IMAGE DESCRIPTION [a black and white close up photo of a womens face with gold colour over one eye which is hiding an injury.]   

Trish Mayes
Dark Beauty

Dark Beauty is a project-based around healing survivors of domestic violence. Using their own ‘selfies’ of their injuries, The artist uses these images to create healing portraits for the survivors. The artist uses the art of Kintsugi, to replace their injuries with liquid gold. The image might be seen as broken to some but the artist brings strength to the survivors and these marks are a part of the history of this woman's life; it isn't something that defines them.

Domestic Violence increases the risk of femicide, over half (61%) of women killed by men in the UK in 2018 were killed by a current or ex-partner. (Femicide Census).

Instagram - @trishmayesarts


























IMAGE DESCRIPTION [ A comic strip of a a journey of a man getting ready and having an argument and fight with someone]  





















I

MAGE DESCRIPTION [A photo of a glamorously dressed woman with a white wig and pink clothings next to a pink soft unicorn toy surrounded by a pink background. Over the image is cut out newspaper letters saying “sisters against police brutality”] 



Olivia Majella Sisters Against Police Brutality.

Do you consider yourself a feminist activist? Why?

“Of course, I do, I feel as though anyone female-identifying who is not a feminist is a product of privilege. Gender-based prejudices are everywhere and ignoring them is problematic. I have experienced first-hand what a product of the patriarchy does and how disgustingly harmful that is. I am equal to my male counterparts and I will be considered no less than exactly that. If anyone tried to tell me what I can or can't do because of my biological sex then I would respond by proving them wrong.”


On Saturday 13th March 2021 campaigners, Reclaim these Streets organized widespread vigils around the UK to honour the life of Sarah Everard. Home Secretary, Priti Patel sent a message to all police chiefs to make it clear that the vigils shouldn't be taking place due to COVID. Some vigils got cancelled and some scheduled events went online. A vigil for Everard took place on Clapham Common. Throughout the early part of the day, hundreds of people attended to pay their respects. After a certain time The Metropolitan Police's decision to break up the crowd, and their behaviour in forcibly arresting attendees and walking over the flowers laid by them, prompted public anger.



Instagram - @olivia_majella_art









IMAGE DESCRIPTION [A black and white photo of a man and a woman. The woman is sitting on a rock. Her face is covered with a bristle flower.]



Iris Legendre
Photographies

Iris Legendre creates storytelling through her “hand-made” manipulations of images: the series titled Photographies (2013) reveals period photographs pierced with needles, covered with pearls, feathers, corals or seashells. These masked portraits put back into perspective what one usually expects when looking at a face: a mask of flesh preferably suggesting that everything goes well. However, broken hearts, shattered bodies, eaten up by diverse feelings or away by disease, sometimes lurk behind the smiling faces in family albums.



Instagram - @iris.legendre






IMAGE DESCRIPTION [Women sticking her middle finger up to two men laughing at a newspaper with a woman's dead body on the front page]


Daniela Maldonado 
Susana y los viejos… 1300 años después.



In Mexico it is very common for newspapers to show photos of the bodies of murdered women, hoping that people's morbidness will cause them to buy more copies. By doing this, the newspapers take away any remaining dignity from the victim, making her an object of consumption even after her death. At the same time, they are contributing to the culture of misogyny that dominates the country, blaming the victim for her own death to their audience, and portraying the aggressor as someone who was provoked.

The artist considers hereself in the middle of a process of deconstruction, that is why she cannot consider herself a feminist activist yet. Art, especially illustration, has been a very useful tool during this process, as words usually fail her, but images don't.


Instagram - @maldonado__ad




IMAGE DESCRIPTION [ an illustration of a woman in burlesque style undergarments, with pink long hair wearing a crown. She is surrounded by fire and above the figure its written “burn it all”] 

RoviBurn It All..

This is a representation of the artist herself and all the women who have experienced situations of harassment, violence and physical, verbal or psychological aggression. The artist is a woman and the mother of a girl that she wants to educate with strength and a lot of power. This is the first time that she has decided to raise her voice for herself, for her daughter and for all those who do not know how to shout about that anger, that fear, what we want and deserve.







Instagram - @rovi_designmx





IMAGE DESCRIPTION [black and white photo of a woman sitting at her computer with a baklava over her head]



IMAGE DESCRIPTION [black and white photo of clothes assembled on a bed, two pairs of folded trousers, hat and mask and a pair of shoes.]



IMAGE DESCRIPTION [A painting of an orange background with a woman's body on the floor covered with the mexican flag]



Vanessa Saavedra
1810-?

The work is a visual reflection on femicide in Mexico through the media, social indifference, and the ineffectiveness of the state. The idea for this painting came from the news about the femicide of Ingrid Escamilla, followed by the femicide of Fátima Cecilia. "1810-?" is the perception of what could be observed in the media: the state trying to ignore these cases, the social indifference, and the lack of legal action. Since 1810, Mexico has been an independent country, shaped by sexism from the beginning. Gender inequality persists. We see it in the average of ten women who are victims of femicide per day in Mexico. We see it in the victim-blaming of women who have suffered rape and femicide, and in the impunity of the perpetrators. We hear it from our disinterested government that tries to ignore violence against women as much as possible. Will sexism ever be talked about as something that disappeared?




Instagram - @vanessa.saavedra.art
















IMAGE DESCRIPTION [textile collage of checkered colourful pattern with 3 square eyes and lips with small text written in spanish] 


IMAGE DESCRIPTION [collage images of a letter and calendar] 








Panayú G. Sala
Casos de archivo: género




Series of 3 collages based on a 1933 document from the decentralised archive of the community of San Francisco Totimehuacán (Puebla, Mexico) where the artist is a volunteer in documentary rescue. Here the future of the resolutions of the case are explored, and leave an open question: would it have ended in femicide? All because there has been a lack of a deeper process of investigation in the media, in regional history, where a history of violence can be reconstructed to understand how these cases were not news.



Instagram - @pannygsala












IMAGE DESCRIPTION [A photo of a woman close up, smiling and showing her chest tattoo off to the camera. The tattoo says, “Que me falte todo menos mi madre”]    



Fabiola Rodríguez
No Estamos Todas.


Fabiola Rodríguez has been a photojournalist for 9 years. Her job consists of documenting through her camera the reality of the murders of women in Mexico, being in the place of the findings, and portraying the murders of women from a gender perspective, working to eradicate the sensationalism and morbidity of the tabloid press, changing violent and misogynistic narratives. She has also captured the actions and marches that make this epidemic visible in Mexico, where around 11 women die every day. With her photography she tries not to pigeonhole women who have been victims, instead she wants to give them a name, an identity, to remember them as they were, and not as the tabloid press shows them on the front pages of newspapers.

The artist considers herself a feminist activist. She says that “once you put on your purple glasses you begin to realise the inequalities that exist in the patriarchal structure that we inhabit. When others recognise you as a feminist, we begin to create women's networks to support us in personal issues, to get out of circles of violence, to organise ourselves to go out on the streets and shout for each one of the women, girls and adolescents that are victims of femicide. Feminism within art is key because we started to name ourselves as creators, we stopped being muses for blokes, we became masters of our own bodies and discourses.”



Instagram - @fabzphotoslp


































IMAGE DESCRIPTION [A day of the dead skeleton is lying on an orange ground. Surrounded by the night sky, there are cutouts of text all around the work. The Grim Reaper is a dark shadow on the side]






IMAGE DESCRIPTION [ An illustration of a woman wearing a religious headdress is crying and holding 2 children. With the words “cuidanos de los feminicidas” around it.]


Mexicana Silvestre
Virgencita, cuidanos de los feminicidas



The Virgin of Guadalupe is a religious and cultural symbol of protection and respect for and towards women: Mexico is a country that is more ‘Guadalupano’ than Catholic, the same country where 11 women are murdered daily. In each corner there is a niche, chapel, little picture or altar that alludes to different ¨Milagros¨ or ¨Petitions¨ that can be manifested through Faith, need, even despair. Like many others, the artist has sent her prayers to the universe, feminist companions, luck and anything that can save us from femicide.


Instagram - @mexicana_silvestre












IMAGE DESCRIPTION [A colourful collage of womens faces with a bird flying over them, an open mouth with a target and oregano bird and three women sitting together. With planet earth in the background]


Jael de la Luz
Testiga

The artist explore the issue of femicide in Mexico by centering elements that evoke honouring the memory of women who have been murdered, and bringing to the public the fears that others express about not knowing if they will be the next. Her collages are inspired by the stories of anonymous women that I heard about or who she knew that had been brutally murdered. They are women who live and live on the outskirts, especially in the State of Mexico, where the artist is from. The visual-narrative elements that make up these collages connect the exploration of femicide, the border, relocation, intergenerational violence and also the efforts to eradicate gender-based violence; racialisation and territorial and spiritual ancestry.







︎︎︎





IMAGE DESCRIPTION  [A drawing of a sad woman's face surrounded by a milk carton, a coffee cup and a newspaper.]  



Alecova
Buenos Días

The artist’s idea is to convey the emotions she feels when she finds out about a case of femicide through television or the newspaper, how badly communicated news can ruin the day, when it is impossible to stop thinking that it could have been you, someone close to you, or how it is simply unfair. It is scary to see that the press doesn’t do anything to tackle femicide, they only take advantage of it, they make news for a while, and then it is forgotten.

Art is one of the many essential elements in ensuring feminism reaches people, giving a message either softly or abruptly depending on the need. Art makes people feel, interpret and reason, it leaves a message because it has an impact that may change perspectives and generate a conversation.

Instagram - @Alecova








IMAGE DESCRIPTION [ A comic strip of a journey of a bus ride. The bus is crowded by lots of big characteristics faces]



Esdrújula.
EL-LE.


EL-LE is a comic strip divided into five parts with different endings each, in which the re-victimisation of women killed by femicide is pointed out. Planned to primarily be a self-published and artisan-printed fanzine, the project would also be available digitally.

Nowadays, feminist art is positioned in popular culture, generating the message to young generations who begin questioning early the romanticisation of being a woman in a man's world. Propaganda art is necessary to make noise in public spaces, among crowds. Likewise, female representation has increased both in the art world and in other disciplinary fields, demystifying gender stereotypes and roles.

Instagram - @paaajara



IMAGE DESCRIPTION [A collage of black and white images of womens faces, one is holding a cross and surrounded by raised fists and flowers. Back and above from that image is a drawing of a woman's face, her lips are bright red and her eyes are covered with text layered over the blindfold. Cut out images of flowers surround] 


Clauzzia Gomez.
10 de Mayo.

The artist states that during all the time that President Lopez has been in power, he has ignored gender violence, he has defended rapists, he has said absurd things about femicide. On 10 May 2021, the president decided to celebrate mothers with a "festival", ignoring mothers who are victims of femicides or disappearances, where every year, mothers have nothing to celebrate but much to demand, above all JUSTICE from a government that is deaf, turns a blind eye. In this work the artist wanted to represent a different May 10, 2021 - mothers living in a world that for them is grey and lifeless, because they have not been able to get justice for their daughters.

Instagram - @clauzziagomez





IMAGE DESCRIPTION  [A coloured photo of a woman sitting on grass surrounded by flowers. Her face is covered in red pins and are placed around the photo] 







IMAGE DESCRIPTION [A black and white photo of a man and a woman. Her face and body is covered in pins]  







IIMAGE DESCRIPTION [a smiling young woman holding a mandolin with two dogs at the side of her. The portrait is surrounded by flowers with a hummingbird feeding from the flowers on the woman's head]

Essa Ra 
¡Las calles recuerdan!  En memoria de Lesvy Berlín o Berry como le llamábamos en el barrio.


The piece is a tribute to the memory of Berry. Remembering her life and not from the fact that she was murdered is a way of reclaiming her existence and stoking the fire of the fight against gender-based violence in Mexico. This piece involved a lot of emotional work for the artist, because without a doubt Berry’s premature departure impacted her life, as well as her environment. The Xoloescuintl dogs in the Mexica worldview were the guides to Mictlán (the afterlife), hence these elements are the allegory to represent how Lesvy's case served as a guide to denounce impunity, state violence, misogyny and patriarchal structural violence in Mexico. Lesvy's memory is alive and embodied in the feminist social movement that drives the struggle in each protest when we take to the streets.

Instagram - @mariana essa ra




IMAGE DESCRIPTION [an illustration of a woman with long dark hair smirking. The background is a front page of a newspaper. With slogans surrounding the woman saying “me mata” Dos Veces” and “primero mi cuerpo luego mi recuerdo”]

Karina Janis 
Aquí, me matan dos veces.

This piece is based on the language used by the media to report a femicide, this term is rarely used and they refer more often to a crime of passion or use victim-blaming language. This piece includes the words ‘here, they kill me twice’ to highlight this problem. Feminism is a constant theme in Karina Janis’ work. Street art is a technique that she has started to use a lot lately to address problems and generate questions; it is always important to create a dialogue or question for the people who interact with a piece.

Instagram - @kariinajanis






















IMAGE DESCRIPTION [black and white photo of a bike leaning against a wall with graffiti next to it saying “hasta encontrarte”]


Panayú G. Sala
La historia de Pita.


This is a visual essay that personifies the life of a woman, a sister, an investigative journalist who has suffered the consequences of enforced disappearance and the possible femicide of her younger sister:

“My name is Pita, I am an activist sister due to the disappearance of my 13-year-old sister in 2018. I am a journalism graduate. I mainly worked covering events for small local newspapers or entertainment websites. But since she was swallowed by the earth, I have been digging everywhere with nails, tracking, sniffing, her laughter following in her footsteps. That led me to create a sisterhood with other women who are in the same situation, we all imagine that we are suffering the consequences of a femicide, but without a body, and that is why the authorities say that there is nothing conclusive. I owe everything to them, that's why I shared with them what I knew about disappearance and femicide, so I am the one who does the major task of training on these topics and taking charge of filing the documentation processes of each search case. Now you will know part of my day to day. Sometimes on the street, sometimes just on the desk. In both worlds I try to camouflage myself. That is one of my greatest attributes… disappearing.”

Instagram - @pannygsala





IMAGE DESCRIPTION [An illustration of a woman holding a baby in one hand and a newspaper burning in the other.]



Sayu
Quemando prejuicios.

This piece represents a woman from an indigenous community, who is a mother, a feminist and who is pro-choice, characteristics that are highlighted by her baby in her arms, her purple shawl and her green bandana, respectively. Femicides of indigenous women are usually minimised or excluded from the news, so in this pictorial expression the woman burns the front page of a newspaper, which includes an article about a murdered indigenous woman. Also, this work of art highlights how the media censor or ignores the slogans of the feminist marches, which have among their main purposes to fight for a society without femicides. This can be seen when looking at the front page of the newspaper that places a monument painted in these marches as the main image and expresses the feminist struggle as negative. With this, the media also conveys that a monument is more important than the life of a woman.

Instagram - sayu.paints








IMAGE DESCRIPTION [textile circle with flowers, rain cloud and water. A block of small text in spanish]














IMAGE DESCRIPTION [A photo of a woman wearing a red balaklava with jewels and a pom pom on top]



IMAGE DESCRIPTION [A photo of a young child's hands, palms open with glitter all over them]







IMAGE DESCRIPTION [ A drawing of 4 people, 1 is covered with a green brolly and black sheet, just showing us her legs. 1 is covered in a pink hat and cloak with text drawn all over her black dress. 2 men are standing to the side, 1 face is covered in black other is wearing a blue shirt. The background is a deep red]



Megalonyx
Somos la sangre que se derrama.

This work consists of two images, which aim to communicate that victims of femicide are not anonymous, faceless, without identities, they are the women we know, it is all of us Mexicans, since this problem touches all of lives as part of the patriarchal violence that is exerted on a daily basis.

The artist is a student in Social Policies and Projects, a feminist in deconstruction, someone in constant search for feminist knowledge. Creating is her way of resisting and sharing. Art is a form of resistance, of freedom and of appealing to our senses and feelings; art not only summons others to reflect, but transforms the narratives of our reality, art shows us that there is not only one correct way to do activism, to get involved in the problems that affect women.


Instagram - @Megalonyx_04











IMAGE DESCRIPTION [A photo of a superimposed drawing in the street. A woman is standing with her bike.] 




Kira Pauletta
Apariciones/contramonumentos


These photographic and audiovisual counter-monuments commemorate the victims of femicide and disappearance in Mexico City and the metropolitan area. The counter-monuments are made with photographs from family albums and social networks, which are worked on and recreated using the stencil light painting technique; later they are re-photographed in specific and significant places for the victims, with an effort to reconstruct their identity. Also included in the pieces are the testimonies of the mothers of the victims who commemorate their daughters and describe the processes of seeking justice for the murders of their daughters.

Art has always played a very important role in feminist activism, both from a therapeutic and a political point of view. It allows us women and sexual dissidents to create other types of representations that go beyond those created by the capitalist system in which we live, where we hardly ever see ourselves represented.

Instagram - @kirapauletta





IMAGE DESCRIPTION [A photo of a textile work, a newspaper than have been weaved with another newspaper]

Mar Ramires
Zopilotes Rojos: Textil.

The piece is part of a multidisciplinary series, which seeks to demonstrate and denounce gender cultural and media violence against women, which is reproduced and produced by newspapers. Tabloid newspapers construct and represent women as “bad”, “guilty”, “poor”, “ignorant” and “sexual objects”, devaluing their deaths, their bodies, their feelings and their thoughts, dehumanising them, normalising and naturalising gender-based violence against women. Gloria Estela García, a Guatemalan Mayan weaver, says that "Textiles are an ancestral technique related to women, which is a form of resistance that tells stories." The story the artist tells in this piece is about the context in which women in Morelos find themselves. Theorist Adria Estévez says that we are in two parallel wars, "the war for the necropolitical governmentalisation of the State", where men and women we are victims of the narco-state and "the war against the dispossession of women's bodies" where men are perpetrators and seek to possess our bodies to commercialize or enslave them. Tabloid newspapers are the synthesis of this context and also commodify the bodies.



Instagram - @marinatortuga








IMAGE DESCRIPTION [An inked black and white images of 7 figures of women, young, old, some holding large guns. Surrounded by text in spanish saying “Sin Mujeres No Hav Revolucion”]




Armarte Oaxaca.
Sin mujeres no habrá revolución.

This piece was made collectively. Before making this piece the artists investigated violence against women in Oaxaca; they noticed many problems, including how the media reify the body of murdered women and exhibit it in a morbid way. In this piece the artists illustrated different women, including some self-portraits or illustrations of close acquaintances, with the phrase "without women there is no revolution." The piece commemorates the role of the housewife, the student, the mother, the daughter and the endless number of women that are part of history, and demands that that housewife or that student who left home one day never to return should be recognised and remembered.

Instagram - @armarte_oaxaca