Lide Billelabeitia‘s Çiyayên Dur and Fatima Bianchi‘s Les Dissidentes are two pieces that, from distinct geographies and visual languages, trace a map of intimate and collective resistance. Both propose a critical reading of spaces—natural, symbolic, and social—as settings where tensions between memory, oppression, and autonomy are inscribed.

In Çiyayên Dur, the mountains of Iraqi Kurdistan become silent witnesses to a female narrative that traverses a landscape of disturbing beauty. Filmed in Super 8 and narrated in Basque, the piece distances itself from the traditional concept of “landscape” to explore an anti-landscape steeped in history, conflict, and displacement. The natural environment, far from neutral, reveals layers of contained violence, while the artist’s poetic gaze invites us to listen to what lies hidden behind the visible.

For its part, Les Dissidentes imagines an island where three dissident mothers are punished for defying the norms imposed on motherhood. In a space of symbolic confinement, their inner voices emerge as a form of resistance to social mandates that render exhaustion, desire, and discontent invisible. Bianchi constructs a narrative that, through fiction, exposes realities deeply rooted in everyday life.

Both works open fissures in dominant narratives: nature as a stage of silent war and motherhood as a trench of emotional struggle. In these landscapes of dissent, the female voice not only occupies space: it transforms it..