Curated and presented by FADO Performance Art Centre in the context of the 10th 7a*11d International Festival of Performance Art.
Roberto de la Torre works with temporary and contingent elements, and his work is usually generated in the public sphere. Manifesting as ephemeral actions in the form of sculpture, architectural, and sensory experiences created through the use of different media, and often employing the collaboration of a large number of participants, de la Torre’s work is best understood as documentation of the transient. The focus of his work ranges from social issues that occur in the local context as well as a global context. A tension between the physical and the intellectual permeates the fabric of his work, and the notion of “social sculpture” is developed through complex negotiations of permissions and participation in each setting the work takes place.
Ayotzinapa, muerte y renacimiento
Ayotzinapa, death and revival
7a*11d International Festival of Performance Art
October 29–November 2, 2014
7a11d is a not-for-profit, artist-driven collective that curates and produces English Canada’s oldest ongoing biennial of performance art. 7a11d was established in 1997 by a group of performance artists, collectives, and organizers, eager to develop a forum for performance art in Toronto. The first 7a*11d International Festival of Performance Art took place in August 1997 and presented the work of 60 local, national and international artists. The 13th edition takes place in 2022.
Performance Art Dailies: Border Crossings (panel)
With Roberto de la Torre, Ali Al-Fatawi, Wathiw Al-Ameri, Serena Lee
October 29, 2019 @ 1:00pm
Artscape Youngplace, 180 Shaw Street, Toronto
Roberto de la Torre
For the Disappeared: on Roberto de la Torre’s AYOTZINAPA, busqueda, muerte y renacimiento
Essay by Jenn Snider on de la Torre’s performance for the 2014 edition of the 7a*11d Festival.
“My suggestion here is that the feelings of anguish and dislocation that surround my personal response to this horrible story are intertwined with the artists own. I have arrived at a place where I must admit that there is nothing knowable that can be found to fully address this nonsensical and appalling act. And this is where we must begin.”