el poder de la fotografía en la visualización del femicidio en ecuador: una perspectiva artística y social.

Abstract

The research work focuses on photography as an artistic tool to make femicide, defined as the murder of a woman because she is a woman, visible. This crime represents the most extreme form of gender violence and reflects deep structural inequalities. In Ecuador, femicide has had a devastating impact, leaving indelible marks on the communities and families affected. The project “Art and Social Awareness: Photography as an artistic method in representation of femicide” seeks not only to document this reality but also to act as a catalyst for social change. Through powerful images, it aims to sensitize the viewer to the seriousness of femicide and the urgency of combating gender violence. The research highlights the evolution of photography since its beginnings in the 19th century, underlining its impact on the visual arts and its capacity to narrate historical and social processes. In the first chapter, the conceptualization of the artistic object is discussed. Photography is selected for its ability to capture and communicate realities in a powerful way. It is mentioned that photography has evolved from Joseph Nicéphore Niépce's camera obscura to the techniques perfected by Louis Daguerre. The chapter also highlights the importance of artistic photography in creating scenarios and conveying messages. Photographers such as Man Ray and Julia Martínez have used photography to explore issues of fashion, gender violence and femicide, creating works that invite critical reflection. The relationship between photography and memory is addressed, highlighting its use in tributes to victims of violence, as in the case of the “Patio de la Memoria” project. Photography not only documents, but also generates empathy and understanding of social problems, being a powerful tool for social change. The project “Nobody will talk about us when we are dead” by Julia Martinez, for example, uses photographs of pink crosses to represent murdered women, recalling their lives and struggles. The chapter concludes with a discussion of femicide, describing its two main types: intimate and non-intimate. Intimate femicide occurs when the victim knows her aggressor, while non-intimate implies that the victim does not know her attacker. The importance of laws and human rights in the fight against femicide is emphasized, and the role of art in making this problem visible and promoting justice and equality is highlighted. In the second chapter, the conception of the artistic work is detailed. The series of photographs will use women's shoes as a symbol of the lives lost, seeking to raise public awareness about gender violence. The work will include five black and white photographs, using different planes and angles to highlight the details and the message of the composition. The objective is to create a space for critical reflection on femicide, promoting action for equality and justice. In the third chapter, we have the artistic production of the work from its graphic approaches to the editing and results of this. Finally, in the fourth chapter we have the critical approach of the artistic work and finally the conclusions. This summary captures the key points of the document, providing an overview of the project and its focus on photography as a means to address and raise awareness about femicide in Ecuador.