“Keeley’s work explores different architectural and social histories while paying attention to the multiple embodied temporalities at work in these spaces as they shift in purpose over time. There are no people in the pieces, but Keeley forces us to reckon with the ghosts and traces of human activity.” — Sarah Sharma, p. 111–112

The 15th title in the Power Plant Pages series was produced in conjunction with the exhibitions Shelagh Keeley: Notes on Obsolescence, curated by Gaëtane Verna, organized by The Power Plant Contemporary Art Gallery and presented 20 September 2014–18 May 2015, and An Embodied Haptic Space, curated by November Paynter, organized by the Museum of Contemporary Art Toronto and presented 6 February–27 September 2020.

Centred by an embodied conceptual drawing practice, Shelagh Keeley's work engages with topics in philosophy, politics, and history, exploring the body's relationship to its always-evolving environment through film, photography, and site-specific wall drawings.

The publication is a co-production between The Power Plant, MOCA Toronto, and the McLuhan Centre for Culture and Technology, and features a foreword by Gaëtane Verna, texts by Marc Mayer, Shelagh Keeley and November Paynter, and T’ai Smith, and an interview between Keeley and Sarah Sharma.

Product Information

Editor: Gaëtane Verna

Designer: Pata Macedo

Publisher: The Power Plant

Year: 2020

Pages: 128