Author: Edith Morales
Title: Ñu ́un na
Technique: Photography on textile and embroidery
Measurements: 19 cm x 112 cm

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Ñu ́un na / Mother Earth
The care of the earth and its natural resources has been

preserved for thousands of years by those of the communities,

allowing them to keep their
way of life and planting corn through the system

milpa, permanently resisting the policies

devastating economic
taken to the margin in their structure so that they disappear;

Ñu ́un na is a piece dedicated to the Mixtec women of

San Pablo Tijaltepec,
Oaxaca, a community where women embroider in their

dress the blue lions, pink deer, eagles

purple- invoke their Tonas-,
reminding us of the power of women in daily life:

we are woman-corn, woman-sun, woman-water, woman-life, woman-milpa.

After losing a 27-week pregnancy due to Severe Early Preeclampsia that evolved into Hellp Syndrome, I became more and more aware of the fragility of life, of that fine line between being alive and not being alive._cc781905-5cde- 3194-bb3b-136bad5cf58d_

My body did not realize that my son died, they had to induce labor, 

and 23 hours later, on January 23, Ángel was born.

I immersed myself in this photographic project seeking to transform all these emotions that I was unable to process 

and express in any other way, and all the questions that remained, in something that could transcend 

the experience itself and perhaps give a deeper meaning to this loss.
In the process I have realized that many people close to me have gone through a similar loss, in silence, 

because it is a duel that is somewhat invisible and socially dismissed.

How to show empathy when it's hard to even find the right words?
It is about comforting a loss that is difficult to name, understand, and that will hardly heal. 

Even medical institutions and people who are trained to handle this type of situation 

they often lack the skills and sensitivity to proceed appropriately. Women are exposed 

to many types of violence during and after an event of this type, from ill-advised medical interventions 

or unnecessary, lack of information for the mother and the family about their options, and in many cases,  

non-sensitive treatment and disposition of the bodies of those babies who are born silently.

Often these women share rooms with other mothers and their living babies, hear them cry and 

be breastfed. 

 

There is an initiative in some medical institutions in different countries to place a blue butterfly 

as a symbol to mark the spaces in which a perinatal death has occurred  (before, during or after childbirth), 

and offer their families some privacy and calm to process the situation. 

 

There is so much that has not been said more than with a look.

With prolonged silences or deaf murmurs. 

With closed-eyed caresses when the other sleeps, 

or intends to do so. 

We lost it. 

We got lost. 

We try to atone for our faults, 

with broken spirit and divided heart. 

 

I collect the spent “would have” one by one, 

no matter how absurd they are.

I try not to forget him, even though his little face 

it blurs me 

with each passing day. 

I feel like I'm dying again with each 

"there is no heartbeat" that hammers the memory 

and marks the future forever. 

WEATHER - trembling

In this project I include self-portraits made in moments of emotional breakdown to share sadness, anger and frustration. Also portraits that I made of my daughter when she was a child that evoke hope and promise.

I try to share my experience about the terrible normalization of violence against girls  and adolescents: touching, obscene looks and exhibitionism perpetrated by men.

 

Text included in the book.

Time… I tremble

The promise, the dream

Something that breaks, breaks

that trembles and tears

that sinks and drowns...

Only time…

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Title: SHAKE TIME

Author: LIZETH ARAUZ VELASCO

Year: 2021

Technique: Printing on fabric and embroidery

Measurements: Extended 50 cm x 25 cm. 

Closed 25 cm x 25 cm

 

www.lizetharauz.com.mx

lizetharauz@yahoo.com.mx

@lizetharauz

This autobiographical work unites me with many

women of the planet This book was made with dedication, introspection, love and commitment.  

 

We live in a half-hearted world, with a lot of technology, yes, but everything is half-hearted: investigations are half-hearted and the guilty assume their misdeeds half-heartedly. Whose fault is it? Always veiled lies.

It is time to be brave, denounce and have loudness! 

No to mistreatment or abuse of women!

 

The Me too movement came to radically modify the ancestral patrimonial approach that our societies had towards the female half of the population.

 

The book To Me is fully inscribed in this context that goes beyond the social to become a political act.

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Diary of a complaint

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Author, book concept e

Interventions: Lorena Velázquez

Book measures: 31.0 X 33.0 cms 

open 31.0 X 67.0 cm

Technique: Printing on fabric

Number of copies: 6

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CDMX 2021

 

www.lorenavelazquez.com

lv.lorenavelazquez@gmail.com

You Are Not Alone is a book for sorority with all the women who find themselves at the crossroads of having an abortion, a decision that is not easy at all and that is very difficult to share without being judged. I decided to do this book because in addition to what I mentioned, it seems unheard of to me that women do not have the right to decide about our bodies.  In Mexico, the decriminalization of abortion should be a fact throughout the country. Young people are the ones who suffer the most from this.  We tell each other “You are not alone” in making difficult decisions in life.

 

 

Data sheet:

Cloth book in a fold-out piece.

Author: Lourdes Almeida

Title:  "You are not alone"

Measures:

Technique: Transfer of photographs of the author to canvas,

Hand and machine embroidery, patchwork with shawl, button.

Year: 2020

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https://youtu.be/oHm_9cMQIyc

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No + is a book on cloth that denounces what women no longer want:

No + abuse against women.

No + femicides.

No + women raped and murdered on the US-Mexico border.

No + uteri mutilated without permission.

No + clandestine abortions.  Decriminalization of abortion.

No + girls taking care of children. No + raped girls. No + girls mothers.

Board for sorority, board to forgive. Board so that women are aware that we are not alone, that women help each other, accompany each other and together we will make a change to mend the broken social fabric.

 

 

Data sheet:

26 page cloth book.

Author: Lourdes Almeida

Title: No +

Measures:

Technique:  Transfer of photographs of the author to canvas,

Sashiko embroidery, normal hand and machine embroidery, 

patchwork made on sewing machine.

Year: 2020

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Domestic Violence is a book on cloth that shows evidence of the violence that patriarchy has exerted on women.  Board to forgive.  Board to prevent violence against women continues to exist.  Board to say Enough.

Lourdes Almeida.

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Data sheet:

Cloth book in a fold-out piece.

Author:  Lourdes Almeida

Title: “Domestic violence”

Measures:

Technique: Transfer of photographs of the author to canvas,

Sashiko embroidery, hand-stitched applications,

patchwork sewn by hand and on a sewing machine.

I use a fragment of a poem by Sossi

Khachadorian.

Year: 2020

The photobook focuses on a part of the life of my grandmother Rafaela, who was born on the Chuparosa farm in Ario.
de Rosales, Michoacan in 1924. Like many women who were born in the countryside, she was taught to do
domestic and yet she wanted to study and was prevented from doing so because she was a woman. He learned all the labors of the
field and when she was young she rode a horse and dressed as a man so as not to be attacked on the road to the hacienda where she
he lived towards the nearest town where he sold milk and food that he produced and harvested together with his parents and 8
siblings.

 

Later, Rafaela with her older sister arrived in Mexico City at the age of 24 and met the man who later
was her husband, Capital II Abraham Luna, who was enlisted in the army at the age of 14, even though he was almost a child
he had to participate in the Cristero war and that brought traumas and mental consequences for the rest of his life.

Rafaela and Capital had 6 children, their marriage was later involved in a wave of physical violence and
psychological, as well as attacks with firearms at home. My grandfather was an alcoholic and constantly
threatened the family with his gun, this marked everyone's life forever, where later each member
de la familia seeks to break with these patterns of family violence and avoid contact with weapons at all costs.

 

In the following textile book I am interested in delving into the subject of domestic violence and how this case is
one of many in our country, where families are tormented by the arrival of a violent, aggressive father
and arrogant who has the physical strength and weapons to threaten anyone who crosses his path. At the same time
there is also a bad habit in families of keeping silent about their problems and taking care of appearances,
taking photos where everyone smiles at the camera to show a romanticized scene of the “perfect family, the
happy family". Silence slowly hurts and kills as much as guns and gunpowder on the skin.

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Title: Gunpowder on the skin

Author: Ludmila Fabiola Díaz Luna

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Technique: Sashiko embroidery and knitting on blanket

cotton, photo transfer and cyanotype.

Place and date: Mexico City, July 2021.

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https://www.ludmiladiaz.com/

IG @lud.luna

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# GIRLS DON'T #

Margara DeHaene

 

Data sheet

Title: # girls don't #

Author: Margara De Haene

Dimensions:  41 x 52 cm. Extended: 41 x 104 cm

Materials: cotton canvas, gold thread, dresses,

9 b/w photographs on canvas, embroidery thread.

Description: By way of front and back cover,

a canvas contains the title # LAS NIÑAS NO #  

The hashtags embroidered in red and the letters in

black calligraphy.  

 

A sheet of canvas contains four pieces, referring to four pages.

 

1. In  the first page, a girl's dress was placed in a raw blanket with fabric, the dress was attached to the canvas with gold thread and two photographs were integrated that are sewn to the canvas with thread red. In the upper part, the photograph bears the slogan #LAS NIÑAS NO# drawn on a mirror with steam; at the bottom, a girl runs backwards into the light on a street.

At the bottom of the dress, the hem has a ribbon embroidered in red and black with the slogans, #girls don't touch each other #don't rape #don't kill each other. In the small pocket of the dress a ribbon with the slogan #me too and the name of the author.

 

2. Page two, on the back of the first canvas,  presents a girl's dress in white piqué sewn to the canvas with gold thread, two embroidered applications with crosses were placed, one on the back upper and the second in the middle, referring to a wound.

Two black and white photographs, sewn with red thread, in the first a girl runs in a cape on the edge of a hill against a cloudy sky. In the second, a girl walks head down on the shore of the beach with the waves of a calm sea in the background.

 

3.FPage three, in front of the second canvas,  presents a piece that has a pair of pink woven baby shoes, sewn to the canvas with gold son, one is inverted and you can see the sole.

Three black and white photographs sewn with red thread; two of them show a fragment of a skirt with a crinoline and the legs of a girl with tennis shoes and white socks, in the other the face of a girl looking down.

A ribbon embroidered with crosses is sewn with gold thread on top.

 

4. Page 4, on the back of canvas 3, presents a white cotton baby shirt with fraying, sewn to the canvas with gold thread. He has two black and white photographs attached to his shirt, sewn with red thread. At the top, a girl wears a magician costume with a large black cone-shaped hat.

At the bottom, the image of a drawing made by a 6-year-old girl who participated in the women's march in March 2020, she herself describes it as a man who kills a girl with a gun, a lot of blood comes out and the sound is as loud as a bell.

On the lower edge of the shirt, in the hem part, in black calligraphy, with red crosses embroidered with red thread, the inscription: he killed her with a gun, there was blood, it was heard loud as a bell.

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Textile book  # girls don't #  #OKXI YA NXUTSI# by Margara De Haene

 

Author: Margara De Haene

Dimensions:  33 X 26 CM (FOLDED).   40 X 60 CM  EXTENDED

Materials: Embroidered cotton dress made by  hñähñu woman in Amealco,

Red embroidery wool, black thread, 4 b/w photographs on canvas. Typographic transfer on

red ribbed fabric

Description:

Proposing an analogy of the book with the folds of a dress when putting it away, it is

used a hñähñu girl's dress, on which 4 photographs of girls were placed. 

Covering the eyes and the torso, strips of red cloth were placed with the following

Hashtags in Spanish and Hñähñu: 

# GIRLS DON'T #  

GIRLS DO NOT TOUCH    

NO VIOLATION      

DO NOT KILL YOURSELF 

OXKI YA NXUTSI 

OXKI THANI YA NXUTSI      

OXKI HOTE YA NXUTSI     

OXKI JAPUTS´EDI YA NXUTSI

 

The book proposes to be a denunciation against the violence against indigenous girls who in

Mexico is alarming.

 

Violence against indigenous women worsens daily, and discrimination by concept

of gender, ethnicity and economic condition often go unpunished.

In 2020, 373,661 births to mothers under 18 years of age were registered, of which 8,873 were between 12 and 14 years old, according to data from the National Population Council (Conapo).

"Girls between the ages of 10 and 14 were pregnant by a friend, relative, stranger or ex-boyfriend, most of these cases due to rape or arranged marriages, which is actually rape."

insurgent

 

…When the undauntedness wore off, I backed off and returned to an animal state to protect myself. With thick saliva, I licked the shadows, I licked myself to survive my own loneliness and the deep melancholy that I have inherited from a lineage of sad women...

 

Insurrecta, was born from an experience of gender psychological violence within the domestic environment. Invisible abuse armored by a misunderstanding of the construction of love as a couple. Victims of patriarchal education that is unfavorable for women, we are conditioned to obey and love under the threat of love's withdrawal.

 

Insurrecta, is a reflection on a metaphor for self-care: licking ourselves to overcome the ravages of violence. Evidence the waiver of suing a third party to protect us. It is an animal caress from us to us, coming from the protective instinct as mammals. It symbolizes, validating existence with the tongue, licking the light as a sign of Insurrection.

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Data sheet

Title: Insurgent

Author: Maria Elena Reverte

Location: Mexico City

Date: 2021

Size:

Closed/35cm x 25cm, open/70cm x 25cm

Materials: Felt fabric with calicot blanket,

inkjet transfer printing

iron, crochet thread and pearl.

How is meat priced? Where on the social shelf do we place those who become flaccid over time, wrinkle and gain weight? How is the skin valued when the kilos accumulate in the body? And even more, what differences do we make between men and women in relation to these changes?

 

In a world that overvalues appearance, overweight women are placed (according to the perception of others and even their own) in a marginal sector of the population and marked as unattractive._cc781905-5cde-3194-bb3b- 136bad5cf58d_

It is they, it is us, who, subjected to implacable criticism, are in a continuous search to like and respond to the imposed aesthetic canons. And in a permanent paradox, the consumer society engenders obese bodies and, at the same time, undervalues them. They suffer rejection, so these people eat compulsively and with this, accentuate their low self-esteem, suffer stress and the vicious circle arises: they eat to feel better. 

Our emotions act on our body: quantity, quality. They are also involved in motor activity and, therefore, in the energy expenditure that emanates from it. Kilos produced by emotions. 

In turn, being overweight affects the emotional state.*

 

For almost two decades, my gaze has focused mainly on gender issues: Las horas negras (essay on women in prison), Lullaby for others (stories of babysitters in Mexico), and now, Mujeres de peso. In this constant exploration, in 2016, I made a series of portraits and nudes of women based on a short interview in which they expressed their perception of their own body. 

 

The confessions were lapidary:

 

-I'm on a diet because I want to know what it feels like to be skinny, that others don't point at you...that they call you pretty.

-I have to lose half of what I currently weigh. And still, I will be an overweight woman. Losing 80 kilos is like taking another person off my back.

-I feel like I'm trapped in a body that isn't mine. 

-Once, at school, I was arguing with a boy. Then he yelled at me: "Sow!" It disarmed me. I no longer knew what to tell him. 

-When my daughter got married, I felt very alone, I got depressed. So I found refuge in food and gained a lot of weight. 

-I don't know what my body is like. 

 

In most of the images, women cover their faces to highlight their complexion, with the purpose of reinforcing the idea that not only the face gives us identity, but also the figure: volume, shape and height. At the same time, we perceive the world through the body we inhabit.

There is nothing human that is not traversed by the body. And through it, we experience pain, love, violence, hunger, pleasure, etc... How does an obese person, a woman in particular, live their humanity? 

The corporeal is not only the space from which we arrive at

experience the world, but through which we

we relate to him. The body is then a

symbolic construction, not a reality in itself and

hence the way of appreciating it is not the same in the

different societies and times.

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TITLE: WOMEN OF WEIGHT

AUTHOR: PATRICIA ARIDJIS

MATERIAL: FABRIC

SIZE: 39X26 cmx

The earth, a shadowed soul

 

…and the mother who was broken

you will see her return whole.

Gabriela Mistral

 

This is a book about violence against mother earth. Every day we witness some form of attack against our land, aggressions and atrocities that have been altering its course and have caused irreversible damage in all directions; however, we have normalized it unfortunately. The birds drop dead without any explanation, the seas and rivers are filled with garbage, with waste until it surrounds us, until it invades us. Even so, life, in his lap, makes its way. 

The earth is tired, the earth is angry and this is how it responds when it says: ENOUGH. Through this book I would like to tell a story of the pain of the earth, to give back to our mother something of what she has lost. 

 

Author: Norma Patiño

Textile-photographic book/roll

Technique: mixed, photographs by the author, printing on fabric, transfers and embroidery, wooden rollers

Measurements: two pieces of 30 X 1.50 meters. 

Year: 2022

Texts: fragments of poems by Gabriela Mistral, Antonio Machado and Wislawa Szymborska.

 

Everything takes, everything loads

the holy back of the earth:

what walks, what sleeps,

what frolics and what pains;

and carries alive and carries dead

the indian earth drum.

 

feel walking on earth

thing is that it takes to the heart fright.

And the thing is that the earth has died... It's on the moon 

the soul of the earth

and in the clear lights.

 

Nothing has changed.

Except the course of the rivers,

the line of the forests, of the coasts, of the deserts

and the glaciers.

Among these landscapes the soul wanders,

while the body is and is and is

and has nowhere to go.

My body, my house. Today textile book. It is a series that was born from a collaboration with Noemí Diamantes, for sharing and creating a safe space for women, trusting each other's gaze and discussing how we inhabit our body, our home. Red thread as a means that unites us, connects us with each other, our feelings, with details like a blossoming, rediscovering ourselves and embracing this body that we inhabit. Red, like blood, passion, our cycle, our rage, violence, the erotic, red thread that embroiders links. 

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Photo Textile Book: My Body, my house.

Author: Sonia Gadez

Year: 2019-2021

Measurements: Closed: 15x20.5cm

Open: 27x20.5cm Extended: 40x56cm

Since 2007 I have been working with transgender people from the state of Veracruz, highly marginalized areas such as Netzahualcóyotl y  Ecatepec in the state of Mexico, Oaxaca (Las Muxes) and recently La India (Hijras)_cc781905- 5cde-3194-bb3b-136bad5cf58d_

I live with them, with their families, their friends and their environment.

 

I started this project out of an interest on my part to delve into the issue of inequality based on stigmatization, discrimination and gender marginalization of this social group in a state of vulnerability.

 

Give them visibility and open spaces for dialogue about their identity and recognition, influence the acceptance and respect and integration of people of diversity who have had the courage and integrity to recognize themselves as women within a male body.

 

Trapped in a male body, they struggle to survive with their chosen identity. They are brave people who constantly take risks by coherently supporting the decision they made about their being.

The proposal to work on a textile book was something very new for me, I am very happy to have accepted the challenge.

One more tool to express myself and that involves other creative skills.

The possibility of intervening the images and the handling of other materials.

Based on their testimonies, this book highlights the need of my characters to feel accepted, the need to do sex work and the search for a partner who loves and respects them.

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AUTHOR: Susana Casarin

TITLE:  Apsaras. Dancers in Heaven.  (Magical Women)

 

SIZE: 35 x 32 cm.

Open: 32 x 70 cm.

 

TECHNIQUE: Printing on fabric.

Intervention of images and book in general with threads,

lace  and jewelry.

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"There are sorrows that can no longer be cried, but that are there, in the eyes of the grandmother..."

Abril Mondragón was born and lived in Arcelia del Progreso in the State of Guerrero until 2012, a period in which the area was taken over by drug trafficking and which marked the course of a whole generation of children and young people who found illegality and violence a option to overcome poverty. Upon finishing her higher studies in acting in 2016, Abril created a dramatic text through documentary research on her town, the rescue of the cultural heritage of Tierra Caliente, the testimonial narration of her mother, her grandmother and her own experience. in Mexico, thus revealing the reality of hundreds of women who, immersed in tradition and the constant struggle for survival, make up a concentrated example of the virtues and defects of our country.

Abril has been a grantee from our Fundación Arte Contra Violencia, AC and has given me the possibility of my own healing through the healing of her theatrical rite in her monologue Siuatl, of guerrillas, escapes and fandangos and, in an act of appropriation, the creation of my textile book "Ensalmacion"

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Charming is curing a disease or injury through spells, prayers, either alone or accompanied by remedies, such as
light a candle, use herbs, dance a tap dance or like I do, with images, fabrics and thread...

Like April, I seek forgiveness, healing, I know that I am with the women and they are with me.

Because “...what we don't say accumulates in our bodies, it becomes sleeplessness, lumps in the throat, nostalgia, error, doubt, sadness. What we don't say doesn't die, what we don't say kills us."

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Title: Consecration

Author: Yolanda Luna

Place and date: San Miguel de Allende, Gto.

Mexico. July 2021

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"There are sorrows that can no longer be cried, but that are there, in the eyes of the grandmother..."

Abril Mondragón was born and lived in Arcelia del Progreso in the State of Guerrero until 2012, a period in which the area was taken over by drug trafficking and which marked the course of a whole generation of children and young people who found illegality and violence a option to overcome poverty. Upon finishing her higher studies in acting in 2016, Abril created a dramatic text through documentary research on her town, the rescue of the cultural heritage of Tierra Caliente, the testimonial narration of her mother, her grandmother and her own experience. in Mexico, thus revealing the reality of hundreds of women who, immersed in tradition and the constant struggle for survival, make up a concentrated example of the virtues and defects of our country.

Abril has been a grantee from our Fundación Arte Contra Violencia, AC and has given me the possibility of my own healing through the healing of her theatrical rite in her monologue Siuatl, of guerrillas, escapes and fandangos and, in an act of appropriation, the creation of my textile book "Ensalmacion"

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Charming is curing a disease or injury through spells, prayers, either alone or accompanied by remedies, such as
light a candle, use herbs, dance a tap dance or like I do, with images, fabrics and thread...

Like April, I seek forgiveness, healing, I know that I am with the women and they are with me.

Because “...what we don't say accumulates in our bodies, it becomes sleeplessness, lumps in the throat, nostalgia, error, doubt, sadness. What we don't say doesn't die, what we don't say kills us."

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Title: Consecration

Author: Yolanda Luna

Place and date: San Miguel de Allende, Gto.

Mexico. July 2021

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