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Recovering a figure such as Marisa González,[br]who won the Velázquez Prize in 2023,

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is fundamental for the institution.[br]Above all because it opens up the possibility of getting to know,

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of researching, of really delving into a generation[br]of women about whom we know little or nothing.

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It is a living memory, a memory that is still[br]there and that we have not researched enough.

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An exhibition of these characteristics, which is an anthology[br]that brings together her main works over the last 50 years,

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really allows us to open a gap so that[br]new generations can project ourselves

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into that past that we do not know from the voice of its own[br]protagonists, who are women understood as subaltern subjects

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who had to somehow reverse and crack a context[br]in order to be able to project themselves as artists.

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And above all, figures like Marisa, with works in[br]relation to feminism and social movements.

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Marisa is an artist very present in the[br]context of Madrid from the associationism.

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She was always present as a student, from the[br]associative movement, as a student at the School of Fine Arts.

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But she had to leave for the United States[br]in search of a contemporary education.

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Let's say that Marisa came from an anti-Franco militancy.[br]She did not come from that double feminist and anti-Franco militancy,

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but she was more anti-Franco. And suddenly she arrived in the[br]United States and opened up, like the whole United States in the 70's,

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to all the activism that was happening in Chicago and Washington[br]in relation to feminism, feminisms, civil rights movements, pacifism.

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When I finished Fine Arts in Madrid I went to the[br]United States, to the Art Institute of Chicago,

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and there I met my mentor[br]and teacher Sonia Sheridan.

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And, among other classrooms and other subjects,[br]I decided to focus on one thing, which was called generative systems.

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There we had many machines to create art.[br]The world's first colour photocopier

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had been invented 2 or 3 years earlier[br]and we had it there in the classroom.

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It worked wonders to such an extent[br]that the inventor of the photocopier said

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“I have created a machine that reproduces reality[br]as faithfully as possible and you transform that reality”.

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And he came to see[br]what we were doing, he said

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“I can't believe that this machine[br]is an instrument of creation”.

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I try to keep up to date, but as I always say, when I started[br]there was only one machine, two, three types of photocopiers,

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but now there are a thousand resources,[br]a thousand machines and a thousand ways.

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So I don't want to spread myself[br]thin by trying all kinds of tools,

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so I concentrate on one, although[br]I have already tried artificial intelligence.

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She is an artist who is still active.[br]So the conversation remains open.

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Furthermore, Marisa's work is never closed,[br]she continually reconfigures her series.

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For this exhibition you will see many posters[br]that end in 2025 because she has reconfigured,

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she has finished, she has gone back to her[br]archive to produce some new work as well.

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Come and see the exhibition and[br]you will see different stages.

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It is not a collective exhibition,[br]it is a individual exhibition,

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although it could seem to be a collective[br]exhibition because of the diversity of resources

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and themes that I have developed[br]over more than 50 years.