| Abstrakt: |
This article investigates the corporeal practices by the Catalonian artist Fina Miralles (b.1950) in some of her performances during the 1970s. I specifically focus my analysis on the manner in which the artist verifies the existence of her body under the acute political restrictions on the body during the last years of Francoism (1939–1975). I argue that she does this by a process of sensorial investigations, which include painting, filming and touching natural elements, and moving them and leaving different types of tracks, which lead to generating corporeal scores and body mapping. I elaborate on the way that producing corporeal sensorial knowledge generated from her body mapping and kinaesthetic knowledge is a transgressive and emancipatory feminist intervention. My argument is that kinesthesia generates a process of body-mapping awareness within the body and its movement, which reinforces a sensorial way of knowledge that leads to a reconstitution of the body that function as corporeal agency. Based on feminist theories of embodiment and agency, taking the Carrie Noland concept of kinesthesia (2009) as a central analytical tool, and with a background as a psychologist, I approach this research with embodied methodologies (conversations with the artist, recreation of her actions, etc.) and draw mainly from research-creation methods and kinaesthetic empathy. [ABSTRACT FROM AUTHOR] |
