In Espacios Seguros (Safe Spaces), Argote conceptually links two cities to which he is personally tied: Bogotá, where he was born and raised, and Paris, where he trained as an artist and now lives. Two contexts that are very different from each other politically, economically and socially, but where the statistics and dynamics of violence against women are tragically similar.
The artist films the inscriptions that have been posted around his neighborhood by Collages Feminicides, an anonymous collective of women artists; using short phrases and simple but immediately recognizable graphics, they highlight the pervasiveness of gender violence and femicide in France. The camera slowly zooms in on these collages, while in the background the life of the city proceeds at its usual pace, culpably indifferent to the tragedy they reveal. Argote thus shifts the sphere of dialogue from the private realm to the public one, forcing us to reflect on the normalization of violence and the paradoxical nature of a problem that seems hidden but is actually right in plain view.
Over the collages, we hear the voice of Diana Rodriguez Franco, “Secretaria de la Mujer de Bogotá”: head of the city’s department of women’s affairs, charged with implementing public policies for preventing domestic violence and supporting victims. Interviewed by the artist, this official explains how the program Espacios Seguros was developed in response to the growing number of cases of domestic violence during the COVID-19 pandemic.
Although the text, images, and sound are in different languages, they form a shared grammar that emphasizes the gravity of the situation and the need to act immediately.