the Whitney Mu-seum of American Art Artport and The Field Museum of Natural History and has been reviewed by the Los Angeles Times, Art in America, Art News and others. In 2007/2008, she spent seven weeks living in Antarctica.

In 1985, Chuck Varga joined with a group of five like-minded individuals and founded the theatrical rock band GWAR. Varga created the character Sexicutioner, who starred in eight major productions of GWAR that toured the US and Europe in over 1000 shows. He also wrote scripts, designed and built costumes and sets, wrote and designed over a dozen graphic stories for the GWAR comic, and co-authored two feature-length films includ-ing the Grammy-nominated Phallus in Wonderland.

www.andreapolli.comwww.chuckvarga.com

Brooke singerSuperfund365Each day for a year, starting on September 1, 2007, Superfund365 visited one toxic site in the Superfund program run by the U.S. Environmen-tal Protection Agency (EPA). We began the jour-ney in the New York City area and worked our way across the country, ending the year in Hawaii.

Today the archive consists of 365 visualiza-tions of some of the worst toxic sites in the U.S., roughly a quarter of the total number on the Superfund's National Priorities List (NPL).

BioBrooke Singer is a media artist who lives in New York City. Her work blurs the borders between science, technology, politics and arts practices. She works across media to provide entry into important social issues that are often characterized as specialized or opaque to a general public. She is currently Assis-tant Professor of New Media at Purchase College, State University of New York, and co-founder of the art, technology and activist group Preemptive Media.

superfund365.org

special thanks to our presenters and supportersYoung Foundation - Community Partners Program

BioneersNew Energy Economy

American Institute of Architects, Santa Fe Chapter516 ArtsLand/Art

Tyler RogerVision:Shift

American Institute of Architects, Santa Fe Chapter presents

marlon Blackwell, FAIAAn Architecture of UnHoly Unions

“For Blackwell, buildings are generators of and frames for experience. Profound and touching ar-chitectural experiences arise from the tectonic re-alities of construction, truthful materiality, and the existential charge of the imagery, not from ficti-tious pictorial fabrications.” - Juhani Pallasmaa

Marlon Blackwell’s work is born out of a goal to enrich the experience of the everyday world by simply ‘build-ing well’. The firm seeks to provide their clients an ar-chitecture that can be felt as much as it is understood, as immediate and tactile as it is legible, contributing to the fundamental civic dignity of communities. Working from a conviction that architecture is larger than the subject of architecture, Blackwell looks at the world with a microscopic wide-angle lens to generate ideas and actions from concrete experiences of the everyday, between the ordinary and the extraordinary, between one’s own personal history and the history of the disci-pline of architecture. For his lecture, Blackwell discuss-es his design work as interplay between details, form, and place, challenging the conventions and models thatoften blind us to other possibilities.

BioBlackwell is an architect based in Fayetteville, Arkan-sas. He is a professor and the Department Chair at the School of Architecture at the University of Arkan-sas. Work produced from his private practice, Marlon Blackwell Architect, has received national and interna-tional recognition through AIA design awards and nu-merous architectural publications including Architect, A+U, Architectural Record, Architectural Review, and the Phaidon Atlas of Contemporary World Architecture (2006/2008). In 1998, the Architectural League of New York recognized Blackwell as an “Emerging Voice” in ar-chitecture. In April 2005, Princeton Architectural Press published a monograph of his work entitled “An Archi-tecture of the Ozarks:The Works of Marlon Blackwell”.

At the University of Arkansas he has co-taught design studios with Peter Eisenman (1997 & 1998), Christo-pher Risher (2000) and Julie Snow (2003). He has been a visiting professor teaching graduate design at MIT in Cambridge, Massachusetts in Spring 2001 and 2002. Most recently, He was the Ivan Smith Distinguished Professor at the University of Florida (Spring 2009) and the Paul Rudolph Visiting Professor at Auburn Univer-sity (Spring 2008) and the Cameron Visiting Professor at Middlebury College (Fall 2007). In the Spring of 2003, he was the Ruth and Norman Moore Visiting Professor at Washington University in St. Louis and has also taught guest studios at Syracuse University (1991-92) and Lawrence Tech University (Fall 2001). In 1994, he co-founded the University of Arkansas Mexico Summer Urban Studio, and has coordinated and taught in the program at the Casa Luis Barragan in Mexico City since 1996.He received his undergraduate degree from Auburn University in 1980 and a M. Arch II degree from Syracuse University in Florence in 1991.

www.marlonblackwell.com

sANtA Fe ACtIONWhat: March to the Roundhouse to demand action on climate change. When: October 24th 1-4PMWhere: Meet at CCA – March down to the Roundhouse on Old Santa Fe Trailhow: Bring signs with the number 350 or im-ages & messages about climate change. Carry a bag of coal to your Legislator. Alternatively ride critical mass or buses to promote public transit and include the elderly and disabled. Wear green and/or blue. We present our political leaders with 3 demands.

1) Clean Energy in Santa Fe by 2020-No more Coal!

2) State-wide Cap on Emissions

3) National CO2 Cap and Trade and leadership in creating an international treaty that reduces global CO2 emissions to 350 NOW!

VIsION:shIFtCALL tO ACtION October 24th we add our voice to the call of mil-lions across the globe and take part in the Interna-tional Day of Action on Climate Change. In countries across the world grassroots organizations, students, schools, businesses, and individuals young and old send a collective message to the world’s leaders.

The message: “Action to address climate change must be immedi-ate and must be comprehensive. The global com-munity must work tirelessly to reduce CO2 in the atmosphere NOW to 350 parts per billion or below or we risk destroying the planet as we know it.”

The International Day of Action on Climate Change is organized by 350.org as a means to spark an in-ternational climate change movement and to get political leaders’ attention before they meet in Co-penhagen this December to decide the fate of our world at the UN conference on Climate Change.

This is a collaborative effort of nonprofits and schools throughout northern New Mexico including Earth Care International’s Youth Allies, New Energy Economy, Santa Fe Critical Mass, United World College, UNM Sustainability Course, and Sierra Club.

special thanksI wish to extend a very special thanks to the incredible staff at CCA, in recognition that their hard work is what keeps us here as an alive and vibrant arts center, and to our Board of Directors, who are tireless in their committ-ment as stewards of CCA. And a special thanks to the volunteers who generously donate their time.

Lea Rekow Executive Director

BoardDr. Albert S. Waxman, PHD President

Steven J. Spector CFO/treasurer

Victoria Price seCretary

Clara Apodaca

John C. Bienvenu

Bill Conway

Gayle Maxon-Edgerton

John Gordon

Cindy Miscikowski

Somers Randolph

William Siegal

Dyanna Taylor

staffLea Rekow exeCutive direCtOr

Lacey Adams adminitrative direCtOr

Filip Celander digital media arts direCtOr

Erich Fisher grants COOrdinatOr

Javier Hernandez Cinematheque manager

GuruAmrit Khalsa gallery manager

Jason Silverman Cinematheque direCtOr

Peter Zangrillo visual arts direCtOr

Shannon Zangs art COOrdinatOr

Sherri Land PrOjeCtiOnist

Sibel Melik PrOjeCtiOnist

Chris Brendenberg PrOjeCtiOnist

Jett Boynton PrOjeCtiOnist

Alina Gatti BOx OFFiCe

Keith Grosbeck BOx OFFiCe

Jesse Hockersmith BOx OFFiCe

Interns & VolunteersKelly McBride

Karen & Spencer Ralston

Alan Karp

MAPPING A GREEN FUTURECenter for Contemporary Arts

October 9 - November 21, 2009