LAS HORAS HERIDAS

THE WOUNDED HOURS

Performative actions against feminicide in Peru

Las Horas Heridas is a perfomance art project about femicide. It was born as a response to the sheer indignation that gender violence generated me.
The numbers of sexual and domestic violence are extremely high. Between 2009 and 2017, 964 female deaths have been confirmed as cases of femicides, with 124 of those registered in 2016 alone, showing an increasing trend (MIMP). Las horas heridas is a response to these numbers.
I feels it is important to work on this issue in the public space; to take it outside the home and extract it from the private area, where it is often silenced. This led me to do performances in different parts of the city with the aim of creating awareness of the femicides that take place in Peru. The project thus, seeks to materialize the statistics out in the public space, to extract what happens inside the house to the public space and confront the public with it. It wants to disturb the passersby and to showcase the victims, taking out to the street what nobody wants to see, what nobody wants to think about. The reactions to the actions performed have been very diverse. Some people get scared thinking the artist is a corpse, some feel generally uncomfortable and some others continue their way with indifference, but most want to contribute to the project and support it claiming that it is important to speak about this issue. These often respond to some people who consider the whole ordeal a waste of time, or think is a slapstick and say things like: “Here is a miss who is doing comedy and doesn’t want to get up”, “Throw water unto her, she’s making too much drama”, “Can you give her mouth to mouth breathing?” or “What if we take the bag off her?”. It is precisely that indifference, ignorance and lack of respect—which sanctions gender violence and allows so many people to turn into victims or killers—that spark reflection upon the issue at hand. The project consisted of three perfomatics actions: Every 71 hours, Timeline and Funeral bundle of a femicide and The night the shooting star was killed a Videoart that compiles in a poetic way part of the actions.

Cada 71 horas (Every 71 hours)
Performance art
ENSABAP, Cercado de Lima – Lima
April 4 – 2017, 11:00
Photo: Paul Arbildo

Cada 71 horas (Every 71 hours)
Performance art
Megaplaza, Independencia – Lima
March 14 – 2017, 18:00
Photo: K.Quispe

Every 71 hours

The performance starts when two women start walking in the public space (a busy street, a shopping mall, a park, etc.). Then the performer artist pretends to faint and her partner covers her with a black garbage bag. On the bag, the second performer places a sign that says the following:

EVERY 71 HOURS
A WOMAN IS MURDERED
BY GENDER VIOLENCE IN PERU

Then she goes away, leaving the performer on the floor covered with a bag for ten minutes, after which she approaches and takes it off. Once unveiled, the performer artist who was on the floor stands up and both continue their way, getting lost in the multitude.
This first performance actions of the project took place every 71 hours, symbolically dying between the passersby for 10 minutes every 71 hours in different public spaces in the city of Lima. This performance was done for one month, starting on March 8 and ending on April 7 (2017), every 71 hours.

Cada 71 horas (Every 71 hours)
Performance art
March 11- 2017, 19:00
Parque Kennedy, Miraflores – Lima
Photo: Paola Rossi

Cada 71 horas (Every 71 hours)
Performance Art
Gamarra, La Victoria – Lima
April 7 – 2017, 10:00
Photo: Diego Balarezzo

Timeline
Performance art
June 3- 2017
Calle Marquez- Cusco, Cusco
Participants:Carol Serrano Oroz,
Diana Rivas Gutierrez, Gaela Azsenet, Allison Ramos Hinojosa, Rosemary Roca Rosas, Mardy Atauyuco, Danny Corzo, Justo Chiro, Gabriela Castañeda, Fabrizio Yavar Arteaga

Timeline

The performance piece titled Timeline consists of a group action in which eight women embody a timeline illustrating the numbers of femicides in Peru between 2009 and 2016. In this performance art piece, the artivists are symbolically dying and falling like dominoes in the public space.
First one of us falls and another one proceeds to cover the body of the “deceased” performer with a garbage bag and a sign reading 2009 femicide statistics. After placing the sign, the next performer artist dies, falling to the ground to be covered by another garbage bag, this time with 2010 femicide statistics. The action is repeated in the manner of a domino effect for every year until 2016.
In this way our symbolically dead bodies storm the public space and report on the frequency of femicides in our country. Femicide is not new in the slightest. The passersby perambulate along the corpses, read the cartels, read the signs out laud, and compare the numbers.
They question and think about the issue of violence. Crossing a group of “dead women” on the street elicits reactions. In this work, the composition generated by the “corpses” in the public space becomes very interesting, its transformation very palpable. Timeline is a group performance art piece that allows the spectator and the performers to explore the vulnerability of a woman’s body in our society. In this sense, I found the collaborative nature of the project very enriching as a lot of content came from the shared reflections upon each of the actions performed.

Timeline
Performance art
June 3- 2017
Calle Marquez- Cusco, Cusco
Participants: Carol Serrano Oroz, Diana Rivas Gutierrez, Gaela Azsenet, Allison Ramos Hinojosa, Rosemary Roca Rosas, Mardy Atauyuco, Danny Corzo, Justo Chiro, Gabriela Castañeda, Fabrizio Yavar Arteaga

Timeline
Performance art
July 15 – 2017
San Felipe, Comas- Lima
Participants: Gladys Puente, Carolina Estrada, Gloria Alvitres, Nadia Cuadros
Erika Quintana, Handrez García

Funeral bundle of a femicide.

The action begins with the performer artist sitting on the floor in fetal position at the center of a room. Her partner distributes rectangular pieces of cloth to the spectators. These pieces have phrases written on them. The assistant places one of the pieces of cloth on the performance artist on the floor using a pin; it says: “He said I am incompetent”. The pubic then approaches the performance artist to pin the pieces of cloth they have unto her. The phrases on the clothes go along this line: “He told me that I am not worth anything,” “He told me that he hated me,” “He told me that I should not wear these clothes,” “He told me that I was a prostitute.”
When all the pieces of cloth have been pinned to the performance artist on the floor, the assistant covers her in red tape, fitting the pieces of cloth to her body in the manner of a funerary bundle. Then she proceeds to distribute another group of written pieces of cloth, this time of a different color, and the same process is repeated. The second layer of phrases read: “He slapped me,” “He kicked my stomach,” “He struck my head against the floor”. On having finished, the assistant surrounds the body in red take once again. It is still possible to see a bit of the body, hidden under the cloths.

Finally, the last group of cloths are distributed for the same action to be repeated. These read: “I felt alone,” “I felt fear,” “I felt empty,” “I felt that it was not worth anything.” The performer’s partner proceeds to surround the body, this time with red wool, and later she covers it with a black garbage bag: The woman in the middle of the room thus turns into the Funerary Bundle of a femicide.
This performance seeks to represent the complexity of gender violence and its layers. Most of femicides are constructed that way. They usually start with strong psychological violence that emotionally break the victims down. Then violence often escalates unto physical violence, which becomes more latent with increasingly aggressive pushes, blows and other forms of physical violence that continue to be accompanied by insults.
This performance is inspired in the retablo The layer of Violence. This work focuses on the process whereby this gradual escalation may lead to femicide, and takes into account the side of the victims and survivors who are often questioned about their lack of agency or initiative to escape their abusive situation. This performance seeks to answer to the question of: Why don´t they get away?
When your feet and hands are tied up with tapes and wools, and you are covered with pieces of cloth and a bag that does not allow you to see your surroundings, it is not that easy to get up.

Funeral bundle of a femicide
Performance art
Galería Lucía Walqui
2017

Funeral bundle of a femicide
Performance art
Centro Cultural Alianza Francesa La Molina
2017

The night the shooting star was killed
2017
Video art
Duration: 3’50”
Poem: Gloria Alvitres

The night the shooting star was killed

This video art narrates the murder of a woman. The video is made using the poem Ella (Her) by Gloria Alvitres, and the audio-visual documentation footage of the “Every 71 hours” performance actions. The video art talks about the violence and its effects not only on the victims, but also in the society in which they are inserted as a whole. Superposing images and videos of the responses the performance elicited; the video illustrates what the poem suggests. This piece approaches the subject of gender violence in a more lyrical, poetic and sensitive manner, parting from statistics.