
Ausstellungsansicht "Up Close – Goldrausch 2025", Foto: Victoria Tomaschko
Chapter IV
CUERPOS Y TERRITORIOS: DIÁLOGOS CON COYOLXAHUIQUI
en. Bodies and Territories: Dialogues with Coyolxauhqui / de. Körper und Territorien: Dialoge mit Coyolxauhqui
2025
Concrete sculpture in two parts: Part 1: Ø 16 × 50 cm, Part 2: Ø 12.5 × 15 cm Pigment print on backlight paper, 260 × 573 cm, Pachuca, Hidalgo, Mexico, 2024 Sound installation, stereo, 3 minutes

Hotizontal installation, view of the exhibition Transformaciones de silencios / Transformationen des Schweigens, HGB Gallery Leipzig, 2025. Photo: Lea Petry

Newspaper ¡Pásala!, August 16, 2023, Archivo INAH. Excerpt from the installation Tocando Silencios, 2025.
The installation combines image, sculpture, and voice to evoke an intimate dialogue with memory and violence. A translucent red backlight print of my hometown stretches across the space, facing a life-sized concrete sculpture of women’s arms placed on the ground — caught in the uncertain gesture of either drowning or rising.
The work belongs to the series Cuerpos y Territorios: Diálogos con Coyolxauhqui and reflects on fragmented bodies, resilience, and vulnerability. The sound piece is an oral narration of my own experiences of gender violence while growing up as a child and young woman in Mexico, exposing how being seen as a woman marks the body as a contested territory. Through this encounter of image, matter, and voice, the installation insists on making visible the imprints of violence on the body and tracing their persistence across time.
Vertical Installation. Touching Silences, 2025. Exhibition view HGB Gallery Leipzig. Photo: Brenda Alamilla

Vertical Installation. Touching Silences, 2025. Exhibition view HGB Gallery Leipzig. Photo: Brenda Alamilla
En. Bodies, red note
How does seeing influence us? The video essay questions the public display of explicit violence and bodies through the sensationalist media in Mexico known as the Nota Roja (lit.En. Red Press). The work deconstructs images, language and their meanings in the context of a dialectic that propagates violence and fear and thus influences the collective subconscious. The artist shows how the depiction of sexualized bodies and corpses normalizes violence, spreads collective fear and creates numbness through objectification. Brenda Alamilla uses her voice as a decolonial tool to (de)objectify the depicted bodies and those of the viewer and thus reclaim sovereignty. The video essay traces the relationship between the hate speech of the magazines and the legitimate and illegitimate power structures in the country that contribute to the normalization of violence and gender-specific crimes such as femicide.
CUERPXS, LA NOTA ROJA
Video essay, presented in one channel, duration 6 min., 2x Pigment Prints on Newspaper, 60 x 90 cms.

Installation view of the exhibition FLUCHT IN DIE ÖFFENTLICHKEIT part of the 10th. F/STOP FESTIVAL, Timonhaus, Leipzig (DE). Curated by Leon Hösl and Magdalena Stöger. Photo documentation by Walther Le Kon.
