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Artists (?) = Collaborative Works at The Power Plant this Spring
 

TORONTO, March 10, 2005-The Power Plant at Harbourfront Centre, Canada’s leading non-collecting contemporary art gallery, announces the opening of Dedicated to you, but you weren’t listening - a group exhibition of works by fourteen artists from Canada, the United States, Puerto Rico, Mexico and Europe - beginning March 25 through May 23, 2005.  A public opening reception will be held at The Power Plant (Thursday March 24,  7 p.m. to 10 p.m) and features a special live performance of UK artist Jeremy Deller’s Acid Brass by a Toronto brass band. Reception admission is free.
 
Dedicated to you, but you weren’t listening asks, “What is the nature of artistic authorship when multiple, perhaps contradictory, voices are invited to come together in the production of an artwork?”.  All exhibition works have grown out of collaborative and performative relationships - allowing for an exploration of the unscripted (and sometimes unforeseen) outcomes that result from a request to help make an artwork. The exhibition also distinguishes between works that might rely on or ask for audience involvement in favour of projects that are actively realized through some form of participation.

Artists presenting collaborative-based works in the Dedicated to you, but you weren’t listening exhibition include; Dave Allen (U.K.), Jennifer Allora & Guillermo Calzadilla (Puerto Rico), Andrew Dadson (Canada), Jeremy Deller (U.K.), G.L.N. (Maura Doyle & Tony Romano -Canada), Dan Graham (U.S.), Jonathan Monk (U.K.), Derek Sullivan (Canada), Zin Taylor (Canada) and Mexico's Tercerunquinto (Julio Castro, Gabriel Cázares & Rolando Flores).
 
Glasgow artist Dave Allen’s ambitious installation The Mirrored Catalogue d‘Oiseaux (2002/03) tests the boundaries of collaboration by engaging birds (starlings) in the process. In 1959 Composer Olivier Messiaen composed the Catalogue d‘Oiseaux; thirteen pieces for solo piano based on his interpretation of natural birdsong. Messiaen would compose in the birds’ natural habitat—fields, meadows etc., writing his notation as he listened. Allen reverses this process by playing back Messiaen’s pianoworks through a stereo to an aviary housing two live starlings - a species adept at mimicry. The birds will tonally mimic Messiaen’s interpretation of birdsong, thus returning the composition, in a modified form, to the ‘natural’.

Works which engage audience involvment include Toronto artist Derek Sullivan’s Endless Kiosk (2005) - which recreates Constantin Brancusi’s Endless Column as a site for commercial advertising. Brancusi imagined his column as a modular structure that could potentially grow to monumental height. Sullivan invites visitors to use his variation as a site for posters and announcements. In principle this ‘kiosk’ grows continuously in girth to complement the possibility of its endless height.

Also included is U.S. artist Dan Graham's Opposing Mirrors and Video Monitors on Time Delay (1974). The audience is at the centre of this installation in a constructed space with two adjacent walls covered with mirrors. Two video cameras are mounted above video monitors in front of each mirror. The cameras record the spatial field and the mirror reflection in real time; but one monitor displays the image from one camera after an 8-second time delay. The spectators see an image of themselves as it was 8 seconds previously on one video monitor. At the same time they see a reflected image in the mirrors, of themselves, their surroundings and what is taking place on the monitors. In the present moment, spectators can perceive the movements they performed 8 seconds earlier, and the images of themselves mirrored at different angles, as well as in infinite regression on both monitors. By spatializing time, Graham creates a space within a space.

The exhibition also showcases 2004 Turner Prize-winning UK artist Jeremy Deller's work The History of the World (1997/2004); which visually connects earlier works by the artist. In 1997 Deller invited a brass band to play reworked Acid House anthems in a project called Acid Brass (The Power Plant presents a rare performance of the work on March 24) while in 2001 Deller restaged a 1984 clash between coal miners and police. The reenactment was made into the internationally acclaimed documentary film by Mike Figgis called The Battle of Orgreave (screening every Wednesday at The Power Plant). The History of the World is a vast jumble of words, phrases and arrows illustrating his thinking. It traces the links between the late 1980s Acid House scene and the traditional brass band. Through the Miners Strike, de-industrialisation and privatisation to advanced capitalism, civil unrest and press hysteria over ecstasy and free parties - the two become intertwined as they tell the tale of recent working class history. 

In Searching for the centre of a piece of A4 paper (2002) by UK artist Jonathan Monk - who asks two of his commercial dealers to pinpoint, without measuring, the centre of a sheet of office paper. Animating their repeated attempts, he projects the results against one another to form a curious dance of two subjective and competing ideas.

Dedicated to you, but you weren’t listening is curated by Reid Shier. Starlings for Dave Allen’s work provided courtesy of the Toronto Zoo. Dave Allen appears in conjunction with Art Metropole. The exhibition is made possible with the support of The British Council and the Hal Jackman Foundation.

The Power Plant's Public and Educational Programmes:
 
Public programmes this Spring include a series of free events, including an Artist Talk by Dave Allen on Saturday March 19 (Art Metropole, 788 King St.West, 2 p.m.) and a Artist’s Panel Discussion  Open-Ended with Jennifer Allora, Guillermo Calzadilla, Derek Sullivan and Zin Taylor - where the artists discuss how the completion of their work is determined by outside forces (Saturday March 26, 2 p.m. at the Studio Theatre (235 Queens Quay West). On Saturday March 26 at noon, visiting Brazilian curator Agnaldo Farias will discuss new contemporary art from Brazil (Studio Theatre).

On Thursday April 7, after sunset, don’t miss the launch of Toronto artist Kelly Mark’s Glow House #3, an innovative off-site project at 323 Palmerston Boulevard (North of College Street) presented in conjunction with the 18th annual Images Festival and YYZ Artists’ Outlet. Glow House #3 will be on view from dusk to dawn until April 23.
 
On Wednesday Apri1 13 at 7 p.m., curator Reid Shier provides a tour of the exhibition. Also, every Wednesday at 7 p.m. (March 30 to May 18), Mike Figgis’s film of Jeremy Deller’s The Battle of Orgreave will be screened at The Power Plant.

Another riveting Hubbub! will be held on Wednesday May 11 at 8 p.m. (The Rivoli, 334 Queen St. W.).  This free event is centred around the theme of “listening” and features a performance of John Zorn’s game-piece COBRA.

The Power Plant’s educational programmes for the spring include Video Variables, a digital video workshop for youth inspired by the conceptual strategies in Dedicated to you, but you weren’t listening. Organized in collaboration with Charles Street Video, this workshop will take place over two weekends in May and include an introduction to the exhibition, camera and editing instruction and the production of a short video to be posted on the gallery's website. Participants must be aged 15 to 25. Please call Terence Dick at The Power Plant for more information and to register.
 
Every Sunday at 2 p.m  in April and May, Gallery Kids offers children and their families an opportunity to be a part of a special project for The Power Plant’s upcoming exhibition of renowned American artist Glenn Ligon. Free with admission.
 
The Power Plant is located at 231 Queens Quay West. Open Tuesday to Sunday from noon to 6 p.m. and Wednesday until 8 p.m. We are open throughout Easter Weekend, Friday March 25 through Monday March 28 from noon to 6 p.m. During Harbourfront Centre's World Stage: Flying Solo festival (April 13 to May 1), The Power Plant is open Wednesday's, Thursday's and Friday's until 8 p.m. World Stage: Flying Solo ticket holders receive free admission throughout the festival.

Admission is $4 ($2 students and seniors), children and members free. Free admission on Wednesday evenings from 5 p.m. to 8 p.m. For exhibition and tour information, the public can call 416-973-4949 or visit www.thepowerplant.org.
 
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Media Contact: Shane Gerard at 416-973-4655 or sgerard@harbourfrontcentre.com


    World Stage: Flying Solo presented by The Westin Harbour Castle

    19 productions from April 13 to May 1, 2005 at Harbourfront Centre

Harbourfront Centre presents its internationally renowned theatre festival – World Stage: Flying Solo presented by The Westin Harbour Castle, April 13-May 1, 2005.  Harbourfront Centre explores the phenomenon of solo performance through this new, themed-edition to the World Stage festival brand. World Stage: Flying Solo presents an impressive 19 mainstage productions at $25 each. World Stage: Flying Solo also presents cross-discipline, ancillary events for ticket-holders, including free admission to The Power Plant contemporary art gallery and York Quay Centre galleries along with three, ticketed International Readings Series programmes. A newly-created lounge, known as the festival’s club - Hangar 7, is the gathering place for before, between and after the shows. All events take place on-site at Harbourfront Centre venues. Call the Harbourfront Centre Box Office - 416-973-4000 or  www.harbourfrontcentre.com/worldstage .
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