[Script Info]
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[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:02.96,0:00:07.88,Default,,0000,0000,0000,,Recovering a figure such as Marisa González,\Nwho won the Velázquez Prize in 2023,
Dialogue: 0,0:00:07.88,0:00:11.72,Default,,0000,0000,0000,,is fundamental for the institution.\NAbove all because it opens up the possibility of getting to know,
Dialogue: 0,0:00:11.72,0:00:17.00,Default,,0000,0000,0000,,of researching, of really delving into a generation\Nof women about whom we know little or nothing.
Dialogue: 0,0:00:17.00,0:00:21.76,Default,,0000,0000,0000,,It is a living memory, a memory that is still\Nthere and that we have not researched enough.
Dialogue: 0,0:00:21.92,0:00:30.36,Default,,0000,0000,0000,,An exhibition of these characteristics, which is an anthology\Nthat brings together her main works over the last 50 years,
Dialogue: 0,0:00:30.36,0:00:34.80,Default,,0000,0000,0000,,really allows us to open a gap so that\Nnew generations can project ourselves
Dialogue: 0,0:00:34.80,0:00:42.60,Default,,0000,0000,0000,,into that past that we do not know from the voice of its own\Nprotagonists, who are women understood as subaltern subjects
Dialogue: 0,0:00:42.60,0:00:48.08,Default,,0000,0000,0000,,who had to somehow reverse and crack a context\Nin order to be able to project themselves as artists.
Dialogue: 0,0:00:48.08,0:00:53.72,Default,,0000,0000,0000,,And above all, figures like Marisa, with works in\Nrelation to feminism and social movements.
Dialogue: 0,0:00:54.20,0:00:58.64,Default,,0000,0000,0000,,Marisa is an artist very present in the\Ncontext of Madrid from the associationism.
Dialogue: 0,0:00:58.64,0:01:05.20,Default,,0000,0000,0000,,She was always present as a student, from the\Nassociative movement, as a student at the School of Fine Arts.
Dialogue: 0,0:01:05.20,0:01:08.72,Default,,0000,0000,0000,,But she had to leave for the United States\Nin search of a contemporary education.
Dialogue: 0,0:01:08.76,0:01:15.00,Default,,0000,0000,0000,,Let's say that Marisa came from an anti-Franco militancy.\NShe did not come from that double feminist and anti-Franco militancy,
Dialogue: 0,0:01:15.00,0:01:21.72,Default,,0000,0000,0000,,but she was more anti-Franco. And suddenly she arrived in the\NUnited States and opened up, like the whole United States in the 70's,
Dialogue: 0,0:01:21.72,0:01:33.04,Default,,0000,0000,0000,,to all the activism that was happening in Chicago and Washington\Nin relation to feminism, feminisms, civil rights movements, pacifism.
Dialogue: 0,0:01:33.64,0:01:40.40,Default,,0000,0000,0000,,When I finished Fine Arts in Madrid I went to the\NUnited States, to the Art Institute of Chicago,
Dialogue: 0,0:01:40.40,0:01:45.68,Default,,0000,0000,0000,,and there I met my mentor\Nand teacher Sonia Sheridan.
Dialogue: 0,0:01:45.68,0:01:56.24,Default,,0000,0000,0000,,And, among other classrooms and other subjects,\NI decided to focus on one thing, which was called generative systems.
Dialogue: 0,0:01:56.24,0:02:05.20,Default,,0000,0000,0000,,There we had many machines to create art.\NThe world's first colour photocopier
Dialogue: 0,0:02:05.20,0:02:10.28,Default,,0000,0000,0000,,had been invented 2 or 3 years earlier\Nand we had it there in the classroom.
Dialogue: 0,0:02:11.48,0:02:17.32,Default,,0000,0000,0000,,It worked wonders to such an extent\Nthat the inventor of the photocopier said
Dialogue: 0,0:02:17.32,0:02:27.12,Default,,0000,0000,0000,,“I have created a machine that reproduces reality\Nas faithfully as possible and you transform that reality”.
Dialogue: 0,0:02:27.12,0:02:28.92,Default,,0000,0000,0000,,And he came to see\Nwhat we were doing, he said
Dialogue: 0,0:02:28.92,0:02:33.28,Default,,0000,0000,0000,,“I can't believe that this machine\Nis an instrument of creation”. 
Dialogue: 0,0:02:33.76,0:02:42.96,Default,,0000,0000,0000,,I try to keep up to date, but as I always say, when I started\Nthere was only one machine, two, three types of photocopiers,
Dialogue: 0,0:02:42.96,0:02:48.12,Default,,0000,0000,0000,,but now there are a thousand resources,\Na thousand machines and a thousand ways.
Dialogue: 0,0:02:48.12,0:02:54.00,Default,,0000,0000,0000,,So I don't want to spread myself\Nthin by trying all kinds of tools,
Dialogue: 0,0:02:54.00,0:02:58.44,Default,,0000,0000,0000,,so I concentrate on one, although\NI have already tried artificial intelligence.
Dialogue: 0,0:02:58.96,0:03:02.84,Default,,0000,0000,0000,,She is an artist who is still active.\NSo the conversation remains open.
Dialogue: 0,0:03:02.84,0:03:07.52,Default,,0000,0000,0000,,Furthermore, Marisa's work is never closed,\Nshe continually reconfigures her series.
Dialogue: 0,0:03:07.52,0:03:13.64,Default,,0000,0000,0000,,For this exhibition you will see many posters\Nthat end in 2025 because she has reconfigured,
Dialogue: 0,0:03:13.64,0:03:17.28,Default,,0000,0000,0000,,she has finished, she has gone back to her\Narchive to produce some new work as well.
Dialogue: 0,0:03:17.72,0:03:22.16,Default,,0000,0000,0000,,Come and see the exhibition and\Nyou will see different stages.
Dialogue: 0,0:03:22.16,0:03:25.28,Default,,0000,0000,0000,,It is not a collective exhibition,\Nit is a individual exhibition,
Dialogue: 0,0:03:25.28,0:03:29.88,Default,,0000,0000,0000,,although it could seem to be a collective\Nexhibition because of the diversity of resources
Dialogue: 0,0:03:29.88,0:03:34.84,Default,,0000,0000,0000,,and themes that I have developed\Nover more than 50 years.