History of the Project
The project originally began as a focused exploration of Turkey’s withdrawal from the Istanbul Convention on March 20, 2021. This date marked a significant turning point in the country’s stance on gender-based violence, as Turkey became the first and only country to withdraw from an international treaty designed specifically to prevent and combat violence against women. The initial installation was created to highlight the devastating impact of this decision and to raise awareness about the ongoing femicide crisis in Turkey.
Initial Concept: Turkey's Withdrawal from the Istanbul Convention
The initial project, titled "MARCH 20, 2021: A VISUAL NARRATIVE ON FEMICIDE," was conceived as a powerful and symbolic art installation. At its core was a large table divided into two distinct halves by a bold red line, symbolizing the date of Turkey's withdrawal. The left side of the table featured printed pages from the Istanbul Convention, inviting visitors to engage with the legal text that had once promised protection for women. In stark contrast, the right side of the table displayed actual objects used in cases of violence against women, such as knives and ropes, representing the brutal realities faced by women after Turkey's withdrawal from the convention.
To enhance the impact of the installation, NFC (Near Field Communication) technology was integrated into the objects on display. Visitors could scan these objects with their smartphones to access a corresponding web page, where they could view detailed information about the number of women murdered using similar objects since Turkey's retraction. The data was updated monthly, keeping the installation relevant and ensuring that it remained a poignant reminder of the consequences of abandoning the Istanbul Convention.
Purpose & Objectives
The primary objective of this project is to raise awareness about the harrowing reality of femicide and gender-based violence. By focusing on the Istanbul Convention—a legally binding instrument that sets comprehensive standards for the protection of women—the project underscores the importance of international agreements in safeguarding women's rights and lives. Additionally, the project aims to catalyze conversations and prompt actions against gender-based violence, not only in Turkey and France but also globally. It seeks to create a visceral connection between the public and the victims of femicide, making the statistics more than just numbers by highlighting the individual lives lost and the brutality behind these deaths.
Expansion to France and Beyond: A Global Continuum
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As the project evolves, it extends beyond Turkey to include other countries, starting with France. Despite France's continued adherence to the Istanbul Convention, femicide remains a persistent issue. The expansion aims to explore how the convention is implemented differently across countries and the varying levels of protection and enforcement. By incorporating French data, the installation provides a broader perspective on femicide, highlighting both the progress made and the challenges that remain.
Each country included in the project will have its own section, mirroring the structure of the original installation "MARCH 20, 2021: A VISUAL NARRATIVE ON FEMICIDE". This allows for a comparative analysis, showing how international agreements like the Istanbul Convention are interpreted and enacted in different cultural and legal contexts. It also emphasizes the ongoing nature of the fight against gender-based violence, reinforcing the idea that this is not a problem confined to one nation, but a global crisis requiring sustained, coordinated action.
Technological Integration
One of the most innovative aspects of this project is the use of Near Field Communication (NFC) technology for the physical representation of it, which creates an interactive, digital dimension to the experience. Each object on the table is embedded with an NFC chip. Visitors can scan these objects with their smartphones, which will direct them to a dedicated web page. This page provides detailed information about the specific object, including the total number of women who have been murdered using similar objects. The data is meticulously organized by year and by country, offering a grim yet necessary chronology of violence. Each entry includes the full name of the victim, ensuring that their memory is honored and that the statistics remain personal and humanized.
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This technological integration serves multiple purposes:
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Personalization of Data:
By linking objects to specific cases, the installation ensures that each statistic is tied to real people, with a name and a story, making the issue of femicide more tangible and urgent for the public.
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Ongoing Relevance:
The web pages connected to the NFC chips are regularly updated with the latest data, ensuring that the installation remains current and reflective of the ongoing crisis.​​​
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Global Connection:
This aspect of the project allows for a seamless expansion into other countries. As the installation grows to include France and other nations, visitors will be able to access comparative data, understanding femicide as a global issue with local nuances.
Data Collaborators
Artist
Born in Istanbul, Turkey in 1997, Deniz Demirer is a multidisciplinary artist and art project manager.
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She grew up in a family of artists, in particular with her great-grandfather Ferruh BaÅŸaÄŸa who was a famous Turkish abstract painter and a stained glass and mosaic artist. She spent a lot of time in his studio where she started painting. After graduating from the Lycée privé français Saint-Joseph in Istanbul, she decided to continue her studies in Paris, France.
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She holds a bachelor's degree and a master's 1 in visual arts from the University of Paris 1 Panthéon Sorbonne. She works on exploring the complex relationship between the physical body and its environment, understanding how experiences and identity shape its manifestation and influence our interactions. In addition, she focuses on issues such as sexual abuse, the objectification of women's bodies and the promotion of resilience for a more equitable and respectful society.
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She is currently pursuing her research as part of the Master 2 International MAVI - Master in Arts & Vision at the University of Paris 1 Panthéon Sorbonne.