Mari Chordà (Amposta, Tarragona, 1942) is a Catalan painter, poet and feminist activist. During her studies at the School of Fine Arts in Barcelona, she began to experiment with pictorial representations of the female body. Despite the context she grew up in – the Francoist dictatorship – and her traditional Catholic upbringing, from an early age she sought to explore and subvert the situation of women through principles determined by feminism and her own personal and public commitment. In 1965, she moved to Paris for two years, where she came into contact with the artistic activity of the time. Though close to the visuality of pop art, she did not belong to the movement. In her works, she uses very bright, flat colours, which combine with sinuous, non-figurative forms. As early as 1964, she began to work on her series ‘Vagines’, in which she explored her own body, sexuality and pleasure. In fact, pleasure is fundamental in her work, acting as a form of subversion. Painting and poetry – two inseparable elements – are present throughout her career and linked to feminist convictions. In 1968, she founded Lo Llar, a place in Amposta for multicultural action and social activism, which shook up the city’s cultural life. In 1969, she began to create her mobile sculptures, designed to be interacted with to create changing forms. Mari Chordà abandoned her artistic practice from the mid-1970s to the early 1990s. During this period, she carried out various activities, including action to support working women and housewives during the lectures of the I Jornades Catalanes de la Dona (First Catalan Women's Conference). In this context, she presented her first collection of poems, ‘...I moltes altres coses’, from which this project takes its title. It was initially presented without authorship because she considered that it belonged to all women. In 1977, alongside a group of women, she founded a unique spot in Barcelona and all of Spain, the laSal bar-library. It was designed to be a meeting place where women could share experiences, enjoy themselves and receive health and legal advice. That same year, the publisher ‘laSal, edicions de les dones’ was created, which would develop several fiction and essay collections. The publishing house would give visibility to the writing and thought of women authors in the Catalan, national and international contexts, before closing in 1996. In 1978, Mari Chordà published her second book of poems, ‘Quadern del cos i de l'aigua’. At the same time, she contributed to several magazines, debates and essays on feminism. In the early 1990s, she began to revisit her initial artistic work and started to include references to the natural world, especially the sea and what she called “cetàcies” (cetaceans, but in the feminine). In 2000, she published two new collections of poems, ‘Umbilicals’ and ‘Locomotora infidel pel passat’. That same year saw the first solo exhibition of Mari Chordà’s work, which was followed by two further monographic exhibitions in 2008 and 2017.