Homesession presents the first installation of Feminicides. This new project by the artist Laia Abril (Barcelona 1986) is a reflection on female genocide in the world. Each piece will focus on a year, a country and the number of victims. The set will represent a monument to all women eliminated by the simple fact of being this: women. The first installation of this work in progress is the one that now presents Homesession in its exhibition space. “Feminicides” is part of the long-term project “A History of Misogyny”, by Laia Abril. It is a visual and conceptual investigation carried out through historical and contemporary comparisons about the present history of misogyny.
Around 66,000 women and girls are violently murdered every year in the world. “Femicide” is generally defined as the murder of a woman because she is a woman. One of the most common forms of these crimes is “intimate feminicide”, that is, at the hands of couples (husband, ex-husband, boyfriend, ex-boyfriend), which accounts for 35% of the “total femicides”.
Now, in 2018, the Observatory against Domestic and Gender Violence of the Spanish General Council of Judicial Power (CGPJ) has declared that it will extend the concept of gender violence to “any form of violence against women by the mere fact of being so” . In this way, the accounting for all victims of sexist violence in their statistics is expanded, and not only those killed by couples or ex-partners, as was the case to date. This new calculation could double the official figures in Spain, which total more than 900 women in the last 15 years.
Under the title “2017SPA”, this first piece of the installation represents the women we have lost in Spain in 2017. It opens a door to reflection, while paying tribute to the victims. When dealing with issues related to sexuality, the body, psychology and women’s rights, Laia Abril brings to the surface invisible images of what is uncomfortable. Thus, it contextualizes them and compares them with our present history, so that they do not fall into oblivion.
The current work of April revolves around the conceptualization and interpretation of facts that the artist shows through photography, video and installation. His ongoing project “A History of Misogyny” brings together a multitude of visual investigations that involve historical and contemporary comparisons. Its first chapter, “On Abortion”, documents and highlights the repercussions of women’s lack of access to legal, safe and free abortion. First shown at Les Rencontres d’Arles 2016, and awarded the Madame Figaro Prize, the project weaves a network of questions on ethical and moral issues.
Laia Abril is a multidisciplinary artist. His work has been exhibited internationally and is part of different private and public collections such as the Musée de l’Elysée, the Winterthur Museum, the FRAC and the MNAC. April is the author of “Thinspiration” (self-published, 2012); “Tediousphilia” (Musée de l’Elysée, 2014); “The Epilogue” (Dewi Lewis, 2014), pre-selected for the Paris Photo Aperture First Book Award, Kassel Photobook Festival and Photo Spain Best Book Award; “Lobismuller” (RM, 2016), winner of the Images Book Award; and “On Abortion” (Dewi Lewis, 2017), nominated for the ICP-Infinity Award. Laia Abril is represented by the gallery Les Filles du Calvaire in Paris.