Violeta Janeiro Alfageme. Curator in Art, she researches and writes about a social thought consigned to the margins by the narratives of power.

She is a PhD student at the University of Santiago de Compostela with a thesis on a political imagination originated in the disenchantment in Spain during the nineties.

She is currently directing the XXII edition of the International Biennial of Photography FOTONOVIEMBRE 2023, organised by the Centro de Fotografía Isla de Tenerife and TEA Tenerife Espacio de las Artes. ¿Cuánto dura un eco? is the title of the oficial section in this Biennial that explores the political dimension of photography and film in a generation of women born in the forties, to read their work not from the perspective of social criticism, but to explore how they articulated a feminist claim in the 1970s from the public space.

Now, she is co-curating at CA2M and MUAC an exhibition on the artist Ana Gallardo (2024).

Exhibitions curated in 2023: Preservation Paradox at Matadero Madrid with Jumana Manna (2023), How long is an echo? at Städtische Galerie Kubus

Initiator of the project Interferencias, a memory that is still alive but we didn't know it (2020 - ongoing) with the support of Ministry of Culture. The project seeks to create new genealogies of women artists in Spain. It consists of filmed encounters with artists born in the 1930s and 1940s in Spain, understood as subaltern subjects whom broke through the established powers to invent a new order in which their work would have a place.

Co-curated an exhibition and public program at the CCE Cultural Centers of Spain in Chile, Perú and Bolivia about the problems arised once the maternal bodies make visible the fissures of a whole system that dictates how these experiences must be lived, embodied and translated (2022).

In December 2021, together with Mauricio Freyre they started organizing encounters at their studio, some of them are published at  LATE IDEA DICE. This is a non funded space. It stands as part of their practice to let things happen based on the alternatives to the business-community and for building/making a context from the peripheries, giving place to the unexpected. 

How many ways are there to get the body to think?, and how many birds will there be at A Cidade da Cultura in Santiago de Compostela, was a project with María Xosé Díaz to think the landscape in the service of a community rather than in the care of an administration. We made a publication motivated by the idea of returning to the place of origin (2021).

Recently; co-curated at Planta Alta in Madrid the programme Desvío (2021) to deepen the artistic processes and curated the residencies La ciudad de los cuerpos que disfrutan (2020-21), a programme that operates with the support of the Regional Ministry of Culture, Tourism and Sports of the Community of Madrid. Among other collaborators, she has work in the exhibition concept selected by the ENAIRE Foundation to inaugurate the foundation's new venues in Santander and Madrid. In 2020 she been part of the Itiner Network (2020), a collaboration platform between the Community of Madrid and its City Councils with the exhibition 'Domesticated world, no place for the wild' with works from the CA2M and ARCO Foundation's collections. How to continue? (2020) was an online exhibition at the Cultural Centre of Spain in Lima where she also organize a workshop on Political Art, Participation and Para-Institution Post-Covid (2020). How to continue? was an exhibition that arised from an epistolary project that was shown at the self-managed space Bisagra (2020) in Peru.

During 2019, it is worth highlighting her participation in the educational programme Hacer/pensar. La gestión cultural como práctica de pensamiento organised by the Museo Reina Sofía and the Master in International Cultural Management and Social Innovation of the Universidad Complutense de Madrid. In February of the same year, together with Jorge Villacorta and Mauricio Freyre, she curated the exhibition Hablar Piedras at Espositivo Madrid. It consisted of a transdisciplinar project that included artistic residencies, and an intense public program that affected the development and composition of the exhibition.

She has curated exhibitions in Art Institutions: Creación y pueblo at Centre del Carme in Valencia, Continuos Movement at Hangar Centro de Investigaçao Artística, Lisbon, Independent spaces: Exercises Around The Concept of Post-Truth, and Art Galleries in Madrid like Several forms of friendship with Aimee Zito Lema or Llanto cósmico (2018) with Patricia Domínguez, and Art Fairs: Una verdad sospechosa (2018)

She has worked as Curatorial Fellow at the Guggenheim Museum in NY, Cultural Manager at the Spanish Consulate in Shanghai with the AECID. She has been Curatorial Assistant at the Spanish Pavilion of the 57th Venice Biennale, lecturer at Trondheim Kunsthall. Some of her recent projects have been carried out both in the institutional sphere and in independent spaces. She is a regular contributor to specialized magazines and teaches exhibition management at the online platform Node Centre for Curatorial Studies in Berlin.


¿Cantas maneiras hai de poñer o corpo a pensar? e cantos paxaros haberá
Publicación anual Ranchito 2017, Matadero Madrid
Primeras tentativas, Marc Pataut
Yves Klein, retrospectiva
Viva Arte Viva. La 57º Bienal de Venecia
Yona Friedman
Ismaïl Bahri
Taro Izumi
The Mother Of Us All, una aproximación desde una genealogía feminsita en relación al canto y la performance
Carlos Cruz Díez (in)formed by color
Afluentes 68, Afluentes 80 y Afluentes 94
Anish Kapoor, Memory
Imagen en movimiento en China: 1988 - 2011


CIA, Buenos Aires
Niki in Hannover
Ses Dotze Naus, Ibiza


Entrevista Madriz curator: Violeta Janeiro
Violeta Janeiro, recorrido por la muestra Un encuentro vegetal

Investiga relatos en los márgenes de la historiografía, para situar la obra y la actitud de un conjunto de mujeres artistas nacidas en las décadas de los años treinta y cuarenta en España.
María Xosé Díaz, Nellina Pistolesi, Isabel Oliver, Soledad Sevilla ...

Installation of nine polyhedrons that invite us to reflect on a landscape that was structured from the rhythms and customs of a people that has mutated from the vernacular.

How to continue if living has turned into discomfort, disease and challenge? Ecological exploitation, repression and destruction are the three great challenges faced by this question that puts lives at the center without renouncing their singularities.
Fernanda Laguna, Eliana Otta, María Ruido,Tatiana Fuentes Sadowski, Elisa Fuenzalida y Jorge Vicario, Sandra Gamarra, Muriel Holguí, Natalia Iguiñiz,Julia Codesido, Nicola Costantin, Luisa Fuentes Guaza, The Underground Division (Helen Pritchard, Femke Snelting, Jara Rocha), Jorge Villacorta, Casa de la Cultura Andina en Madrid

Faced with that sense of the end of the world and anger that accompanied our conversations, we began to write. We sent letters
Armando Andrade Tudela, Alfredo Aracil, Ana Teresa Barboza Gubo, Alba Colomo, Patricia Domínguez, Vladimir Durán, Mauricio Freyre, Rafael Freyre, Ana Gallardo, Tilsa Otta, Marta Ramos Izquierdo, Alexander Ríos, Paola de la Vega, Maria Acaso, Luis Alvarado