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Winter 2016 January – May 2016 OVERVIEW All Year, Winter 2016 at All Free the Power Plant

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Winter 2016 January – May 2016 OVERVIEW All Year, Winter 2016 at All Free the Power Plant exhibitions / programs / events 1 Winter 2016 January – May 2016 OVERVIEW all year, Winter 2016 at all free The Power Plant As we enter the The Power Plant’s first For our Winter 2016 Season, The Power The Power Plant remains committed to welcom- Plant is pleased to present three solo ing a diverse public, and our seasonal roster exhibition season of 2016, we pause of education and public programs provide more to acknowledge the importance of the exhibitions by artists Patrick Bernatchez, opportunities to engage wider audiences with aLL YEAR, aLL FREE program. Leslie Hewitt and Aude Moreau, along- our current exhibitions. We welcome our French- speaking visitors to engage with artist Aude Thanks to the support of BMO Financial Group, side our Fleck Clerestory Commission Moreau and curator Louise Déry in our In Conver- the gallery is able to eliminate admission fees, by Carlos Amorales. sation series, a lecture presented in French with enabling all visitors, young and old, to access Alliance Française de Toronto. The season’s our exhibitions. Carlos Amorales’ Black Cloud, which launched our International Lecture Series will bring Sven Lütticken, Join us again this Winter and all year long at Fall 2015 Fleck Clerestory Commission Program, German author and lecturer of art history at the The Power Plant, where admission is always FREE. recreates an ecological phenomenon of the Industrial Vrije Universiteit Amsterdam, and James Lingwood Revolution by attaching thousands of black moths and Michael Morris, Co-Directors of London-based to the gallery walls, recalling The Power Plant’s past arts organisation Artangel, to Toronto. We are also life as a coal burning facility. Patrick Bernatchez’s proud to present a symposium titled Constructions works are multidisciplinary and amorphous, embrac- of Time: Still and Moving Imagery, which will include ing film, sound, sculpture and photography. Les artist Leslie Hewitt and cinematographer Bradford Temps inachevés, loosely translated as “unending Young, curator Sohrab Mehebbi, editor and curator times,” is a reference to the evolutive nature of Filipa Ramos among others. Bernatchez’s practice. Leslie Hewitt’s exhibition Last but not least, thanks to the support of the Collective Stance features her collaboration with Ontario Trillium Foundation, we are excited to renowned cinematographer Bradford Young announce that we will now be hosting not one but alongside a selection of works from her individual two monthly Power Kids art workshops and tours! practice. Both are informed by the artists’ research Find details on all of these events and more here into experimental film and expose the tension in this guide. between still photography and the cinematic expe- rience of moving images. The use of photography Come in and explore all of The Power Plant’s new and film are also used to explore meaning in programming this Winter. PREsEntEd By The Political Nightfall, in which artist Aude Moreau refashions the hidden political and economic issues Gaëtane Verna, Director embedded within the iconography of stereotypical North American urban imagery. exhibition #BlackCloud #BlackCloud 3 types of moths — all culled from his archive — in Carlos Amorales thousands of life-size, black paper cut-outs that are Black Cloud individually hand-glued to the walls and ceiling of the space. Multiplied to create a dense mass with 26 September 2015 – 15 May 2016 both wondrous and threatening qualities, Black Opening: 29 January 2016, 8 – 11 pm Cloud becomes a surreal yet sublime gathering of insects delicately poised in sculptural formation, gUEST CURATOR: CHRISTINE SHAW a phenomenon that suggests the potential for harm, In PaRtnership wIth destruction and irreversible doom. Black Cloud can be understood as a cautionary tale if we go back to the years of the Industrial LEad donoRs Revolution in the mid-nineteenth century, when the grizzly environment, tinged by coal combustion, originated a natural selection of black moths in cities. suppoRtEd By The typical moth in England prior to the Industrial Revolution was the dominant light-coloured form which made it very difficult for birds and other predators to see it against light-coloured trees and clean walls. The coal that was burned as industry Mexican artist Carlos Amorales’ Black Cloud (2007 / spread throughout the north of England blanketed 2015) immerses spectators in a swarm of 30,000 the countryside with black soot and a new dark delicate black moths whose frailty and stilled flight form of moth emerged. It appeared suddenly, came contrasts with the sordidness of their forceful to dominate the population in industrial areas, and infestation of The Power Plant’s Fleck Clerestory. This then declined just as sharply following the closure of site-specific installation envelopes spectators in coal mines and many industrial centres. The soot- a territory that fluctuates between the obscure and iness that prevailed during the nineteenth century the optimistic, the macabre and the alluring, distilling soon disappeared from cities. Dramatically, as a kind of claustrophobic sensuality. Black Cloud the cleaner, lighter conditions returned, so did the signals Amorales’ propensity toward ambiguous lighter form of the moth. Some biologists suggest scenarios where the boundaries between beauty that the dark moths will soon be extinct. and awe, good and evil, calm and calamity are Appearing to have entered The Power Plant 1 constantly blurred and where imagination is called through the smoke stack, the swarm of black upon to mediate between multiple interpretations moths calls upon the history of the clerestory as a of the work. coal storage space and points to the “lightening” presented by Scotiabank Nuit Blanche in October Georges Pompidou, Paris (2013). He has also Since 1998, Amorales has been building his of Toronto’s waterfront amidst the recent transfor- 2015. There, two swarms converged, human and exhibited his work at numerous biennials including Archivo Líquido (Liquid Archive), a digital archive mation of sites of industry into post-industrial non-human, begging the question: have we not the 10th and 12th La Habana (2009, 2015), the of vector images — birds, spiders, trees, wolves — centres of creativity, tourism and commercial enter- reached a tipping point? 10th Shanghai Biennale (2014), the 2nd and 8th Berlin taken from books and magazines, downloaded prise. Black Cloud stands as a poetic allegory Carlos Amorales (born in Mexico City, 1970) Biennale (2001, 2014), Sharjah Biennial 11 (2013), from the internet or shot by the artist himself and should the concatenation of industrial metabolism, continues to live and work in Mexico. His work Manifesta 9 (2012), the Belgium Biennial (2012), transformed into black silhouettes modified urbanization, climate change and the extinction makes use of different media including drawing, Performa (2007) and the 50th Venice Biennale (2003). through processes of hybridization. With Black of species continue unabated. animation, installation, performance, video and 1. Carlos Amorales, Black Cloud, installation view at The Power Plant, Cloud, Amorales translates Liquid Archive into Black Cloud was featured in the exhibition The painting. Recent solo exhibitions have been held Toronto, 2015. Courtesy the Diane and Bruce Halle Foundation. three dimensions. The artist replicates thirty-six Work of Wind, also curated by Christine Shaw, at kurimanzutto, Mexico City (2013) and Centre Photo: Toni Hafkenscheid. exhibition #LesTempsinacheves #LesTempsinacheves 5 1. Patrick Bernatchez, still from I Feel Cold Patrick Bernatchez Today, 2007. 16mm colour film Les Temps inachevés transferred to digital support, 13 min. Courtesy of Private 30 January – 15 May 2016 Collection, Montréal. Opening: 29 January 2016, 8 – 11 pm 2,3. Patrick Bernatchez, still from Lost in Time, 2014. Colour film PresEntatIon and circuLatIon oF thE ExhibitIon Is oRganIzEd By thE transferred to digital MuséE d’aRt contempoRaIn dE MontRéaL. cuRatEd By LEsley JohnstonE, support, 46 min, hEad oF ExhibitIons and EducatIon, MuséE d’aRt contempoRaIn dE MontRéaL. ExhibitIon cooRdInatIon By ClaRa halpern, RBc cuRatoriaL sound. Co-production Fellow, thE Power PLant. Musée d’art contemporain de co-producEd By thE MuséE d’aRt contempoRaIn dE MontRéaL and casIno Montréal and Casino LuxembouRg – FoRuM d’aRt contempoRaIn, In PaRtnership wIth Argos, Luxembourg – Forum Centre FoR Art and MEdIa, BRussels, and thE Power PLant, toRonto. d’art Contemporain, with the support of SUPPoRt DONORs DONORs 1 Conseil des arts et Anonymous Catherine Barbaro & des lettres du Peter Ross Tony Grossi Québec and Canada Council for the Arts. Courtesy of Private Collection, Montréal. Les Temps inachevés brings together a selection of works by Canadian artist Patrick Bernatchez drawn from two cycles that span years of conceptu- alization, creation, production and presentation: Chrysalides (2006 – 2013) and Lost in Time (2009 – 2015). This exhibition provides an opportunity to examine the scope of an interdisciplinary, polymor- phous practice that embraces film, sound, sculpture and photography, in addition to painting and drawing. The title of the exhibition, which may be 2 3 translated as “unending times,” refers to the evolutive nature of Bernatchez’s practice, in which each work, cycle and exhibition is considered by It also includes the trilogy of films I Feel Cold Today film completed for the exhibition, two parallel acclaim for his films I Feel Cold Today and Chrysalide: the artist as being open-ended.
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