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The Power Plant premieres works by Vancouver artist Geoffrey Farmer and Brussels artist Joëlle Tuerlinckx and showcases works by Uruguay artist Ignacio Iturria


TORONTO, September 19, 2005—This autumn, The Power Plant premieres two works created specifically for the gallery: A Pale Fire by Vancouver artist Geoffrey Farmer and NOW’ (no Rest. no Room. no Things. no Title) by Brussels artist Joëlle Tuerlinckx. Each artist focuses on the formal properties of gallery space, the role of public art galleries, and the relationship between visual art institutions and the viewing public. This will be the first major solo show in Toronto for Farmer and the second exhibition in North America for Tuerlinckx. The gallery also presents Everything Has a Face, drawings, paintings and sculpture by Uruguay artist Ignacio Iturria. Exhibitions run from September 24 to November 20. A public opening reception will be held at The Power Plant, Harbourfront Centre, 231 Queens Quay West, on Friday, September 23, from 7 to 10 p.m. Admission to the reception is free.

Geoffrey Farmer: A Pale Fire

Vancouver-based artist Geoffrey Farmer's installations combine video, film, performance, drawing, sculptural elements, found objects and texts, and link provocative readings of popular culture with highly imaginative uses of gallery architecture. Farmer’s interest in the latent potential of the gallery as a site for social engagement has led to the development of a number of works in the form of installation kits. These ongoing, process-based pieces stage disparate social and cultural histories within diverse sculptural environments, and will be the focus of Farmer’s new installation at The Power Plant, the artist’s most ambitious to date. A Pale Fire revolves around a fireplace created in 1968 by French designer Dominique Imbert. Manufactured in black steel and hanging from the ceiling by its exposed flue, the iconic lozenge-shaped Gyrofocus has come to embody the design ideals of the 1960s. Here, rather than burning logs in Imbert’s fireplace, furniture is used as fuel. The furniture is amassed in an installation that is slowly transformed through the progressive dismantling and combustion of its individual pieces. Curated by Reid Shier.

Farmer’s exhibition history includes solo shows such at the Contemporary Art Gallery, Vancouver (2002); the Art Gallery of Ontario, Toronto (2000); and Or Gallery, Vancouver (1996). Farmer’s work has been included in international group exhibitions such as Hammertown, Bluecoat Gallery, Liverpool (2003); MosaiCanada: Sign and Sound, Seoul Museum of Art, co-organized by The Power Plant Gallery, Seoul Museum of Art, and the Canadian Embassy in Korea, Seoul (2003); and Universal Pictures, Melbourne International Biennial, Melbourne (1999). Geoffrey Farmer is represented by Catriona Jeffries Gallery, Vancouver, British Columbia.

Joëlle Tuerlinckx: NOW’ (no Rest. no Room. no Things. no Title)

Building on a legacy established by her compatriot Marcel Broodthaers, Belgian artist Joëlle Tuerlinckx works in the vein of institutional critique. Her practice, however, is distinguished by its ephemeral, transient and contingent nature. Curator Catherine Wood describes Tuerlinckx’s installations as “choreographies of found and hand made objects, manipulations of gallery lighting or framed shafts of sunlight, film and slide projections, penciled graffiti text and marks, paper ‘screens’ and scattered card or paper shapes that the artist describes as ‘confetti’.” Tuerlinckx builds these ephemeral traces into elaborate architectures that respond and play with the environments that house them. As she states: “When I am offered an exhibition space it is as though I receive a kind of parcel, a packet of air.” Within this space, our ideas of exhibition practice become mutable, shifting with the artist’s gentle restaging of expectation and perception.

In her Toronto exhibition, Tuerlinckx will show a selection of interrelated works, the centrepiece for which will be a number of books created in the weeks leading up to the opening on September 24. The books are constructed with paper that has been first stapled to all the surfaces of The Power Plant’s exhibition walls, then removed, bound and cut. The project effectively transcribes The Power Plant, making an atlas in 1:1 scale of the gallery. In Tuerlinckx’s words, “the best part of space is not its centre…the best part of space is its edge…this is the ‘crust’ of space.” Here, a book is transformed into a sculptural casting and physical relief map. Curated by Reid Shier.

Tuerlinckx’s work has appeared in the Busan Biennale (2004); Documenta 11, Kassel, (2003); and Manifesta 3, Ljubliana (2000). Tuerlinckx’s extensive exhibition history also includes solo shows at the Renaissance Society at the University of Chicago, Chicago (2003); the South London Gallery, London (2002); and Bonnefantenmuseum, Maastricht (2001). Her work has been included in joint and group exhibitions such as Joëlle Tuerlinckx-Michael Snow, Ecole des Beaux-Arts, Dunkerque (2003); SCULPTURE/TRIPLE BASE, Henry Moore Foundation, Leeds (2003); and Inside the Visible, Whitechapel Art Gallery, London (1996). Joelle Tuerlinckx is represented by Stella Lohaus Gallery, Antwerp, Belgium.

Ignacio Iturria: Everything Has a Face

The Power Plant is pleased to present Everything Has a Face, an exhibition of drawings, paintings and sculpture by Montevideo-based artist Ignacio Iturria, curated by Wayne Baerwaldt, Iturria’s work employs kitsch impulse to reveal a human iconography of the Americas. Daily rituals of friends and family are examined in paint to weave a universal view of the human condition. Iturria’s innocuous apartments are human containers with expansive windows, portals to the larger world of shared human experience, symbolic of the psychic, surreal turmoil endemic to urban life in Latin America. This marks only the second time the artist has exhibited in Canada, and a fully illustrated 136-page colour catalogue will be available for purchase at the gallery.

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. (free admission Wednesdays after 5 p.m.). Admission is $4 ($2 students and seniors), children and members free. For exhibition and tour information, the public can call 416-973-4949 or visit


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Media Contacts:

Linda Liontis, 416-973-4381,

David Gates, 416-973-4494,

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