WOMEN STREET ARTISTS IN THE SOUTHERN AND EASTERN DISTRICTS OF
MADRID
A Ne nog aphic Analysis
ESTÍBALIZ PÉREZ ASPERILLA 1
1 Mad id Open Uni e si y - Uni e sidad a Dis ancia de Mad id, Spain
KEYWORDS
Women s ee a is s
U ban pe iphe y
Mad id
U ban egene a ion
Ins ag am
Ne nog aphic analysis
Mu alism
ABSTRACT
This s udy ocuses on he sou he n and eas e n dis ic s o Mad id, based
on he neighbou hood mo emen ha began in 2018, which demanded,
among o he issues, he eco e y and egene a ion o deg aded u ban
spaces. A ne nog aphic analysis o Ins ag am publica ions iden i ies
a is ic in e en ions by women s ee a is s in hese dis ic s, de ines he
hemes and messages hey con ey, and demons a es he links and
ela ionships es ablished. Finally, he ole o Ins ag am is analysed, no
only as an a galle y bu also as a dissemina ion ool, enabling he
isibili y o he wo k o he women u ban a is s unde s udy.
Recei ed: 07/ 07 /2025
Accep ed: 02/ 10 /2025
ȁǤͳ7ǡǤ7ǡʹͲʹ5ȁʹͻͷǦͻ͵ͳ
Ȁ
IUUQTEPJPSH10.62161/ e isual. 17.6062
VISUAL Re iew, 17(7), 2025, pp. 13-29
1. In oduc ion
he nine dis ic s included in he scope o he SURES Plan 1 o he Communi y o Mad id
(Ca abanchel, La ina, Mo a alaz, Puen e de Vallecas, San Blas-Canillejas, Use a, Vicál a o, Villa de
Vallecas and Villa e de) accoun o almos hal o Mad id's popula ion (44.26%), bu ha e
ala ming ulne abili y indica o s compa ed o he es o he ci y. The a e age income in hese dis ic s
is ba ely a qua e o ha in he en mos a luen dis ic s. The Vulne abili y Index, compiled by he
Delega ed A ea o Te i o ial Coo dina ion, T anspa ency and Ci izen Pa icipa ion in collabo a ion
wi h Ca los III Uni e si y and local social ac o s, con i ms he si ua ion in hese dis ic s.
Acco ding o he Mani ies o po el Su (2018), inequali y in e ms o income, in as uc u e and
oppo uni ies be ween he no h and sou h o Mad id con inues o be a eali y, ma ked by spa ial
seg ega ion, deindus ialisa ion and job insecu i y. Since he economic c isis o 2007, he sou he n
dis ic s ha e aced a u he de e io a ion in hei social and economic condi ions.
El Su iene de echo a se ciudad, po que los ba ios pe i e icos no ienen po qué es a
con igu ados subsidia iamen e desde ningu n cen o. Ma s alla de los p oyec os conc e os es
necesa io desa olla un nue o ela o del Su , que cub a sus necesidades y a ienda a sus
ealidades. Un posible y dis in o u u o pa a el Su . Po que aqui, “en las a ue as”, no solo i imos,
sino que somos capaces de i i .2 (Assembly o he Neighbou hoods o he Sou h, 2018, p. 3)
This esea ch ocuses p ima ily on sec ion 4 o he mani es o, "T ans o ming he space o he Sou h:
euse, egene a ion, adap a ion," and mo e speci ically on poin 38, which s a es ha “(…) es necesa io
ecupe a , egene a , los espacios u banos deg adados, el espacio pu blico y p i ado, y ehabili a
aquellos espacios simbo licos que o man pa e de la memo ia del luga , cascos y u banizaciones
his o icas, ac i os monumen ales, equipamien os...” 3 (Assembly o he Sou he n Neighbou hoods,
2018, p. 12).
U ban a has become a undamen al ool o he egene a ion, beau i ica ion and e alua ion o
pe iphe al neighbou hoods, gi ing hem a unique iden i y and cha ac e ha con ibu e o hei
e i alisa ion. This s udy ocuses on he ole ha di e en women s ee a is s ha e played in he
a o emen ioned sou he n and eas e n dis ic s o Mad id. In dis ic s wi h high le els o social
ulne abili y, a is ic in e en ions can become a powe ul means o collec i e empowe men and
ques ioning s uc u es o exclusion. Acco ding o Remesa (2019), “el concep o A e Público in en a
explica un conjun o de polí icas u banas, que in eg an di e sas p ác icas a ís icas en los p ocesos de
hace ciudad” 4 (p. 7). In his con ex , he walls and acades o di e en buildings become can ases ha
se e no only as a means o exp ession o a is s, bu also as an in i a ion o ci izen pa icipa ion, hus
allowing o g ea e social cohesion. Acco ding o Mandel (2007): “el a e como p oceso social y
comunicacional con igu a la sensibilidad e imagina ios [de la ciudad], asen ando y ansmi iendo, en e
o os medios, la his o ia de los que han i ido y han hecho la his o ia de [la ciudad]” 5 (p. 38). Howe e ,
acco ding o Remesa (2019), hese a is ic in e en ions only wo k i hey a e ca ied ou in acco dance
wi h an ac i e policy o egene a ion and he igh agains exclusion:
1 De elopmen plan ha seeks o educe imbalances and imp o e quali y o li e in he sou he n and eas e n
dis ic s o Mad id, p omo ing hei socio-economic de elopmen and equi y wi h he es o he ci y. I s S anding
Commi ee was es ablished a he end o 2019.
2 The Sou h has he igh o be a ci y, because he pe iphe al neighbou hoods do no ha e o be con igu ed
subsidia ily om any cen e. Beyond speci ic p ojec s, i is necessa y o de elop a new na a i e o he Sou h, one
ha mee s i s needs and add esses i s eali ies. A possible and di e en u u e o he Sou h. Because he e, "on he
ou ski s", we no only li e, bu we a e capable o li ing.
3 "(...) i is necessa y o eco e and egene a e deg aded u ban spaces, public and p i a e space, and ehabili a e
hose symbolic spaces ha o m pa o he memo y o he place, his o ic cen es and de elopmen s,
monumen al asse s, acili ies..."
4 " he concep o Public A a emp s o explain a se o u ban policies ha in eg a e a ious a is ic p ac ices in o
he p ocesses o ci y-building"
5 "a as a social and communica ional p ocess shapes he sensibili y and imagina ies [o he ci y], es ablishing
and ansmi ing, among o he means, he his o y o hose who ha e li ed and made he his o y o [ he ci y]”. In
his quo e, he wo d " own" has been eplaced by "ci y" o adap i o he con ex .
T
14
U ban A is s in he Sou he n and Eas e n Dis ic s o Mad id
(…) pin a de colo es las casas o pin a mu ales, es á bien en sí mismo, pe o si no se acompaña de
polí icas ac i as, son ope aciones de limpieza de ca a, de es é ica supe icial, en endida en su
sen ido peyo a i o, que no conducen a la solución de los p oblemas eales del ba io o dis i o en
el que se ealizan.6 (Remesa , 2019, p. 45)
On he o he hand, he dissemina ion and isibili y o in e en ions ca ied ou by emale a is s is
conside ed essen ial in o de o ha e emale cul u al e e ences ha help o achie e a g ea e balance
in a is ic spaces, wi h ne wo king and he c ea ion o links h ough social media being wo key pilla s
in making his possible.
En una sociedad como la española en la que, desde hace gene aciones, las muje es han ca ecido
de e e en es cul u ales emeninos y han sido educadas en la c eencia de que la excelencia
p o esional, a ís ica y, en de ini i a, social, es aba siemp e en manos masculinas, una sociedad en
que la eo ía de géne o ha empezado a ene epe cusión ya casi a inales del siglo XX, unida al
a dío descub imien o de g andes a is as, a menudo ha esul ado di ícil de ec a esa desigualdad
y busca le soluciones (...). La ausencia de muje es e e en es desde la educación escola has a la
uni e si a ia no ha ayudado a eplan ea es a si uación, y solo en los úl imos años es amos iendo
que la conciencia social sob e la desigualdad de géne o es á plan eando una e lexión allí donde
ni si quie a se había pe cibido el p oblema.7 (Pé ez Ibáñez, 2020, p. 24)
2. Objec i es
The main objec i es o his wo k a e:
1. To iden i y he mu als c ea ed by di e en women s ee a is s in he dis ic s o Ca abanchel,
La ina, Mo a alaz, Puen e de Vallecas, San Blas-Canillejas, Use a, Vicál a o, Villa de Vallecas and
Villa e de.
2. To de ine he hemes add essed and he messages con eyed h ough he social ne wo k
Ins ag am.
3. To demons a e he links and ela ionships es ablished in he di e en pos s analysed.
3. Me hodology
The me hodology chosen o his esea ch was ne nog aphy, as i is pa icula ly sui able o s udying
public discou se on social ne wo ks such as Ins ag am, as well as social in e ac ions and beha iou s
de eloped in digi al spaces.
Online sea ches p o ed o be a aluable esou ce o ga he ing in o ma ion ha would enable he
wo ks unde s udy o be loca ed and iden i ied, e ealing ha mos o he a is s had ac i e p o iles on
Ins ag am. This led o he c ea ion o he p o ile Muje es en la ela aña (@muje es.en.la. ela ana),
enabling mo e e ec i e moni o ing o he wo ks and he es ablishmen o con ac s wi h he a is s.
This ne wo k o con ac s was subsequen ly ansla ed in o a ne wo k o loca ions using he My Maps
applica ion, designing a pe sonalised map o he wo ks ha acili a es hei acking and subsequen
isi . This map compiles he wo k o 98 women s ee a is s, p o iding a de ailed eco d o hei wo ks,
indica ing hose ha ha e been isi ed so a and iden i ying hose ha can s ill be isi ed, hose ha
ha e no been ound o a ious easons, and hose ha ha e been con i med o be empo a y.
In o de o loca e he wo ks in he sou he n and eas e n dis ic s o Mad id, he in o ma ion ga he ed
om a ious pos s on Ins ag am has been c ucial, ei he hanks o he inclusion o he loca ion in he
6 (...) pain ing houses in b igh colou s o pain ing mu als is ine in i sel , bu i i is no accompanied by ac i e
policies, hese a e me ely cosme ic ope a ions, supe icial aes he ics, unde s ood in hei pejo a i e sense, which
do no lead o he solu ion o he eal p oblems o he neighbou hood o dis ic in which hey a e ca ied ou
7 In a socie y such as Spain's, whe e o gene a ions women ha e lacked emale cul u al ole models and ha e been
educa ed in he belie ha p o essional, a is ic and, ul ima ely, social excellence was always in male hands, a
socie y in which gende heo y began o ha e an impac almos a he end o he 20 h cen u y, coupled wi h he
la e disco e y o g ea a is s, i has o en been di icul o de ec his inequali y and ind solu ions o i (...). The
absence o emale ole models om school o uni e si y educa ion has no helped o e hink his si ua ion, and
only in ecen yea s a e we seeing social awa eness o gende inequali y p omp ing e lec ion in a eas whe e he
p oblem had no e en been pe cei ed
15
VISUAL Re iew, 17(7), 2025, pp. 13-29
pos s hemsel es o by consul ing he co esponding cap ion o each one. In addi ion, consul ing o he
sou ces such as news i ems o o icial websi es o associa ions o en i ies such as Mad id S ee A
P ojec has been impo an in ob aining mo e accu a e and desc ip i e loca ions, which has acili a ed
subsequen on-si e sea ches. O icial websi es o es i als such as Fes i al Ci cula 8 , p ojec s such as
Compa iendo Mu os9 , and digi al pla o ms such as Wallspo 10 ha e also been consul ed.
Fo his s udy, o he 98 a is s p e iously selec ed, 17 we e loca ed in he Sou he n and Eas e n
Dis ic s: Helen Bu , Amaia A azola, Sa a Fló ez, B ocka, Animali oland, I 's Mancho, Sha a Limone,
Agus Rúcula, Ca ola Bagna o, Dúo Amazonas, Inés Jimm, Flo encia Du án, Ele Zissou, Sa a Velázquez,
I is Simancas, missmsmi h, and Sonia Delgado. The dis ic s in which mu al in e en ions by women
ha e been loca ed a e Ca abanchel, La ina, Mo a alaz, Puen e de Vallecas, Vicál a o, and Villa e de11 . A
o al o 19 p o iles we e analysed12 , choosing o s udy exclusi ely wo ks ha all wi hin he echnique
o mu alism om 2015 o 2025. In hese 19 p o iles, an online obse a ion was ca ied ou , which led
o he subsequen collec ion, selec ion and s o age o da a. In o al, 42 pos s o he p e iously loca ed
wo ks we e compiled13 . F om hese pos s, 620 commen s om ollowe s o he selec ed p o iles –
he eina e e e ed o as ollowe s – and 181 esponses om he a is s we e eco ded. In he da a
collec ion, di e en ypes o con en we e aken in o accoun , including pho og aphs, ideos, ex s,
hash ags, and o he non- ex ual ep esen a ions such as emojis.
The communica ions analysed we e asynch onous, and he social in e ac ions unde s udy a e
public. Howe e , his s udy main ains anonymi y a all imes, p o iding pseudonyms o all pe sons
ci ed excep o he a is s, gi en ha he aim is o highligh hei ole in he ield o u ban a .
ATLAS. i so wa e was used o pe o m he subsequen da a analysis, which in ol ed ca ego ising,
coun ing and compa a i ely analysing he quali a i e da a p e iously collec ed. In his analysis p ocess,
induc i e coding was pe o med (Kozine s, 2020, p. 339), o ganising he codes in o di e en ca ego ies
o classi y emo ions, eac ions and ecu ing hemes exp essed by bo h u ban a is s and hei ollowe s.
Wi hin each ca ego y, a dis inc ion was made be ween ex ual and non- ex ual da a (emojis), as he
in e p e a ion could a y depending on he o ma used. In addi ion, o he speci ic g oups we e
gene a ed, including codes ela ed o he copy and hash ags used in he a is 's pos , as well as he isual
elemen s p esen in he publica ion i sel , bo h ideos and images. Subsequen ly, hanks o he
isualisa ion o he da a using g aphs, column cha s and Sankey diag ams, he da a was in e p e ed,
aking in o accoun he pa e ns obse ed.
4. Resul s
4.1. Themes and messages con eyed
Following he ne nog aphic analysis o he selec ed pos s, eminism s ands ou as he main heme
iden i ied. Fou een wo ks closely ela ed o hemes linked o he igh agains gende iolence, he
commemo a ion o 8 h Ma ch, mo he hood, sis e hood and sel -knowledge we e coun ed. Some wo ks
ep esen hese hemes by decision o he a is he sel , as is he case wi h Flo encia Du án's mu al,
which add esses awakening ( igu e 1). Howe e , i has been e i ied ha se e al o he pieces loca ed
on one o Wallspo 's so-called F ee Walls we e c ea ed wi h hemes p e iously es ablished by he
p ojec . One o he hemes was ela ed o 8 h Ma ch and ano he o he igh agains gende iolence,
8 A p ojec in ol ing a is ic in e en ions in public spaces, p eceded by a media ion p ocess wi h social agen s
and local esiden s. I s main pu pose is o gain an in-dep h unde s anding o he place and o wo k on i in a
collabo a i e and espec ul manne .
9 A p og amme ha aims o accommoda e ci izen ini ia i es o imp o e he u ban landscape h ough a ious
a is ic in e en ions.
10 I s main objec i e is o demand access o pain ing in he s ee wi h gua an ees, allowing he loca ion o so-called
legal walls o F ee Walls o make he wo k o di e en a is s isible.
11 In he o he dis ic s, he loca ion o di e en mu als has also been e i ied, bu wi hou any emale p esence.
12 In he case o he Amazonas Duo, hei p o ile as a is s and he p o ile hey ha e c ea ed o Espacio Amazonas
has been analysed. In he case o Sa a Velázquez, he p o ile she he sel has c ea ed o he C ea u es o Ligh
p ojec has also been aken in o accoun .
13 These can be consul ed in he e e ences sec ion.
16
U ban A is s in he Sou he n and Eas e n Dis ic s o Mad id
bo h on he occasion o he celeb a ion o wha is known as Woma JAM14 :
a 's he i s ske ch I did o he woma jam wall cu a ed by @wallspo _o g in commemo a ion Th
o he 25 h No embe , he day agains sexis iolence. Fo he i s ime, I wan ed o ep esen he
ma yoshka opened as a ibu e o he eminine he i age o ou amilies. Women a e loca ed in he
cen e , su ounded by a hexagon ha ep esen s c ea i i y and gua ded by he c ea u es o ligh .
(@c ea u es_o _ligh , 9 h Decembe 2020)
Image 1. Mu al by Flo encia Du án in collabo a ion wi h Dúo Amazonas, alongside se e al o he wo ks (95 A
Galle y, Ca abanchel, 2024)
Sou ce: Own elabo a ion, 2024
None o he commen s made by he ollowe s ha e been pe cei ed as nega i e in ela ion o he
wo ks sha ed. Wha has been pe cei ed a e nega i e eac ions in p o es agains issues such as gende
iolence. This encou ages dialogue and e lec ion, while also helping o sp ead awa eness o issues ha
we e p e iously unknown o many use s o he social ne wo k: “G acias po compa i es os hechos de
los cuales no se habla lo su icien e. Lo que es ás haciendo ayuda á a que se les de el econocimien o que
se me ecen. ¡B a o! 👏”15 (AA1.6_ ollowe 42, 2024).
Howe e , one o he mu als c ea ed o Wallspo by a is Sha a Limone o 8 h Ma ch has been me
wi h some ejec ion om he public ou side he i ual communi y. In he cap ion o one o he pos s,
he a is s a es: “o o 8M eco dando que que emos cambia las cosas. Toda ía in en an silencia nos
cuando señalamos p i ilegios y eclamamos lo que nos pe enece: nues o espacio, nues a libe ad,
nues a ida”16 (@sha alimone, 7 Ma ch 2021). When isi ing i in Janua y 2025, i was clea ha no
only had a la ge pa o he mu al been emo ed – which is no en i ely wo ying as i is a ee wall ha
is usually pain ed pe iodically and whe e g a i i a is s also go o lea e hei ma k – bu also ha some
o he quo es he a is chose o include in he wo k had been c ossed ou ( igu e 2). The message ha
Sha a Limone sha es in he pos makes mo e sense, since he mu al was di ec ly censo ed by someone
who did no wan ha message o be p esen in public spaces. Thanks o he images o he wall pos ed
on Ins ag am in 2021, we can see he ph ase ha was c ossed ou : “Lo emenino en el pa ia cado no es
14 Wallspo 's JAMs a e e en s whe e wo a is s a e chosen om among eigh o wel e o he s o c ea e hei wo ks
on a chosen wall wi h a speci ic heme.
15 "Thank you o sha ing hese issues ha a e no alked abou enough. Wha you a e doing will help gi e hem
he ecogni ion hey dese e. B a o!👏" Commen a y on he wo k Con a el Ol ido (Agains Obli ion) by Amaia
A azola (2024).
16 "Ano he 8 h Ma ch eminding us ha we wan o change hings. They s ill y o silence us when we poin ou
p i ileges and claim wha belongs o us: ou space, ou eedom, ou li e"
17
VISUAL Re iew, 17(7), 2025, pp. 13-29
lo que las muje es son sino lo que han cons uido pa a ellas, Luce I iga ay” 17 (@sha alimone, 7 Ma ch
2021). Among he commen s ecei ed on ha pos , he e a e no nega i e eac ions o discussions on
he ma e , bu a he a g ea deal o in e es , wi h people e en asking abou he loca ion o he mu al
so hey can see i in pe son. Among he hash ags used by he a is is #censo ship, an issue ha becomes
a eali y in he own mu al, whe e Luce I iga ay's quo e was c ossed ou .
Image 2. Remains o he mu al c ea ed by a is Sha a Limone o 8M (Mo a alaz, 2021)
Sou ce: Own elabo a ion, 2025
The second heme o highligh is he igh o animal igh s. This heme is p esen in six pieces ha
we e c ea ed by di e en a is s in i ed o pa icipa e in one o Wallspo 's F ee Walls. Despi e animal
igh s being he main heme, eminism is s ill p esen in he pos s abou hei wo ks, con eying a
message o empowe men and sis e hood among he a is s:
Hoy seis muje es hemos omado el mu o, con sp ay en mano, pa a ei indica el de echo de los
animales. Po que cada se ocupe el espacio que le co esponde, y ni un poqui o menos de lo que
me ece. G acias @wallspo _o g po da luga a p oyec os como es e. Y g acias chicas po es e dia
💛Po ma s mu os codo a codo 💜 @i smancho @sa elga @missmsmi h @i isd awss u
@elisacallea .18 (@sha alimone, 28 h Decembe 2020)
Thi een o he pieces analysed also ea u ed di e en animals linked o an asy o anima ion. In his
case, he igh o animal igh s does no seem o be he main heme, bu he animal mo i is signi ican ly
p edominan . The wo ks o Sa a Velázquez and he c ea u es o ligh o he cu ious animals o I is
Simancas a e clea examples o his: “(el azo! El azo!) pe o 2 (…)Spacegoa po in en un mu o!
semanas después ahí sigue la ía, lo ando en el espacio con ese osa chicle an 😍 ”19 (@i isd awss u ,
19 Decembe 2020).
On he o he hand, in se e al o he wo ks, he human igu e—mainly emale— akes on a cen al ole.
An example o his is he a is ic in e en ions o he Amazonas Duo, whe e he inco po a ion o his
heme can be seen in he mu als c ea ed h oughou he di e en mu alism semina s hey pe iodically
each a Espacio Amazonas ( igu e 3). Fu he mo e, his p esence ex ends o mos o he wo ks hey
ha e c ea ed in o he loca ions, such as he mu al ha can be ound a he 95 A Galle y, whe e hey
ha e also pa icipa ed as mu alis s alongside o he a is s such as Flo encia Du án ( igu e 1) and Inés
Jimm ( igu e 3).
17 "The eminine in pa ia chy is no wha women a e bu wha has been cons uc ed o hem, Luce I iga ay"
18 Today, six women ook o he wall, sp ay cans in hand, o de end animal igh s. Because e e y being dese es
hei igh ul place, and no a bi less han hey dese e. Thank you @wallspo _o g o making p ojec s like his
possible. And hank you, gi ls, o his day💛 He e's o mo e walls, side by side
19 Spacegoa on a wall a las ! (…) (el azo! El azo!) Bu wo weeks la e , he e she is, s ill loa ing in space
wi h ha bubblegum pink 😍
18
U ban A is s in he Sou he n and Eas e n Dis ic s o Mad id
Image 3. On he le , mu al by Dúo Amazonas a Espacio Amazonas. On he igh , mu al by Inés Jimm a 95 A
Galle y (Ca abanchel, 2024)
Sou ce: Own wo k, 2024
Also no ewo hy is he p esence o he elde ly ( igu e 4), he ep esen a ion o my hological
cha ac e s, and social c i icism, add essing issues such as pollu ion and he addic i e impac o social
media, especially on child en. Pe sonal s o ies and eelings a e also e lec ed in se e al o he wo ks
analysed, showing he loss o a lo ed one, sel -knowledge, e lec ions on mig an women, and he
ep esen a ion o memo ies and emo ions h ough he wall.
Image 4. )(Old olks sha ing s o ies and memo ies Viejecillos compa iendo his o ias y ecue dos , by he a is
Animali oland in collabo a ion wi h M . Al o (Mo a alaz, 2015)
Sou ce: Own elabo a ion, 2025
Ano he no ewo hy aspec is he in ol emen o he local communi y on wo le els. Fi s ly, i is
in ol ed in he wall selec ion p ocess, as in he case o he Compa iendo Mu os (Sha ing Walls)
p og amme, whe e ci izens can choose he one hey conside mos sui able o he assigned loca ion
om a ange o mu al p oposals. Secondly, he local communi y ac i ely pa icipa es in he c ea i e
p ocess, con ibu ing o he execu ion o he wo k. An example o his is he in e en ion by a is Sa a
Fló ez, who, h ough he publica ions, documen ed he pa icipa ion o adul s and child en in he
c ea ion o he mu al a CEIP Ca men La o e in Vicál a o (Figu e 5).
19
VISUAL Re iew, 17(7), 2025, pp. 13-29
Image 5. De ails o he wall a CEIP Ca men La o e , by a is Sa a Fló ez (Vicál a o, 2018)
Sou ce: Own elabo a ion, 2025
The a is Sonia Delgado also pa icipa ed in Compa iendo Mu os (Sha ing Walls) in San C is óbal de
los Ángeles (Villa e de), publishing he c ea i e p ocess o he in e en ion on Ins ag am, wi h special
e e ence o he so-called Lide esas de Villa e de – a g oup o women o e 65 who wo k o es o e he
isibili y and ecogni ion o he needs and con ibu ions o olde women in socie y. Ano he o he
mu al's panels is dedica ed o he Cel ibé icas u Olímpicas de Villa e de, who played Spain's i s
women's oo ball ma ch in ha neighbou hood. Ano he o he panels also highligh s he p esence o he
G upo Cul u al del Pino, which igh s o e adica e illi e acy among women. The local communi y is once
again p esen in he same neighbou hood h ough Helen Bu 's Los pasean es (The S olle s), which
depic s se e al inhabi an s o San C is óbal de los Ángeles in he o m o small igu es on di e en
açades, hanks o he a is 's pa icipa ion in he Fes i al Ci cula 2024 ( igu e 6).
Image 6. On he igh , de ails o he wall a he old Godella cinema, by a is Sonia Delgado. On he le , one o
he 16 pieces ha make up Los pasean es (The S olle s) by a is Helen Bu (Villa e de, 2018 and 2023).
Sou ce: Own elabo a ion, 2024 and 2025
4.2. C ea i e p ocess, in luences and con ex ualisa ion o he wo k
Se e al a is s, in addi ion o cap u ing he c ea i e p ocess behind hei wo ks, e eal hei in luences,
including pho og aphs ha inspi ed hem when c ea ing he mu al. Amaia A azola p esen s a ideo
showing he day- o-day c ea ion o he mu al Con a el Ol ido (Agains Obli ion) ( igu e 7),
demons a ing how he local communi y in e ac s wi h i . I also includes a ious ske ches and
explana ions o he in luences in illus a ing each o he cha ac e s and elemen s, explaining wha each
one ep esen s and he s o y behind each o he membe s o he Sinsomb e o. Th ough a ious
publica ions, Amaia A azola no only explains he meaning o each o he igne es ha make up his
la ge ou doo comic bu also con inues o highligh he wo k o each o he women who b ing i o li e
and colou . Th ough a kind o pho og aphic a chi e, she sha es images and pain ings o each o hem in
o de o p ese e hei memo y.
20
U ban A is s in he Sou he n and Eas e n Dis ic s o Mad id
Image 7. Con a el Ol ido (Agains Obli ion), by a is Amaia A azola (Vallecas, 2024)
Sou ce: Own wo k, 2025
I 's Mancho is ano he a is who uses he publica ions o show he in luences in wo ks such as
Es ampilla mimi, including a pho og aph o he ca – o whom she pays ibu e h ough he mu al
ollowing he ecen loss –: “es e mu al es uno de los mas impo an es y signi ica i os pa a mi aun así
el mas di ícil pa a pin a , jamás imagine que es o pasa ía an ápido, espe aba ene la conmigo muchos
años mas 💜 saque ue zas pa a i a pin a es e homenaje (…)”20 (@i smancho, 17 h Ma ch 2021). The
a is Sa a Velázquez also p esen s he p e iously designed ske ches, in which he p ominence o
geome ic composi ions can be seen (@c ea u es_o _ligh , 24 h Janua y 2021). She also includes
in luences and inspi a ions when c ea ing wo ks such as he one made o one o Wallspo 's F ee Walls
on animal igh s, in i ing e lec ion:
(…) I based my design on a pic u e I saw some ime ago on @na geoby @jaspe does . (…) I eel
ex emely sad when I see any animal abuse, bu abo e all, I would like people o unde s and ha
animals a e no objec s o hei en e ainmen and should ne e suppo any shows o businesses
based on ha . While pain ing i , I could only ha e hese wo ds in my head: YOUR 5 MINUTES OF
FUN ARE THEIR LIFETIME OF SLAVERY. Please hink wice abou i he nex ime you see animals
in simila si ua ions . (@c ea u es_o _ligh , 27 h Decembe 2020)
4.2. Re lec ions and communica i e links
A is s also use Ins ag am as a means o exp ession, sp eading he message o hei wo ks, eelings and
imp essions. Use s o he ne wo k a e in i ed o sha e hei opinions on bo h he wo k displayed and
he message con eyed. Such is he case o Agus Rúcula wi h he wo k De ame, who indica es in one o
he pos s ha , h ough he e en C ea en la pe i e ia (C ea ing on he Pe iphe y), she explained he
p ocess o c ea ing he mu al, in i ing hose p esen o e lec on wha i con eyed o hem ( igu e 8):
“Me encan a p egun a a la gen e que pasa mien as pin o, qué sensaciones les despie a lo que en en
el mu al, de qué sien en que a el ela o. Vos que es ás leyendo, dale con ame qué eeeees?!”
21(@agus ucula, 27 Decembe 2024). Ano he pos abou his wo k is a clea example o how Ins ag am
can be used o c ea e a dialogue be ween he a is and use s o his social ne wo k:
AR1.2_ ollowe 1, 2024
Que he mosa¿que plan a es? Me da mucha cu iosidad
20 "This mu al is one o he mos impo an and meaning ul o me, ye he mos di icul o pain . I ne e imagined
his would happen so quickly. I hoped o ha e he wi h me o many mo e yea s.💜 I ound he s eng h o go and
pain his ibu e” The o iginal spelling o he commen s analysed has been e ained in o de o p ese e hei
au hen ici y.
21 "I lo e asking people who pass by while I'm pain ing wha eelings he mu al e okes in hem, wha hey hink
he s o y is abou . You who a e eading his, come on, ell me wha you see?!"
21
VISUAL Re iew, 17(7), 2025, pp. 13-29
Ins ag am. h ps://www.ins ag am.com/p/CH8 HeUJ3g9/?hl=es
Limone, S. [@sha alimone]. (28 de diciemb e de 2020). Hoy seis muje es hemos omado el mu o. [Pos ].
Ins ag am. h ps://www.ins ag am.com/p/CJUccRZpSLW/?hl=es&img_index=1
Limone, S. [@sha alimone]. (30 de diciemb e de 2020). [Pos ]. Ins ag am. Un place ol e a pa icipa .
h ps://www.ins ag am.com/p/CIOgJ2mpkkZ/?hl=es&img_index=1
Limone, S. [@sha alimone]. (4 de eb e o de 2021). Mu o con las muje es #woma . [Pos ]. Ins ag am.
h ps://www.ins ag am.com/p/CK4mTpwp3HN/?hl=es&img_index=1
Limone, S. [@sha alimone]. (7 de ma zo de 2021). a las cosasO o 8M eco dando que que emos cambi .
[Pos ]. Ins ag am. aJYqH/?hl=es&img_index=1-h ps://www.ins ag am.com/p/CMIYa
Limone, S. [@sha alimone]. (31 de ma zo de 2021). “… si eí o llo e ”. [Pos ]. Ins ag am.
h ps://www.ins ag am.com/p/CNGA93LpVPa/?hl=es&img_index=1
López Giménez, D. (2022). Yo, g a i e a: g a i i, “s ee a ” y mu alismo de muje es. Edi o ial
Fundamen os.
López Giménez, D. (2023). S ee a i mado po muje es. 50 a is as con empo áneas del a e u bano,
mu alimo y g a i i. Hoaki.
Mad id.es (s. .). Plan SURES. h ps://www.mad id.es/po ales/munimad id/es/Inicio/El-
Ayun amien o/Plan-
SURES/? gnex m =de aul & gnex channel=1c9c5c3a93 30710VgnVCM2000001 4a900aRCR
D
MADRID PAISAJE URBANO (s. .). Compa iendo mu os. h ps://mad idpaisajeu bano.es/paisaje-
u bano/compa iendo-mu os/
Mandel, C. (2007). Mu alismo mexicano: a e público/iden idad/memo ia colec i a. ESCENA. Re is a de
las a es, 61(2), 37-54. h ps://www. edalyc.o g/pd /5611/561158764005.pd
Ma anza, A. (2022). Women S ee A is s. 24 Con empo a y G a i i and Mu al A is s om A ound he
Wo ld. P es el.
Mies, M. y Vandana, S. (1997). Eco eminismo. Teo ia, c i ica y pe spec i as. Ica ia edi o ial.
Missmsmi h [@missmsmi h]. (29 de no iemb e de 2020). Es e inde u e la sue e de pa icipa en la
h ps://www.ins ag am.com/missmsmi h/p/CIMG gEyz/ [Pos ]. Ins ag am.#woma jam.
Missmsmi h [@missmsmi h]. (2 de diciemb e de 2020). Cosas di e idas como pin a in i ada po
h ps://www.ins ag am.com/missmsmi h/p/CISVJ2xgEc2/s ]. Ins ag am. [Po@wallspo _o g.
Missmsmi h [@missmsmi h]. (27 de diciemb e de 2020). Hoy el mu o lo hemos omado las chicas. [Pos ].
Ins ag am. h ps://www.ins ag am.com/missmsmi h/p/CJUD8pHLN_2/?img_index=1
Missmsmi h [@missmsmi h]. (30 de diciemb e de 2020). De cómo quedó el mu o. [Pos ]. Ins ag am.
h ps://www.ins ag am.com/missmsmi h/p/CJbzEcwLZhJ/?img_index=1
Missmsmi h [@missmsmi h]. (23 de ene o de 2021). Empeza el inde pin ando con @wallspo _o g.
a/-h ps://www.ins ag am.com/missmsmi h/p/CKY8Q8EL3 [Pos ]. Ins ag am.
Missmsmi h [@missmsmi h]. (24 de ene o de 2021). A eces, no es odo c ea con papel . [Pos ].
Ins ag am. h ps://www.ins ag am.com/missmsmi h/p/CKa_ uX MwM/
Pe ez-Iba n ez, M.; Lo pez-Apa icio Pe ez, I. (2019). Muje es a is as y p eca iedad labo al en Espan a.
Ana lisis y compa a i a a pa i de un es udio global. A e, Indi iduo y Sociedad 31(4), 897-915.
h ps://dx.doi.o g/10.5209/a is.62314
REBONINART (2024). Wallspo . h ps://www. ebobina .com/es/p oyec os/wallspo /
Remesa , An oni (2019). Del a e púbico al pos -mu alismo. Polí icas de deco o u bano en p ocesos de
Regene ación U bana. on he w@ e on . Public A .U ban Design.Ci ic Pa icipa ion.U ban
Regene a ion 61(1), 3-65. h ps://doi.o g/10.1344/wa e on 2019.61.6.1
Ri alIQ (2024). 2024 Social Media Indus y Benchma k Repo . Disponible en:
h ps://www. i aliq.com/blog/social-media-indus y-benchma k- epo /# i le-in luence s
Rúcula, A. [@agus ucula]. (26 de diciemb e de 2024). ~De ame~ .
[Pos ]. Ins ag am.
h ps://www.ins ag am.com/p/DEDmZ7FI81b/
Rúcula, A. [@agus ucula]. (27 de diciemb e de 2024). ”Una pe sona que es á he ida y lo ece“ . [Pos ].
Ins ag am. h ps://www.ins ag am.com/p/DEGJQGPIClW/?img_index=10
Ruiz-Gomez, A. (2019). Digi al Fame and Fo une in he age o Social Media: A Classi ica ion o social
media in luence s aDResea ch ESIC, 19(19), 8- 29. h ps://doi.o g/10.7263/ad esic-019-01
Simancas, I. [@i isd awss u ]. (7 de diciemb e de 2020). [Pos ]. Ins ag am. Mi p ime mu al e e .
h ps://www.ins ag am.com/i isd awss u /p/CI XShRDpV6/?img_index=1
28
U ban A is s in he Sou he n and Eas e n Dis ic s o Mad id
Simancas, I. [@i isd awss u ]. (10 de diciemb e de 2020). Spacegoa po in en un mu o!
[Pos ].
Ins ag am. h ps://www.ins ag am.com/i isd awss u /p/CI_VbL_jCc /?img_index=1
Simancas, I. [@i isd awss u ]. (25 de diciemb e de 2020). [Pos ].
s spi i .’Ca ching pieces o Wisp
h ps://www.ins ag am.com/i isd awss u /p/CJOGcRCD9M6/?img_index=1 Ins ag am.
Simancas, I. [@i isd awss u ]. (28 de diciemb e de 2020). os ]. Ins ag am.
[P
o.
De nue o en el mu
h ps://www.ins ag am.com/i isd awss u /p/CJVhzU1jA38/?img_index=1
Simancas, I. [@i isd awss u ]. (4 de ene o de 2021). Cle e Gi l now on a wall
. [Pos ]. Ins ag am.
h ps://www.ins ag am.com/i isd awss u /p/CJog8S DsML/?img_index=1
Simancas, I. [@i isd awss u ]. (21 de ene o de 2021). [Pos ]. Ins ag am.
.
El si eno ma ine o
h ps://www.ins ag am.com/i isd awss u /p/CKUX2cij7S2/?img_index=1
Simancas, I. [@i isd awss u ]. (28 de ene o de 2021). [Pos ]. Ins ag am. .
Du an e el cie e del mu o
h ps://www.ins ag am.com/i isd awss u /p/CKmkwh jh9W/?img_index=1
Simancas, I. [@i isd awss u ]. (28 de ene o de 2021). [Pos ]. Ins ag am. .
el cie e del mu o Du an e
h ps://www.ins ag am.com/i isd awss u /p/CKmkwh jh9W/?img_index=1
Simancas, I. [@i isd awss u ]. (9 de eb e o de 2021). [Pos ]. Ins ag am. 2.0.
Spacegoa
h ps://www.ins ag am.com/i isd awss u /p/CLE0CpODXQN/?img_index=1
Simancas, I. [@i isd awss u ]. (2 de ma zo de 2021). Una o o de mi because why no . [Pos ]. Ins ag am.
h ps://www.ins ag am.com/i isd awss u /p/CL7oBlRj5yD/
Simancas, I. [@i isd awss u ]. (15 de ma zo de 2021).
☠
💜
💜 #s ee a #illus a ion #walla . [Pos ].
Ins ag am. h ps://www.ins ag am.com/i isd awss u /p/CMcSZ 0DyVe/
Simancas, I. [@i isd awss u ]. (18 de ma zo de 2021). [Pos ]. Ins ag am. Nope!
h ps://www.ins ag am.com/i isd awss u /p/CMjuUbNDs9h/?img_index=1
Simancas, I. [@i isd awss u ]. (21 de ma zo de 2021). Co de o con piel de lobo . [Pos ]. Ins ag am.
h ps://www.ins ag am.com/i isd awss u /p/CM ppMID6cp/?img_index=1
Simancas, I. [@i isd awss u ]. (1 de ab il de 2021). [Pos ]. Ins ag am.Holy Egyp ica .
h ps://www.ins ag am.com/i isd awss u /p/CNHspA9jcOG/?img_index=1
Velázquez, S. [@sa elga]. (7 de diciemb e de 2020). U ban a chi ec u e. [Pos ]. Ins ag am.
h ps://www.ins ag am.com/sa elga/p/CIg3nOLjA_H/?
Zissou, S. [@ele.zissou]. (7 de eb e o de 2021). op imismo mode no le al a obje i idadAl . [Pos ].
Ins ag am. h ps://www.ins ag am.com/p/CH8eZaHpm W/?hl=es&img_index=1
29
