exhibitions / programs / events 1

Summer 2015 June – September 2015 OVERVIEW all year, Summer 2015 at all free The Power Plant

Our Summer 2015 season looks and urban redevelopment projects that have had had reflects on the very nature of a direct effect on the site and surround of The Power Plant. With this context in mind, each commission collaboration and contemporary is actively realized through visitor engagement, so collectives. that the same collective spirit that grounds the artists’ collaborative approach unfolds in a connective For its Summer 2015 season, The Power Plant audience experience. presents solo exhibitions featuring commissioned Public programming this season provides projects by collectives Bik Van der Pol, opportunities for audiences to explore ideas Tercerunquinto and YES! Association/Föreningen around collective agency through a series of talks, JA! Juxtaposing these commissioned installations workshops, and participatory activities. Renowned is a new collaborative project by -based curator and critic Maria Lind, Director of Tensta artists Nadia Belerique, Lili Huston-Herterich and Konsthall in Stockholm, will take up these issues in Laurie Kang. The Summer 2015 Season has been As the New Year begins at The Power our International Lecture Series, as well as lead a curated by The Power Plant’s Assistant Curator workshop with artists Liesbeth Bik, Jos van der Pol Plant, we pause to acknowledge the Julia Paoli. and Nadia Belerique as well as The Power Plant importance of the ALL YEAR, ALL FREE Collaboration has increasingly become a Director Gaëtane Verna and Assistant Curator Julia program. prevalent mode of production in contemporary art Paoli delving into contemporary collaborative practices, challenging institutional frameworks curatorial and artistic practices in depth. No Reading Thanks to the support of BMO Financial Group, through collective action and self-organization. After the Internet, a salon series, will take a collab- the gallery is able to eliminate admission fees, These strategies have the ability to create spaces orative approach to interpreting critical texts read enabling all visitors, young and old, to access that are at once with and for one another, in an within the context of Bik Van der Pol’s exhibition our exhibitions. effort to position the gallery as a site for communi- Eminent Domain. Artist collective Ombaasin, Wanda Join us again and again this Summer and all cation, knowledge production and exchange. Nanibush, Elwood Jimmy and Brien Norton, will year long at The Power Plant, where admission The artists on view utilize a collaborative strategy lead a panel discussion and conduct performative is always FREE. in their art making and in so doing, promote interventions addressing themes of violence Presented By horizontal exchange amongst a constellation of against land and violence against women as part cultural producers including the artists, the curator, of the Planet IndigenUS Festival. Families can the gallery, and its audiences. They are united create a collaborative play structure in our Power by their shared interest in enacting architectural Kids program, and visitors can join an interactive or infrastructural interventions to question the Power Tour. As always, our Sunday Scene series limits and possibilities of institutional spheres and presents multiple perspectives on current exhibitions challenge the organization of cultural systems. from local cultural producers. During the summer of 2015, Toronto will play host to the Pan Am and Parapan Am Games. In the years We welcome you to The Power Plant this summer. leading up to the Games, the city has undergone Gaëtane Verna, Director exhibition 3

Eminent Domain by author Hugo Grotius in 1625. Eminent domain is understood as the power that the State may Bik Van der Pol exercise over land within its territory, whereby the government or one of its agencies has the right to 20 June – 7 September 2015 expropriate private property for public use through Opening Party: Friday, 19 June, 8 – 11 PM compensation. By foregrounding this concept,

Curator: Julia Paoli Bik Van der Pol’s project alludes to the increasing privatization of previously public goods including territory, property and the public domain at large. Commissioned by the TORONTO 2015 Pan Am/ Parapan Am Games arts and culture festival, Through installation and sound, they have PANAMANIA presented by CIBC conceived of an environment that makes it possible to grasp the overwhelming data related to ecology Supported by and species extinction figures. Soundscape Ecologist Dr. Bernie Krause contributes to the environment through the installation of collective and structured sounds produced in healthy habitats in Borneo, Costa Rica, Sumatra, and Zimbabwe. Since their original Liesbeth Bik and Jos van der Pol have worked recordings, each habitat has changed drastically as collectively since 1995.The production and circula- a direct result of human intervention and natural tion of knowledge is an important tool in their disasters. Krause’s soundscapes coupled with figures practice, which is predominantly context-specific affected by ecological changes results in a project and largely driven by examining the potential that moves data from abstraction to experience. and possibilities of art and research. Their projects By physically situating and mirroring the viewer often take the form of site-specific installations, amidst these statistics they shift from spectator participatory environments and discursive activities to engaged participant. As a result, Bik Van der Pol’s in order to make visible the largely unnoticed research offers an opportunity for the gallery to conditions or realities of a globalized economy and become a site for discursive activities that examines its effect on urban and natural spaces. both the re-articulation of public and private In 2010 the duo first exhibited Are you really sure property and the threat of such activities on natural a floor can’t also be a ceiling; an architectural environments. structure loosely based on Mies van der Rohe’s Farnsworth House. Largely considered one of Bik Van der Pol’s recent solo shows and projects the most radically minimalist homes ever designed, include Ternitz, Austria (2014); 31st Bienal de São the Farnsworth House aims to intertwine the Paulo (2014); Witte de With Center for Contemporary realms of indoor and outdoor space. The artists’ Art, Rotterdam (2014); CAFAM Biennial, Beijing model functioned as a temporary home for (2014); the Biennale of Mercosul, Porto Alegre (2013); butterflies, recognized as an indicator species for Hoog Catherijne, Utrecht (2013); Musagetes, Sudbury, climate change as they are particularly sensitive 1. Bik Van der Pol, ON (2011); The ENEL Award; MACRO, Rome (2010); Are you really sure to environmental degradation. a floor can’t also be and The Western Front, Vancouver (2010). They are a ceiling?, 2010. For their commissioned project at The Power Collection Enel currently course directors of the School of Missing Contemporanea / Plant, Bik Van der Pol continues their investigation MACRO (Museum of Studies at the Sandberg Institute in Amsterdam. Contemporary Art on the ways human activity in the globalized age of Rome). Courtesy has a direct effect on ecological systems. Their title Audio field recordings by Dr. Bernie Krause, Wild Sanctuary, Glen Ellen, the artists. Photo: 1 California. © 2015 Wild Sanctuary. All Rights Reserved. Bik Van der Pol. references the concept of eminent domain coined exhibition 5

1. Tercerunquinto, Old Construction Units, An Economic Contract, Plus Another One Possible, 2012 – 13. Courtesy the artists and Proyectos Monclova. Photo: Diego Berruecos.

2, 3. Tercerunquinto, Open Access, 2005. Alternative access to The Power Plant, Toronto. Courtesy the artists. Photo: Rafael Goldchain

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Mine Tercerunquinto’s projects interrogate the limits appropriates the possessive pronoun referring the two, disarticulating the elements that make up Tercerunquinto and possibilities of various institutional spheres and to that which belongs to the associated speaker. these systems and disassembling the logical order reveal the viewer’s subject position within the Through the artists’ nimble allusion to linguistic of their interrelationships. They have had solo exhi- 20 June – 7 September 2015 scope of such domains. and geographic references, their project points to bitions at Kunstmuseum Bochum, Germany (2014); Opening Party: Friday, 19 June, 8 – 11 PM In 2005 the collective was invited to create a questions surrounding shifting conceptions of Galerie Peter Kilchmann, Zurich (2013); Kunsthalle site-specific intervention at The Power Plant within territory. More, their gesture of excavation disrupts Basel, Switzerland (2013); Proyectos Monclova Gallery, Curator: Julia Paoli the framework of a group exhibition entitled the notion of ownership and complicates our Mexico City (2012); Museum of Contemporary Art Dedicated to you but you weren’t listening curated understanding of property as it relates to both Denver (2012); Matadero Madrid (2012); Espai d’art

Commissioned by the TORONTO 2015 Pan Am/ by Reid Shier. Their project Open Access (2005) Canada’s mining industry and its relationship contemporani de Castelló, Castellón de la Plana, Parapan Am Games arts and culture festival, PANAMANIA presented by CIBC involved the installation of a second public entrance to Indigenous populations. Spain (2011); and Sala de Arte Público Siqueiros, into the gallery allowing audiences the opportunity Their excavation began as an implicit response to Mexico City (2011), among others. The artists have to circumvent admission fees and front of house a call for site-specificity, for commissioned work from also shown in group exhibitions at The Modern Supported by staff and procedures. Ten years later, Tercerunquinto the artist. As a result, Mine passes through several Museum of Fort Worth, Texas; Centro de Arte return to The Power Plant and reflect upon the varied contexts in an effort to create a moment for Contemporáneo, Quito, Ecuador; Museo Tamayo changes to the site and surround of the institution. discursivity, to reflect upon the sets of questions Arte Contemporáneo, Mexico City; Stedelijk Their response reduces the pristine white cube inherent in discussing appropriation. At its core, Mine Museum voor Actuele Kunst, Gent, Belgium; Level The artist collective jointly known as Tercerunquinto to a hole in the ground, a gesture that touches calls out to its viewers and asks them to question 2 Gallery Tate Modern, London; Musée D’Art came together in 1998 and is comprised of Julio upon the traditions of indoor earthworks from the their sense of possession: what does and does not Moderne, Paris; and Centre d’Art Contemporain, Castro Carreón, Gabriel Cázares Salas and Rolando 1960s and 70s and its foray into a history of belong to them. Geneva, among others. Tercerunquinto is based Flores Tovar. Their projects involve processes of institutional critique. Mine is a newly commissioned in Mexico City. negotiation that enact architectural or infrastructural project with a title that refers on the one hand Tercerunquinto was formed in Monterrey, Mexico interventions within public and private spaces. In to the commercial activity that involves extracting and has developed projects that affect both public an effort to reveal the organization of cultural systems, valuable subterranean minerals and on the other and private spaces, questioning the limits between exhibition 7

an artwork, an association, an art worker, an and what are the regulations that condition ones 1. Sketch researching (art)work(sport)work(sex)work triangulations within institution, a group of people working to overthrow behaviour within them? YES! Association/ BUS RIDES YES! Association/Föreningen JA! Föreningen JA!’s the ruling system of heteronormative, patriarchal, In an effort to triangulate these fields, project Every Saturday 2–3:30 PM in dialogue with Emy Fem racist, and capitalist power structures. YES! YES! Association/Föreningen JA! has allocated (art)work(sport) beginning 20 June through 5 work(sex)work, 2015. Association/Föreningen JA! puts into practice a a portion of its exhibition budget towards a series September, 2015 20 June – 7 September 2015 structural redistribution of access to financial of bus rides that will take place each Saturday Meet in YES! Association/ Opening Party: Friday, 19 June, 8 – 11 PM Föreningen JA!’s exhibition resources, space and time within the contemporary throughout the exhibition. People and groups based space art sphere. in who work within visual art, sports The Power Plant Curator: Julia Paoli FREE (art)work(sport)work(sex)work aims to map how culture and sex trade have been invited to host ideologies, socially accepted norms and legislations each week’s ride. The bus is wheelchair accessible. Commissioned by the TORONTO 2015 Pan Am/ Please call 416.973.4949 or email info@ Parapan Am Games arts and culture festival, govern the conditions of work and participation The bus rides provide an intimate space, a PANAMANIA presented by CIBC thepowerplant.org to reserve a spot. within the fields of contemporary art, multi-sports collective mode of transport, bringing participants Please Note: Caregivers are expected events and sex trade, by specifically addressing together while moving through the infrastructure to accompany children and youth Supported by The Power Plant, the Pan Am and Parapan Am Games, of the city, and offer time and space for collective under 16 years of age. hosted in Toronto this summer, and Canada’s new responsibility, sustained engagement and trust. Saturday, 20 June, 2–3:30PM sex trade law Bill C-36. In so doing, YES! Association/ Before embarking on the ride, participants meet in Malin Arnell and Åsa Elzén from Föreningen JA!’s project prompts a series of the gallery, where YES! Association/Föreningen YES! Association/Föreningen JA!

questions: How are these fields connected and JA! has constructed a liminal space, a bus terminal Please visit www.thepowerplant.org Within the context of this season’s wider examina- entangled with one another? How are the divisions of sorts, that houses material and objects in for regular updates on each week’s tion of contemporary collaborations, The Power amongst them demarcated? What governing relation to the invited hosts’ work and engagements. host and ride. Plant presents a commissioned project by bodies are given the power to define these demar- The space itself is ever-evolving, as documentation YES! Association/Föreningen JA!, an art collective, cations? Who is able to work within each field from the previous week’s ride is continuously added. Sex Work Connections Through both the scope and framework of A sex working performative (art)work(sport)work(sex)work, YES! Association/ workshop with Emy Fem Föreningen JA!’s project carries both the risks and the possibilities in positioning the institution as a Wednesday, 24 June, 7 – 8:30 pm site that can be regularly taken up, challenged and Advance registration is required as space reconstituted by those who create, inhabit, critique, is limited. Please call 416.973.4949 or email and disassemble it. [email protected] to reserve a spot.

YES! Association/Föreningen JA! thanks all the bus Realise, reflect and explore your boundaries and get bounded by the ride hosts and extra special thanks to Michèle topic of sex work. Take your time Pearson Clarke, Pearl Love Lee, Cait McKinney, and get connected with the magic of and Hazel Meyer for support and feedback. ropes, bodies and words. Discover your borders and how to communicate them. Are your preconceived notions YES! Association/Föreningen JA!’s recent projects of sex work real? Break the stigma in include participation in Zyklische Gesellschaftsreise, and outside your head and body Berlin S-Bahn Ring, within the NGBK project WIR during an interactive performance. Emy Fem is a Berlin based femme- SPIELEN, Berlin (2013); SMOKING AREA, in the identified sex working performer, group exhibition Anti-Establishment, the Center for activist and workshop facilitator with Curatorial Studies Galleries, Bard College, New York a transitioning body. She creates and (2012); and Lee H. Jones in dialogue with YES! renews her own kinky choreography and body as an ongoing process. 1 Association/Föreningen JA!, Iaspis, Stockholm (2012). exhibition 9

methodologies by privileging temporal fissures gestural treatments, the artists provoke consider- and offering temporality as a visceral means of ation of both the feasibility and impossibility of organizing individuals non-hierarchically. The forms the concepts underpinning their project through its of collaboration implicit in this project are not concrete manifestation. The space and its users are found simply within the artists’ collectivity but thus at once the mouth and tongue working together; implicate the curator, the institution, the viewer, and the structure actively embodying the possibility to the space of the gallery itself. redistribute the roles and positions of its inhabitants. Aimed at redistributing institutional forms of power, the artists’ site-specific architectural Nadia Belerique constructs installations that engage structure renders fluid the roles of all those involved with the poetics of perception and the ways in in the exhibition as well as those of the artworks which images perform in contemporary culture. She and walls that bear them as they begin to meld and received her MFA from the University of Guleph, fold into one another. Effectively turning the gallery and has recently exhibited at such venues as Daniel space upside-down, this approach functions to Faria Gallery, Toronto (2014), and Kunsthalle Wein, entangle bodies through non-sequential interactions. Vienna (2014). She was awarded the BMW Exhibition In so doing, the artists provide opportunities for Prize during Scotiabank Contact Photography those navigating their space to connect in varying Festival in 2014. Belerique has upcoming exhibitions degrees of reciprocity. at Tomorrow Gallery, New York; and the Art Gallery The structure’s reference point comes from of Hamilton. architect Aldo Van Eyck’s temporary pavillion built 1 for the 1966 Sonsbeek Exhibition in Arnhem, Laurie Kang works in image-based sculpture and Netherlands. The pavillion, originally intended to installation. Exhibition and project sites include the house a series of artworks, sought to achieve Van (2014); Feldbuschwiesner, SUPPORT DONORS Eyck’s concept of labyrinthine clarity, an architectural Berlin (2014); Erin Stump Projects, Toronto (2013); The Mouth Holds the Tongue Robin Anthony Jan Innes Beverley Morlock approach aimed at offering a more playful and fluid Gallery 295, Vancouver (2013); Camera Austria, A collaborative project by Nadia Belerique, Colette Barber Popsy Johnstone Jeanne Parkin Kaye Beeston Nancy Kennedy Rundi Phelan interaction amongst individual users. Such struc- Graz (2013); and Art Metropole, Toronto (2012). She Lili Huston-Herterich and Laurie Kang Helen Braithwaite Sue Kidd Donna Poile Sue Dalley Susie Kololian Frances Price tures employing this concept embrace the ambiguity is an MFA candidate at Bard College. Eileen Farrow Karen Lang Lena Sarkissian Patty Fischer Maryella Leggat Stacey Sharpe of time and space and prompt their users to move 20 June – 7 September 2015 Pamela Hallisey Claire McConnell Victoria Taylor freely within them. The artists’ reworking of Van Eyck’s Lili Huston-Herterich has maintained an active studio Mary Henderson Gisele McIsaac Samara Walbohm Opening Party: Friday, 19 June, 8 – 11 PM Jane Humphreys Pamela Meredith Jane Zeidler Sonsbeek hinges on a sense of feminist rigour in its and curatorial practice in Toronto since she received redistribution of the architectural elements typically her BFA from in 2010. With a focus Curator: Julia Paoli found in the white cube. Having been turned on multidisciplinary installation, Huston-Herterich’s Nadia Belerique, Lili Huston-Herterich and Laurie upside-down, the walls of the structure curve and studio practice is informed by the tendencies of Commissioned by the TORONTO 2015 Pan Am/ Kang employ distinct approaches to the investigation Parapan Am Games arts and culture festival, bend spontaneously, hanging above the floor in space and how it shapes the movements within it. PANAMANIA presented by CIBC of the intrinsic playfulness and performativity of an effort to propose a more horizontal approach to She has recently exhibited at Peregrine Program, objects and photographs in their individual artistic interaction. More, the artists’ choice of construction Chicago (2015); 8-eleven Gallery, Toronto (2014); Birch practices. Invited to work collectively for The Power supported by materials themselves evoke possibilities for growth Contemporary, Toronto (2014); and OCAD Plant, the artists’ first group project appears within and activity to occur. University, Toronto (2014). the frame of a wider examination of contemporary The exhibition’s title therefore alludes to the collaboration. artists’ conception of the space itself: a richly active 1. A collaborative Commissioned by Taking this invitation as its starting point, The project by Nadia The Power Plant, and fertile environment that breeds multiple meta- Belerique, Lili Toronto 2015. Mouth Holds the Tongue foregrounds the pleasures Huston-Herterich and Courtesy the artists. phors and interpretations. By reframing conventional Laurie Kang, The inherent in representing and experiencing time Mouth Holds the hierarchies through the exhibition’s form and and space. It points towards collaborative Tongue, 2015.

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June of cities and how public art projects Stones at Pioneer Works, Brooklyn Programs and events interact with the day-to-day experi- (2015), Geometries of Intimacy, at The Power Plant are Alissa Firth-Eagland ence of its people. He currently works co-curated with Jessica Wilcox, at made possible by our Abrons Arts Center, New York (2014), Sunday, 21 June, 2 PM as a Programming Supervisor at Primary Education Sponsor the City of Toronto’s Cultural Events the education program for Frieze, Alissa Firth-Eagland is a curator and unit where he is one of the program- New York, co-organized with Rebeca writer. From 2007 to 2009 she was mers of Scotiabank Nuit Blanche. Raney (2014), and the time-based Director/Curator of Western Front Raza will discuss Tercerunquinto’s curatorial platform The Center for Media Arts (Vancouver). She has exhibition Mine. Short-lived Phenomena (2012 – ongo- curated projects both nationally and ing). Halpern received an MA from Sunday Scene internationally including at the the Center for Curatorial Studies at Museum of Contemporary Canadian August Bard College in 2012. Halpern will discuss Bik Van der Pol’s exhibition The Power Plant Art in collaboration with Fado Xenia Benivolski Performance Inc. (Toronto), La Eminent Domain. free Georgina Jackson Sunday, 16 August, 2 PM Fonderie Darling (Montréal), No Soul Sunday, 19 July, 2 PM Speakers from the world of art and For Sale Festival at Tate Modern Xenia Benivolski is a curator, writer (London), and Vtape (Toronto). She beyond offer their responses to the Georgina Jackson is Director of and artist living in Toronto. Benivolski is Curator at Musagetes, an interna- current exhibitions. Whether focusing Exhibitions & Publications of Mercer curates exhibitions locally and tional philanthropic organization on a single work, a specific artist or Union, a centre for contemporary internationally and is a co-founder of based in Guelph. Firth-Eagland will on multiple exhibitions, guest pres- art in Toronto. She was previously the the artist collectives The Whitehouse discuss Bik Van der Pol’s exhibition enters draw provocative connections Exhibitions Curator at Dublin City Studio Project and gallery 8eleven. Eminent Domain. between our programs and broader Gallery The Hugh Lane, a curator-in- She founded the publication cultural and intellectual debates. residence at the Mattress Factory Rearviews, is a third of the contempo- July Museum of Art, Pittsburgh and in 2012 rary art platform LUFF Art+Dialogue, completed her PhD at the Graduate and co-founded the critical talk series School of Creative Arts and Media, Open Sesame. Benivolski will discuss Dublin. Jacksonwill discuss Nadia Nadia Belerique, Lili Huston- Belerique, Lili Huston-Herterich and Dave Ireland Herterich and Laurie Kang’s exhibition Laurie Kang’s exhibition The Mouth The Mouth Holds the Tongue. Sunday, 2 August, 2 PM Holds the Tongue. Nadia Belerique, Lili Huston-Herterich Dave Ireland is the Managing Director, and Laurie Kang Centre of Discovery in at the and a Sunday, 30 August, 2 PM Mary Tremonte highly sought after speaker and educator with 20 years experience Toronto-based artists Nadia Sunday, 5 July, 2 PM studying, conducting research and Belerique, Lili Huston-Herterich and working in the realm of conserva- Laurie Kang explore the parallels Mary Tremonte is an artist, educator tion, biology and ecology. Former between their individual studio prac- and DJ based in Toronto via Curator of Conservation and tices in their first collaborative Pittsburgh, PA. She has shown her Environment at the Toronto , he is project commissioned by The Power work both locally and internationally. committed to sharing his knowledge Plant. Belerique constructs A founding member of Justseeds and passion for the conservation installations that engage with the Artists’ Cooperative, she works with of nature with the public. Ireland will poetics of perception, Kang works in “printstallation,” interactive silkscreen discuss Bik Van der Pol’s exhibition image-based sculpture and printing in public spaces. In her Clara Halpern Asad Raza Eminent Domain. Huston-Herterich’s studio practice work, she aims to create temporary Sunday, 23 August, 2 PM focuses on multidisciplinary utopias and sustainable commons Sunday, 26 July, 2 PM installation informed by the through pedagogy, collaboration, Clara Halpern is a curator and writer. tendencies of space. Belerique, visual pleasure, and serious fun. Asad Raza is a producer and curator She is currently the RBC Curatorial Huston-Herterich and Kang will Tremonte will discuss Tercerunquinto’s with a focus on public art and art Fellow at The Power Plant. Her recent speak about their current exhibition exhibition Mine. festivals. He is interested in the fabric curatorial projects include Tongue The Mouth Holds the Tongue. summer programs and events Primary Education Sponsor 13

2015 – 16 lead Donor The Power Plant Film FREE Members / $15 Non-Members International Nancy McCain and Extraction Empire Lecture Series Visit thepowerplant.org or call the Please note: that if the event is sold out, Box Office at reserved Members’ tickets that are not Wednesday, 8 July, 7 pm 416.973.4000 to purchase tickets. picked up by 6:55 PM will be released. The Power Plant free Members, $8 Non-Members

(Revolver Archiv für aktuelle Kunst), Visit thepowerplant.org or call the Maria Lind Harbourfront Centre Box Office at Taking the Matter into Common 416.973.4000 to purchase tickets. Please In the Midst Of: About Hands: Collaborative Practices in note that if the event is sold out, reserved Working With and Contemporary Art (Blackdog Members’ tickets that are not picked up 2 Publishing), as well as The Greenroom: by 6:55 PM will be released. Around Tensta Konsthall Reconsidering the Documentary and Kazakhstan, gold in Greece, Forest Law (2014) recounts the and Contemporary Art (Sternberg Extraction Empire is a program of rare earths in Greenland, and so on. Indigenous struggle as played out in Tuesday, 28 July, 7 pm Press). Among her recent co-edited short films curated by artist Charles The film program Extraction Empire the legal system including a successful publications are Contemporary Stankievech in response to current looks at the dual politics of resource ruling respecting the rights of the Maria Lind is a curator and critic based Art and Its Commercial Markets: A exhibitions. The landscape has always extraction in the face of Indigenous forest and traditional territory. in Stockholm, where she is Director Report on Current Conditions and played a foundational role within sovereignty. Peter Mettler’s sublimely Charles Stankievech is an artist of Tensta Konsthall. Previously, she Future Scenarios, and Performing the the imaginary of the Canadian nation shot Petropolis (2009) provides to whose research has explored the served as Director of the Graduate Curatorial: With and Beyond Art and its perception internationally. date the most traumatizing depiction notion of “fieldwork” in the embedded Program, Center for Curatorial Studies, both at Sternberg Press. She edited The modern nation-state of Canada of the scale of the Alberta Tar landscape, the military industrial 1 Bard College (2008 – 2010) and as Abstraction as part of MIT’s as a colonial outpost was premised Sands. Amanda S. Lickers’ film complex and the history of technol- Director of Iaspis, Stockholm (2005 – on resource extraction from and Whitechapel Gallery’s series Workshop Kahsatstenhsera (2013) provides a ogy. He was recently commissioned 2007). Lind was also Director of Documents on Contemporary Art. Indigenous lands as settlers came to document of solidarity, weaving to make a work about colonial Kunstverein München (2002 – 2004) She is the 2009 recipient of the Contemporary the Americas and resources were together Indigenous resistance resource extraction for the exhibition where, together with a curatorial team, Walter Hopps Award for Curatorial Collaborative extracted back to the centre of Empire. against the Tar Sands, not only of the Rare Earth. He is a professor in the she ran a program which involved Achievement. In the fall of 2010 In the 21st century expropriated local Indigenous community but faculty of architecture at the University artists such as Deimantas Narkevicius, Selected Maria Lind Writing was Strategies lands still remain a zone of conflict communities that are affected all of Toronto Program. Oda Projesi, Annika Eriksson, Bojan published by Sternberg Press. with the Crown, but the flow of across Turtle Island (aka Canada), Sarcevic, Philippe Parreno and Marion Drawing on her interests in Monday, 27 July, 2 – 5 pm power is more complex as Canada is including Toronto. The oil might come program Amanda S. Lickers, Kahsatstenhsera: Indigenous von Osten. Lind has served as Curator exploring the formats and method- not a only a contested territory of out of specific place but its conse- Resistance to Tar Sands Pipelines (2013, 10 min.) at Moderna Museet, Stockholm ologies connected with the art The Power Plant resources, but also the corporate quences overflow. The final video in (1997 – 2001) and Co-Curator of free with tickets to the lecture Peter Mettler, Petrolis: Aeria Perspectives on the institution, Lind will discuss the headquarters now participating in the the program from Urusla Biemann and Alberta Tar Sands (2009, 43 min.) Manifesta 2 (1998). Responsible for implications and restults of working Call 416.973.4949 for advance registration. colonial extraction of resources in Paulo Tavares shifts to a sympathetic Moderna Museet Projekt, Lind Ursula Biemann & Paulo Tavares, Forest Law, with contemporary art at an art Space is very limited. Workshop other nations: uranium in Mongolia struggle in the Ecuadorian Amazon. (2014, 30 min.) worked with artists including Koo center in the midst of the Stockholm participants are required to have Jeong-a, Simon Starling and Jason suburb of Tensta. Located in a late purchased or reserved tickets to the Dodge, among others, on a series modernist residential area with International Lecture Series. Reading Group artist’s work, and an artist’s work is a research is required. Instead, of 29 commissions. She also curated approx 20,000 inhabitants, most of No Reading After way of understanding the texts. participants are invited to improvise What if: Art on the Verge of whom have a trans-local background, Maria Lind will lead workshop par- Reflecting the collaborative an understanding of the texts Architecture and Design (2000). working at Tensta Konsthall has ticipants in dialogue about The Internet strategies at play in the current collectively, which will be made She guest – curated the group challenged the staff to consider issues contemporary collaborative strategies exhibition, Eminent Domain, artists available at the event. To participate Saturday, 22 Aug, 4 pm exhibition Abstract Possible: The of inhabitation, embeddedness and and curatorial methodologies Bik Van der Pol have compiled in No Reading is to invoke an Tamayo Take at Museo Tamayo, around horizontal exchange. Artists selections from articles and essays exuberant not-knowing. autonomy anew. The Power Plant that have been instrumental in cheyanne turions is an indepen- Mexico City (2011). Liesbeth Bik, Jos Van der Pol and free She has contributed widely to Nadia Belerique as well as The Power developing the project. Reading will dent writer and curator, and the newspapers and magazines and to Members-Only Exhibition Viewing Plant Director Gaëtane Verna and No Reading After the Internet is a include excerpts from Bruno Latour’s director of No Reading After the numerous catalogues and other on Tuesday July 28 from 6 – 7 pm, before Assistant Curator Julia Paoli will reflect salon series where cultural texts are Agency at the Time of the Internet (Toronto). publications. She is the co-editor of the ILS with Maria Lind. on how these collective approaches read aloud by participants. The salon Anthropocene and Bernd Scherer’s the books Curating with Light to exhibition-making are taken up by series takes its cues from artists; the The Monsters. Luggage and Collected Newsletter current exhibitions. texts are a means for interpreting an For the salon, no pre-reading or summer programs and events Primary Education Sponsor 15

Power Kids Conceptual Creatures Collaborative Power Tours Structures The Power Plant Sunday, 19 July, 3 – 5 pm Saturdays, 3 PM free Sunday 16 August, 3 – 5 pm 27 June – 5 September, 2015 Responding to the work of Bik Van Visit thepowerplant.org or call der Pol, this workshop considers the Inspired by the collaborative nature The Power Plant 416.973.4949 to reserve a spot. impact of urban development on of Toronto-based artists Nadia Free Caregivers are expected to join their the natural world such as habitat loss Belerique, Lili Huston-Herterich and children in all activities. and species extinction. Participants Learn more about contemporary Laurie Kang’s current exhibition will create their own fictionalized art on a guided tour. The gallery The Mouth Holds the Tongue, par- Tours and workshops are led by artist- creatures and imagine their ideal living offers individuals the oppor- educator Anna Bouzina and assisted by ticipants will work together to environments. They will learn a tunity to engage in dialogue Adrienne Costantino, TD Curator of transform an ordinary space into a broad range of sculptural building about art and ideas. Join us Education and Outreach Fellow. creative play structure. With a focus techniques to construct their own for a 30-minute guided tour of on collaboration, co-operation and unique shadowbox ecosystem using current exhibitions led by one For children ages 8–12 and their younger play, participants will learn basic siblings and adult companions. various materials such as vinyl, fabric of the Gallery Attendants at The engineering and sculptural building and cardboard as well as a variety of Power Plant. techniques to transform materials 3 drawing materials. At the end of the such as cardboard, textiles and plas- workshop, kids will take their ticine into a giant maze-like creations home. Planet IndigenUS environment. In addition, participants will make objects to include within Ombaasin discussion with communities affected the maze, which they can take home by and artists drawing attention to Panel Discussion at the end of the workshop. the oil sands and proposed pipeline. Thursday 6 August, 8 pm They will also make the connection Brigantine Room between violence on the land and Harbourfront Centre violence against First Nations women free through the interventions of perfor- mance art. The voices and bodies of Space is limited. Visit thepowerplant.org First Nations are honoured and heard or call 416.973.4949 to reserve tickets. through art and dialogue. Welcome Please note that if the event is sold out, to the capitalism frontier. reserved tickets that are not picked up by Wanda Nanibush is an image and 7:55 PM will be released. word warrior, curator, educator, and community animator from Beausoleil Live Performance First Nation. Saturday, 8 August, 1 – 5 pm Originally from the Thunderchild First Nation in northwestern The Power Plant free Saskatchewan, Elwood Jimmy works in Toronto as a curator, programmer, Ombaasin is a collective of First writer, cultural manager, and artist. Nations word and image warriors Brian Norton is an Anishnawbe from committed to innovative program- Chimnissing First Nation with a ming that builds community and passion for supporting the arts and helps the arts grow through spaces promoting environmental responsi- of experimentation and exchange. bility through active involvement in Ombaasin means to be lifted by the the community. wind in Anishiinaabemowin. Its members include Wanda Nanibush, Co-presented with Elwood Jimmy and Brian Norton. 4 Ombaasin will present a panel 5 17

Weekly activities

Join The Power Plant Harbourfront Canoe & Paddleboat Rides DJ Deep Fried Fridays May – October July 3 – September 4 Members of The Power Plant form an amazing community of artists, curators, collectors, Centre Dancing on the Pier Magnetic Beats and art enthusiasts. Join this passionate network of supporters and become an insider. June 25 – September 3 July 3 – September 4 As Canada’s leading contemporary art gallery, The Power Plant provides you with excep- Cross borders Brigantine Saturdays Summer Music in the tional opportunities to access, engage with and exchange ideas around the best artwork Saturdays in July Garden of our time by world-renowned artists. Your Membership directly supports artists and the Defend diversity and August Presented by TD Bank Group opportunities they have to develop and present new work to engaged audiences. Proliferate the arts Family Sundays July 2 – September 13 Sundays in July and Culture lives at August Become a Member FREE FREE Free Flicks Presented by Access to a range of local, Publications delivered straight Harbourfront Centre Lakeview Market of The Power Plant national and international art to your door. & World Café PortsToronto galleries and museums through Weekends, July Wednesdays July and receive: 8 – September 2 Reciprocal Admission offerings. DISCOUNTS 1 – September 7 EXCLUSIVE On tickets, merchandise and more. Artist-designed Membership card FREE Weekend festivals Experience more Tickets to the International FREE Lecture Series and to a number of Canada Eve Fireworks Habari Sailing and Powerboating relationship between Members-only exhibition other public programming events. June 30 Presented by Batuki Music Daily land, politics, and art, and viewings. Society explore traditional forms Canada Day: The Next The Centre Shop August 14 – 16 from a contemporary Generation Daily perspective. July 1 Tirgan Harbourfront Centre Presented by tirgan Kick Up Your Heels Summer Camps Craft & Design Studio August 20 – 23 The Power Plant is very grateful to the following Institutional Supporters: July 3 – 5 June 29 – September 4 For more than 40 years TAIWANfest our Craft & Design Studio Party on the Block Presented by Asian- NextSteps, the best of has seen hundreds of Government Supporters ALL YEAR, ALL FREE Power Players July 10 – 12 Canada’s dance Canadian Special Events artists hone their skills Association September – June PANAMANIA through its Artists-in- August 28 – 30 July 11 – 25 Visual Arts at Residence programme. Harbourfront Centre This is a rare opportunity Power Youth SUPPORTERS Hot & Spicy Food Ritmo Y Color Summer Exhibitions for the public to watch July 17 – 19 Festival June 20 – September 20 artists working in textiles, Volunteer program Sponsor September 4 – 7 glass, metal, ceramics, FLAUNT Opening Party and other materials in a July 24 – 26 Veg Food Fest June 19, 6 – 10 pm fully-equipped facility. If September 11 – 13 media partner Island Soul Harbourfront Centre you’re feeling ambitious, July 31 – August 3 HarbourKIDS: Rites presents five exhibitions you can even sign up for October 12 featuring 27 artists. As classes. Primary Education Sponsor RBC Curatorial Fellow supported by Planet IndigenUS July 31 – August 9 part of the Planet TD Curator of Education and Outreach IndigenUS Festival (July Fellow supported by 31 – August 9), many of our international lecture series exhibitions consider the 2015 – 16 lead Donor Nancy McCain and Bill Morneau image credits We’re glad May to October events are now online 1. Portrait of Maria Lind by artist Bernd 2. Eamon MacMahon, still from Petropolis, 3. Ombaasin Krauss and Artservices by Peter Mettler produced by Greanpeace 4. Power Tour, Fall 2014 harbourfrontcentre.com Canada, 2009. 5. Power Kids, Fall 2014 you’re here. 416.973.4000 all year, all free presented by

gallery hours LOCATION Tuesday – Sunday 10 – 6 PM 231 Queens Quay West Thursday 10 – 8 PM Toronto, Ontario, Canada Open holiday Mondays M5J 2G8

INFORMATION +1.416.973.4949 [email protected] thepowerplant.org YO LO B AY WER SIM WER

FRONT ST. R . ST K

convention . ST centre

C AIR O CANADA CN E ST TOWER CENTRE

ROGERS . CENTRE BREMNER BLVD. REE S . ST LAKE SHORE BLVD. W.

GARDINER EXPY PUBLIC PUBLIC PARKING PARKING QUEENS QUAY W. PUBLIC PARKING harbourfront centre The power plant

Please note: An underground parking is located directly in front of the gallery at Queens Quay and Lower Simcoe. To arrive by TTC, take the 509 or 510 streetcar from to Harbourfront Centre. By car from Lake Shore Boulevard, take Lower Simcoe Street directly south to the gallery.

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