1 00:00:02,960 --> 00:00:05,790 Recovering a figure such as Marisa González, 2 00:00:05,790 --> 00:00:07,880 who won the Velázquez Prize in 2023, 3 00:00:07,880 --> 00:00:09,820 is fundamental for the institution. 4 00:00:09,820 --> 00:00:12,730 Above all because it opens up the possibility of getting to know, 5 00:00:12,730 --> 00:00:15,310 of researching, of really delving into a generation 6 00:00:15,310 --> 00:00:17,000 of women about whom we know little or nothing. 7 00:00:17,000 --> 00:00:19,850 It is a living memory, a memory that is still 8 00:00:19,850 --> 00:00:21,920 there and that we have not researched enough. 9 00:00:21,920 --> 00:00:24,565 An exhibition of these characteristics, which is an anthology 10 00:00:24,565 --> 00:00:27,800 that brings together her main works 11 00:00:27,800 --> 00:00:29,940 over the last 50 years, 12 00:00:29,940 --> 00:00:32,960 really allows us to open a gap so that 13 00:00:32,960 --> 00:00:35,520 new generations can project ourselves 14 00:00:35,520 --> 00:00:37,710 into that past that we do not know 15 00:00:37,710 --> 00:00:39,400 from the voice of its own protagonists, 16 00:00:39,400 --> 00:00:42,600 who are women understood as subaltern subjects 17 00:00:42,600 --> 00:00:46,140 who had to somehow reverse and crack a context 18 00:00:46,140 --> 00:00:48,750 in order to be able to project themselves as artists. 19 00:00:48,750 --> 00:00:50,930 And above all, figures like Marisa, 20 00:00:50,930 --> 00:00:54,200 with works in relation to feminism and social movements. 21 00:00:54,200 --> 00:00:57,170 Marisa is an artist very present in the 22 00:00:57,170 --> 00:00:58,640 context of Madrid from the associationism. 23 00:00:58,640 --> 00:01:01,050 She was always present as a student, 24 00:01:01,050 --> 00:01:02,390 from the associative movement, 25 00:01:02,390 --> 00:01:05,200 as a student at the School of Fine Arts. 26 00:01:05,200 --> 00:01:07,030 But she had to leave for the United States 27 00:01:07,030 --> 00:01:08,760 in search of a contemporary education. 28 00:01:08,760 --> 00:01:10,840 Let's say that Marisa came 29 00:01:10,840 --> 00:01:12,870 from an anti-Franco militancy. 30 00:01:12,870 --> 00:01:15,000 She did not come from that double feminist and anti-Franco militancy, 31 00:01:15,000 --> 00:01:16,620 but she was more anti-Franco. 32 00:01:16,620 --> 00:01:18,270 And suddenly she arrived in the United States and opened up, 33 00:01:18,270 --> 00:01:21,720 like the whole United States in the 70's, 34 00:01:21,720 --> 00:01:23,670 to all the activism 35 00:01:23,670 --> 00:01:26,780 that was happening in Chicago and Washington 36 00:01:26,780 --> 00:01:33,640 in relation to feminism, feminisms, civil rights movements, pacifism. 37 00:01:33,640 --> 00:01:36,130 When I finished Fine Arts in Madrid 38 00:01:36,130 --> 00:01:38,230 I went to the United States, 39 00:01:38,230 --> 00:01:40,400 to the Art Institute of Chicago, 40 00:01:40,400 --> 00:01:43,710 and there I met my mentor 41 00:01:43,710 --> 00:01:45,680 and teacher Sonia Sheridan. 42 00:01:45,680 --> 00:01:49,695 And, among other classrooms and other subjects, 43 00:01:49,695 --> 00:01:52,540 I decided to focus on one thing, 44 00:01:52,540 --> 00:01:56,240 which was called generative systems. 45 00:01:56,240 --> 00:02:02,322 There we had many machines to create art. 46 00:02:02,322 --> 00:02:05,200 The world's first colour photocopier 47 00:02:05,200 --> 00:02:07,860 had been invented 2 or 3 years earlier 48 00:02:07,860 --> 00:02:10,740 and we had it there in the classroom. 49 00:02:11,480 --> 00:02:14,870 It worked wonders to such an extent 50 00:02:14,870 --> 00:02:17,320 that the inventor of the photocopier said 51 00:02:17,320 --> 00:02:20,320 “I have created a machine that reproduces reality 52 00:02:20,320 --> 00:02:22,747 as faithfully as possible 53 00:02:22,747 --> 00:02:26,190 and you transform that reality”. 54 00:02:26,190 --> 00:02:28,020 And he came to see 55 00:02:28,020 --> 00:02:29,880 what we were doing, he said 56 00:02:29,880 --> 00:02:31,840 “I can't believe that this machine 57 00:02:31,840 --> 00:02:33,760 is an instrument of creation”. 58 00:02:33,760 --> 00:02:35,990 I try to keep up to date, 59 00:02:35,990 --> 00:02:38,640 but as I always say, when I started 60 00:02:38,640 --> 00:02:40,700 there was only one machine, 61 00:02:40,700 --> 00:02:42,960 two, three types of photocopiers, 62 00:02:42,960 --> 00:02:45,460 but now there are a thousand resources, 63 00:02:45,460 --> 00:02:48,120 a thousand machines and a thousand ways. 64 00:02:48,120 --> 00:02:51,630 So I don't want to spread myself 65 00:02:51,630 --> 00:02:54,000 thin by trying all kinds of tools, 66 00:02:54,000 --> 00:02:56,700 so I concentrate on one, although 67 00:02:56,700 --> 00:02:58,960 I have already tried artificial intelligence. 68 00:02:58,960 --> 00:03:00,890 She is an artist who is still active. 69 00:03:00,890 --> 00:03:02,840 So the conversation remains open. 70 00:03:02,840 --> 00:03:05,510 Furthermore, Marisa's work is never closed, 71 00:03:05,510 --> 00:03:07,520 she continually reconfigures her series. 72 00:03:07,520 --> 00:03:10,530 For this exhibition you will see many posters 73 00:03:10,530 --> 00:03:13,470 that end in 2025 because she has reconfigured, 74 00:03:13,470 --> 00:03:15,660 she has finished, she has gone back to her 75 00:03:15,660 --> 00:03:17,720 archive to produce some new work as well. 76 00:03:17,720 --> 00:03:19,580 Come and see the exhibition and 77 00:03:19,580 --> 00:03:22,160 you will see different stages. 78 00:03:22,160 --> 00:03:23,600 It is not a collective exhibition, 79 00:03:23,600 --> 00:03:25,280 it is a individual exhibition, 80 00:03:25,280 --> 00:03:27,620 although it could seem to be a collective exhibition 81 00:03:27,620 --> 00:03:29,880 because of the diversity of resources 82 00:03:29,880 --> 00:03:32,101 and themes that I have developed 83 00:03:32,101 --> 00:03:35,270 over more than 50 years.