Huellas, siluetas y mapas: rastros somáticos feministas

How does the artist Fina Miralles (Sabadell, 1950) become aware of her body through sensory bodily practices in relation to her environment during the last years of Franco’s regime (1939-1975)? What routes, itineraries or paths does she value and leave as a somatic feminist legacy? Based on feminist theories about the body and agency, taking kinesthesia as a method to empathize with the work, and from a situated knowledge, I approach this research with qualitative, sensory, and corporeal methodologies such as research-creation and kinesthetic empathy. In this article I argue how Fina Miralles constructs a subtle political action that proposes the body as a place of learning from which to build somatic methodologies for feminist emancipation.