Rooted in systemic gender inequalities, sexual violence in Switzerland persists amid inadequate institutional responses and a pervasive culture of rape myth acceptance. Until 2022, Swiss law defined rape narrowly as coercion-based and recognised only women as victims, thereby excluding many experiences and reinforcing outdated assumptions. Against the backdrop of public debate and legal reform (2019–2024), this article analyses the collaborative, survivor-led artivism project We’ve Had Enough! Survivors of Sexual Violence Dispel Myths, Break Taboos and Reject Stigma, commissioned by Amnesty International and co-created with a group of ten women – seven rape survivors and three creative collaborators (a photographer, a graphic artist, and a journalist/author). Launched on International Women’s Day 2022, the exhibition challenged dominant narratives by foregrounding testimonies highlighting scenarios often dismissed in legal and social discourse, including assaults by known perpetrators, absent visible resistance, alcohol-related contexts and fragmented memories. Drawing on the framework of reparative aesthetics, the analysis examines how visual and narrative strategies enabled participants to reclaim their stories, foster public empathy and transform shame into collective responsibility. The exhibition’s collaborative process blurred the boundaries between art-based research, activism and survivor advocacy, situating sexual violence within a shared socio-political context rather than as isolated incidents. This approach invited audiences not only to witness but also to engage critically, connecting personal trauma to structural inequalities and institutional complicity. While the revised legislation stopped short of adopting a full consent-based standard, it now recognises ‘a state of shock’ as a form of non-consent – a partial shift towards survivor-centred justice. Without claiming to resolve legal shortcomings, We’ve Had Enough! demonstrates how collaborative, art-based initiatives can challenge stigma, influence public debate and complement broader efforts to promote institutional responsiveness. This case study thus contributes to scholarship on sexual violence, rape myths, reparative aesthetics, collaborative practice, artivism and art-based research, highlighting the potential of creative practice to foster recognition, healing and social change.
