The artist Ximena Alarcón, known for her work that provokes thought on social inequality, gender status, racism, and empathy, has created an installation titled Continuous feminicide. Through this piece, Alarcón aims to raise awareness about femicides, the murders of women due to their gender.
This installation consists of six drawings and a spatial intervention, a tangible representation of the enormity of femicides. It also highlights the apathy towards these violent crimes. The work will be on display from today until February 11 at the Casa Mérida Contemporary, as part of Art Week.
Alarcón, speaking about Continuous feminicide, told The Conference that the subject of femicide is not given due attention in society. It seems to be a concern only for women. After researching this issue, she found that society generally shows little interest and justice is not adequately served.
The inspiration for the installation came from the case of Debanhi Escobar in Monterrey, in which the victim was blamed for her death. Alarcón explains, “When I read about the case, I started a drawing with droplet shapes that eventually took on the form of a flower. However, these are not just flowers, but symbols of blood drops or bodies of women. Each spot represents a victim, embodying the image of a falling flower.”
Alarcón further added, “About eight months into the drawing, I listened to an interview with French historian Christelle Taraud, who authored a publication on the global history of feminicide. That inspired me to add the dimension of time to my work. I started drawing the same shapes in red and black, symbolizing that bloodstains never disappear.”
The artist credits Taraud’s text for the title of the installation, who graciously permitted its use. Alarcón learned from Taraud’s publication that all methods of oppression against women are, at their core, designed to annihilate women socially or physically.
Alarcón structured the spatial intervention in a manner that compels viewers to contemplate the impunity, violence against women, and the countless gender-based hate crimes. Visitors are required to walk barefoot on gravel paths overtaken by red stones, symbolizing the bodies of deceased women, to comprehend the scope of the issue.
“Walking barefoot on the gravel path leads to a heightened physical awareness of pain. The objective of this spatial intervention is to allow visitors to experience the path of white gravel until they reach the main work – the drawings. The barefoot journey intensifies the physical and emotional pain. As one traverses the path, it becomes progressively difficult,” explains Alarcón.
Alarcón believes that walking on the red path is akin to walking on the bodies and memories of the victims, something our indifference permits. The installation Continuous feminicide is Alarcón’s attempt to condemn society’s apathy towards the pervasive violence that affects and concerns everyone.
Alarcón argues that discrimination against women, inequality, lack of sexual freedom, lesbophobia, and whorephobia are all mechanisms of oppression aimed at women. She says, “Our world is deeply patriarchal, and all social and religious norms have contributed to this. The control over women, who are life-givers, has incited intense hatred.”
Alarcón continues, “The justice system, the police, and the media persistently deny the atrocity of femicides and often blame the victims. This violence is normalized, and women are dehumanized for trivial reasons, such as their attire or behavior.”
As part of the exhibition, a discussion titled Art and gender violence will be held. It will feature Christelle Taraud, Karen Cordero, and Ximena Alarcón herself on February 10 at 12 noon at Casa Mérida Contemporary.
