Abstract
Drawing from my research experience with the Catalonian artist Fina Miralles (b.1950), in this article I demonstrate how perceptual experiences provide a genuine tool to develop embodied methodologies focused on kinesthetic empathy. This generates corporeal practices of knowledge making. I discuss how embodied ways of researching performance challenge the critical distance of ‘the good eye’ in art history. In this article I argue for an interdisciplinary methodology of feminist embodied research, and propose ways of doing/knowing, explaining different strategies as possibilities to build and generate somatic knowledge and corporeal agency drawing mainly upon ‘kinesthesia’ (as elaborated by Noland 2009) and ‘kinesthetic empathy’ (Sklar 1994, Reynolds and Reason 2012).
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