PowerPlant2016BlackCloud+(SEPT.26th,2015 – MAY 15th,2016)

By A.J.Lam

Mexico City-based artist Carlos Amorales’ Black Cloud (2007/2015) is a spectacular swarm of 30,000 delicate black moths on display til May 2016 at the lakefront Power Plant in downtown Toronto.

The first iteration of The Power Plant’s Clerestory Commission Program, Carlos Amorales’ site-specific installation envelopes spectators in a territory that fluctuates between the obscure and the optimistic, the macabre and the alluring, distilling a kind of claustrophobic sensuality. Black Cloud signals Amorales’ propensity toward ambiguous scenarios where the boundaries between beauty and awe, good and evil, calm and calamity are constantly blurred and where imagination is called upon to mediate between multiple interpretations of the work.

Amorales works in a wide variety of media, including video, painting, drawing, sculpture and performance. Since 1998, Amorales has been building his Archivo Líquido (Liquid Archive), a digital archive of vector images—birds, spiders, trees, wolves—taken from books and magazines, downloaded from the internet or shot by the artist himself.

Black Cloud was featured in the exhibition The Work of Wind, curated by Christine Shaw for Scotiabank Nuit Blanche on 3–4 October 2015.

Les Temps inachevés brings together a selection of works by Canadian Montreal-based artist Patrick Bernatchez drawn from two cycles that span years of conceptualization, creation, production and presentation: Chrysalides (2006-13) and Lost in Time (2009–15). This exhibition provides an opportunity to examine the scope of an interdisciplinary, polymorphous practice that embraces film, sound, sculpture and photography, in addition to painting and drawing. The title of the exhibition, which may be translated as “unending times,” refers to the evolutive nature of Bernatchez’s practice, in which each work, cycle and exhibition is considered by the artist as being open-ended.

The Political Nightfall, an exhibition by artist Aude Moreau which includes moving panoramas of Los Angeles and Toronto, investigates architecture with a metaphorical power that lies between reality and fiction, and between the image itself and what it recounts.