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This week, visitors to the National Palace in Mexico City will be met with the names of hundreds of femicide victims in Mexico, a nation where 10 women are murdered every day on average. Activists gathered on Saturday to paint the names on the metal fencing surrounding the presidential residence, erected ahead of planned demonstrations yesterday and today, National Women’s Day.
Mexican President Andrés Manuel López Obrador (AMLO) said he decided to barricade the colonial-era building and nearby Fine Arts Palace to protect them from possible damage during the feminist march today, but critics saw the move as a symbolic dismissal of the country’s gender violence epidemic. According to official data, femicides rose nearly 130% between 2015 and 2020 in Mexico, and at least 939 women were murdered last year.
A year ago, activists gathered in front of the National Palace to protest violence against women following the killing and brutal mutilation of 25-year-old Ingrid Escamilla, dousing its doors in red paint and the words “femicide state.” Her name and countless others now surround the building along with messages of support and solidarity, such as the phrases “Trans women are part of my struggle” and “Legal abortion now” in bright pink letters.
In a press conference this morning, AMLO described the act of writing the victims’ names as “creative” and “dignified.” However, the populist leader has consistently alienated and antagonized the growing feminist movement in Mexico. Over the last month, AMLO has been condemned for supporting the gubernatorial candidacy of Félix Salgado Macedonio, a former senator who has been accused of rape.
In addition to the metal fencing, city officials said they would deploy police downtown, including more than 2,000 women officers, to safeguard demonstrators and historic monuments.
“This is not a ‘mural of peace,’ it’s a mural of indifference, impunity, and pain,” tweeted Ytzel Maya, a Mexico City-based writer.
The 40-year relationship that unfolded between Toklas and Stein became the bedrock of Paris’s artistic avant-garde.
Fifty works, all created by women, are brought together across time and media as the Norton Museum of Art reckons with the art world’s patriarchal past and present.
Over 50 years of the artist’s video and media work on how images, sound, and cultural iconography inform representation is on view through December 30.
In the Blactiquing Space, curator and collector Kevin Jones presents deeply fraught objects with emotion, connection, and care.
Dobkin caught the attention of critics early on with her quirky and occasionally self-deprecating works, which often center lesbian identity.
Over the course of three months, the resident artists in Going to the Meadow will collaborate and create with a curated set of continually changing materials.