Startseite Archives - JANET TORO

Exhibition Radical Intimacy. Overflows and gestures, MNBA Santiago

sven — Fri, 09 May 2025 17:11:58 +0000

Opening May 15 at 17:00 p.m.

An exhibition that reviews the prominent Chilean artist's career between 1985 and 2025.

Curated by Cecilia Fajardo-Hill, this retrospective brings together paintings, objects, and recordings of performances and installations to review the career of Janet Toro (Osorno, 1963) between 1985 and 2025.

The artist began her career in 1985, painting and engraving, with works whose central motif was the human figure represented as a wounded and contorted body. From there, she shifted toward performance, because only through the living body was she able to intervene and attempt to directly transform hostile reality.

Her performative work has focused on addressing, through the body, events and their various forms of violence and oppression, both physical and symbolic. specifically political violence during the dictatorship, state and institutional violence, patriarchy, violence against women, and the violence of capitalism.

More information:

https://www.mnba.gob.cl/cartelera/janet-toro-intimidad-radical-desbordamientos-y-gestos

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Lecture The body of memory at Goldsmiths University

Janet Toro — Wed, 27 Dec 2023 17:07:05 +0000

https://www.gold.ac.uk

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Exhibition The Body of memory, Peltz Gallery

Janet Toro — Wed, 27 Dec 2023 13:52:33 +0000

https://www.bbk.ac.uk/research/centres/peltz-gallery/current-exhibition

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Exhibition La memoria en el cuerpo, MAC Santiago

sven — Sat, 08 Jul 2023 14:25:37 +0000

Opening July 13 at 6:00 p.m.

For this exhibition, the Chilean artist Janet Toro revisits two emblematic performances carried out immediately after the Military Dictatorship.

This is La sangre, el río y el cuerpo (1990), presented on the banks of the Mapocho River, where the artist moves through the concepts of flow, water, blood, death, memory and the body, lying naked on a canvas, and stain another with blood.

Also part of this exhibition is El cuerpo de la memoria, presented in 1999 for the II Biennial of Young Art - a series of 90 performances, developed between January and March of that year. Some of them were realized at places of torture, and others in a room of the National Museum of Fine Arts, where the biennial was taking place.

Through the exercise of sharing and making public part of the records of the artist's personal archive, which accounts for radical performance-installations made in an indolent and denialist social-political context, passages of our collective memory are removed.

More information:

El cuerpo de la memoria

La sangre, el río y el cuerpo

https://50.cl/exhibicion-la-memoria-en-el-cuerpo/

https://mac.uchile.cl/exposiciones/la-memoria-en-el-cuerpo/

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Absence / Presence

sven — Wed, 20 Apr 2022 15:22:20 +0000

With the cooperation of: Lucrecia Brito Vásquez, Kelly Echiburú, Lorena Estivales Arratia, Paula Fuica Holzapfel, Alejandra Holzapfel Picarte, Vanessa Marimón Fuentes, Amelia Negrón, María Isabel Ortega Fuentes, Pilar Quintanilla Venegas

I intervene in the external museum space with an installation, exactly in the place of the stones, in the tray at the entrance of the Museum, with large, empty, black chairs that allude to the absence of so many murdered, tortured and disappeared women.
This installation remains on display throughout the exhibition until August, as a remnant of absence and a silent testimony of stories, where impunity is constant.

The uninhabited chairs are related to a performance, which was held on April 14, on the esplanade of the Museum. The uninhabited chairs are related to a performance, which was held on April 14, on the esplanade of the Museum. I invited women who were former political prisoners, tortured and violated, to act with me in the museum and on public streets, to express their stories of pain and resistance, achieving a synthesis, which came together in a specific word for each one.

It is an introspective dialogue, the absence and the presence in tension. I propose a sensitive space for meeting and reflection.

Press and communication: César Baeza
Video documentation: Sven Hahne
Photographic Documentation: Marucela Ramírez and Marcela Araya

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Bienal del Mercosur

Janet Toro — Fri, 24 Apr 2020 19:34:25 +0000

Feminine(S). visualities, actions and affects

General curator Andrea Giunta

The title of this biennial poses a question that points to the tension at the core of contemporary democratic culture: participation in society on the basis of “difference” understood— as Denise Ferreira da Silva puts it — as multiplicity rather than separation, as expressed by Denisse Ferreira da Silva...

http://www.fundacaobienal.art.br/
http://www.fundacaobienal.art.br/bienal-12-artistas/Janet-Toro

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Exposition Entre Lineas / An archeology of the contemporary

sven — Tue, 05 Nov 2019 23:23:26 +0000

7. November - 5. Dezember 2019
16:00 - 20:00 Uhr

Galerie AFA
Av. Providencia 1614, Piso 2, Santiago, Chile

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El Despojo

sven — Fri, 24 May 2019 23:53:53 +0000

With the former residents of Villa San Luis: María Caceres, Antonieta Miranda, Ximena Salinas, María Aravena, Jovita Sandoval, Graciela Gómez, Adela Bustamante, Jimena Mendez, Bernarda Reyes, Miguel Manríquez, Mirna Parada, Olga Rojas, Aidé Contreras, Rosa Vargas, Olga Barriga, Margarita Monges.

Neoliberal expropriation, urban devastation, architecture of destruction, eviction, dispossession are concepts, we have observed in excess for several decades. Villa San Luis is an emblematic place, not only because of the great project carried out by the government of Salvador Allende, as an example of social housing, trying to end socio-economic segregation, but unfortunately also as a slaughter area through looting, perpetrated by the military dictatorship and big businessmen. Practice that is repeated until our days of diverse forms in other communes or regions of the country.

This violation of the right to housing, remains unpunished and disguised in the hands of neoliberal growth, which expropriates in the name of profitable use and profit, delivering land and buildings to the supply and demand of the free market.

To annul, to diminish, to erase the historical memory is one of the most effective weapons of the capitalist domain, which tries once more to finish with this architectural legacy of Villa San Luis, so that there are no traces, so that there is no reflection.

In the village of Villa San Luis there are some settlers placed in a row, separated at a certain distance, looking towards the fence of the Villa. They stay still. I approach each of them. I turn each of them towards the pedestrians and cut with a scissors a rectangle proportional to their homes, in their clothes, at chest height. This second skin is torn from their bodies at the very Uranus Street where the last of the buildings still stands.

In colaboration with: Javiera Martínez, Fernando Toro Cano, María Fernanda Toro Cano, César Baeza, Tamara Contreras, Atrin Ayazi, Daniela Cornejo, Sven Hahne, Marucela Ramírez, Marcela Araya, Andrés Martinoli, Manuela Piña

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Installation La Torre Vive

sven — Thu, 23 May 2019 22:26:44 +0000

Beyond the cement, the iron structures, the retaining walls of this building, I was interested in investigating the spirit that animated and promoted this construction, an emblematic building. From his story I was moved by the passion that shaped him, as part of an ideology that promoted human development and fundamental rights, ... subsequently violated, in long years of darkness and terror.

The tower lives is the first installation of a series of several interventions that will cross the city of Santiago, in all its cardinal points, I refer to Urban Intersubjectivity, which is based on a critical reflection on the relationship we establish with the places we inhabit, in the places we work, where we live and where we love.
Places define our way of acting and thinking, in places the control of bodies is also established.

The tower lives rescues the collective memory, gives life to a space that is empty and wasted, thus inaugurating another architectural biography of this building, which is beating in its corridors, in its halls.

The tower lives is a visual poem about existence, reflected here in dozens of things, which belonged to present and absent people.
This installation speaks of diversity in all its senses, in addition to suspending materiality, as contemporary exoduses suspend the destinies of so many human beings across the planet.

This installation questions, sacrifices matter, also asks what we are through the objects that surround our steps?

The Tower lives, exposes the objects of daily life to appropriate this space, creates a patina of forms on the facade of the building to inhabit it from art, with the small of each day.

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Group exhibition Radical Women: Latin American Art 1960-1985

Janet Toro — Thu, 23 May 2019 18:20:35 +0000

Photographic documentation of the Performance Dos preguntas (Two questions)

Pinacoteca Sao Paulo, Brazil

from 18th August to 19th November 2018

Curators Cecilia Fajardo-Hill and dr. Andrea Giunta

Lecture by the artist on November 12, collaboration of the Pinacoteca and Art Museum of Sao Paulo, MASP.

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