Abstract This article examines the performance La caída de las campanas by Uruguayan artist, scholar, and activist Hekatherina Delgado to interrogate how, by intervening in public spaces, the piece critiques the pervasiveness of violence within a democratic society. First performed on 8 March 2015, for a two-year period the performance was enacted every time a feminicide occurred in Uruguay. I argue that the performance is a form of artivism which serves a commemorative function while also disrupting conventions associated with rituals of mourning. Through repetition, which is a key formal aspect of the piece, La caída de las campanas dramatizes and articulates the impact of gender violence on society and actively implicates state institutions. Drawing on Diana Taylor’s concept of the “political body” and Ileana Diéguez’s ideas on community, I argue that the performance has the potential to transform participants, audiences, and national and international discourses on gender violence.

中文翻译：

---

打破性别暴力的叙事：Hekatherina Delgado 和在乌拉圭表演 La caída de las campanas

摘要 本文考察了乌拉圭艺术家、学者和活动家赫卡瑟琳娜·德尔加多 (Hekatherina Delgado) 的表演 La caída de las campanas，以询问该作品如何通过干预公共空间来批判民主社会中暴力的普遍性。首演于 2015 年 3 月 8 日，在两年的时间里，乌拉圭每次发生杀害女性事件时都会上演。我认为表演是一种艺术形式，它具有纪念功能，同时也打破了与哀悼仪式相关的惯例。La caída de las campanas 通过重复这一作品的一个关键形式，戏剧化并阐明了性别暴力对社会的影响，并积极地牵涉到国家机构。借鉴 Diana Taylor 的“政治机构”概念和 Ileana Diéguez 的社区理念，