Did Feminist photographic practices exist in Spain in the 1970s? How were they structured and what did they mean? With the aim of offering a series of notes that enrich the virtually non-existent Feminist historiography of Spanish photography, this proposal is structured around the study of photography published by Colita (Isabel Esteva Hernández. Barcelona, 1940) during Spain’s transition to democracy.
Understanding her photography in context, through her contributions to magazines such as Vindicación Feminista
, or in the book Antifémina
(1977, in collaboration with Maria Aurèlia Capmany), enables the exploration of a praxis that moves beyond the author-artist perspective to offer a renewed point of view, not only of this photographer, but also of the relationship between photography and feminism in Spain in the 1970s.
María Rosón is a research associate from the Department of History and Art Theory at the Universidad Autónoma de Madrid. Her field of research involves the study of the social uses of photography and the representations and constructions of gender in history and the cultural memory. She has curated exhibitions such as José Ortiz Echagüe: representando mujeres, tipos y estereotipos (José Ortiz Echagüe: Representing Women, Types and Stereotypes, CAM, Red Itiner, 2010) and Mujeres bajo sospecha. Memoria y sexualidad (Women Under Suspicion. Memory and Sexuality, 1930 – 1980), alongside Raquel Osborne (Department of Political Sciences and Sociology, UNED, 2013).