WEBVTT 00:00:02.960 --> 00:00:07.880 Recovering a figure such as Marisa González, who won the Velázquez Prize in 2023, 00:00:07.880 --> 00:00:11.720 is fundamental for the institution. Above all because it opens up the possibility of getting to know, 00:00:11.720 --> 00:00:17.000 of researching, of really delving into a generation of women about whom we know little or nothing. 00:00:17.000 --> 00:00:21.760 It is a living memory, a memory that is still there and that we have not researched enough. 00:00:21.920 --> 00:00:30.360 An exhibition of these characteristics, which is an anthology that brings together her main works over the last 50 years, 00:00:30.360 --> 00:00:34.800 really allows us to open a gap so that new generations can project ourselves 00:00:34.800 --> 00:00:42.600 into that past that we do not know from the voice of its own protagonists, who are women understood as subaltern subjects 00:00:42.600 --> 00:00:48.080 who had to somehow reverse and crack a context in order to be able to project themselves as artists. 00:00:48.080 --> 00:00:53.720 And above all, figures like Marisa, with works in relation to feminism and social movements. 00:00:54.200 --> 00:00:58.640 Marisa is an artist very present in the context of Madrid from the associationism. 00:00:58.640 --> 00:01:05.200 She was always present as a student, from the associative movement, as a student at the School of Fine Arts. 00:01:05.200 --> 00:01:08.720 But she had to leave for the United States in search of a contemporary education. 00:01:08.760 --> 00:01:15.000 Let's say that Marisa came from an anti-Franco militancy. She did not come from that double feminist and anti-Franco militancy, 00:01:15.000 --> 00:01:21.720 but she was more anti-Franco. And suddenly she arrived in the United States and opened up, like the whole United States in the 70's, 00:01:21.720 --> 00:01:33.040 to all the activism that was happening in Chicago and Washington in relation to feminism, feminisms, civil rights movements, pacifism. 00:01:33.640 --> 00:01:40.400 When I finished Fine Arts in Madrid I went to the United States, to the Art Institute of Chicago, 00:01:40.400 --> 00:01:45.680 and there I met my mentor and teacher Sonia Sheridan. 00:01:45.680 --> 00:01:56.240 And, among other classrooms and other subjects, I decided to focus on one thing, which was called generative systems. 00:01:56.240 --> 00:02:05.200 There we had many machines to create art. The world's first colour photocopier 00:02:05.200 --> 00:02:10.280 had been invented 2 or 3 years earlier and we had it there in the classroom. 00:02:11.480 --> 00:02:17.320 It worked wonders to such an extent that the inventor of the photocopier said 00:02:17.320 --> 00:02:27.120 “I have created a machine that reproduces reality as faithfully as possible and you transform that reality”. 00:02:27.120 --> 00:02:28.920 And he came to see what we were doing, he said 00:02:28.920 --> 00:02:33.280 “I can't believe that this machine is an instrument of creation”.  00:02:33.760 --> 00:02:42.960 I try to keep up to date, but as I always say, when I started there was only one machine, two, three types of photocopiers, 00:02:42.960 --> 00:02:48.120 but now there are a thousand resources, a thousand machines and a thousand ways. 00:02:48.120 --> 00:02:54.000 So I don't want to spread myself thin by trying all kinds of tools, 00:02:54.000 --> 00:02:58.440 so I concentrate on one, although I have already tried artificial intelligence. 00:02:58.960 --> 00:03:02.840 She is an artist who is still active. So the conversation remains open. 00:03:02.840 --> 00:03:07.520 Furthermore, Marisa's work is never closed, she continually reconfigures her series. 00:03:07.520 --> 00:03:13.640 For this exhibition you will see many posters that end in 2025 because she has reconfigured, 00:03:13.640 --> 00:03:17.280 she has finished, she has gone back to her archive to produce some new work as well. 00:03:17.720 --> 00:03:22.160 Come and see the exhibition and you will see different stages. 00:03:22.160 --> 00:03:25.280 It is not a collective exhibition, it is a individual exhibition, 00:03:25.280 --> 00:03:29.880 although it could seem to be a collective exhibition because of the diversity of resources 00:03:29.880 --> 00:03:34.840 and themes that I have developed over more than 50 years.