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vimeo.com/.../1086772166

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    Recovering a figure such as Marisa González,
    who won the Velázquez Prize in 2023,
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    is fundamental for the institution.
    Above all because it opens up the possibility of getting to know,
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    of researching, of really delving into a generation
    of women about whom we know little or nothing.
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    It is a living memory, a memory that is still
    there and that we have not researched enough.
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    An exhibition of these characteristics, which is an anthology
    that brings together her main works over the last 50 years,
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    really allows us to open a gap so that
    new generations can project ourselves
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    into that past that we do not know from the voice of its own
    protagonists, who are women understood as subaltern subjects
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    who had to somehow reverse and crack a context
    in order to be able to project themselves as artists.
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    And above all, figures like Marisa, with works in
    relation to feminism and social movements.
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    Marisa is an artist very present in the
    context of Madrid from the associationism.
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    She was always present as a student, from the
    associative movement, as a student at the School of Fine Arts.
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    But she had to leave for the United States
    in search of a contemporary education.
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    Let's say that Marisa came from an anti-Franco militancy.
    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
    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
    in relation to feminism, feminisms, civil rights movements, pacifism.
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    When I finished Fine Arts in Madrid I went to the
    United States, to the Art Institute of Chicago,
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    and there I met my mentor
    and teacher Sonia Sheridan.
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    And, among other classrooms and other subjects,
    I decided to focus on one thing, which was called generative systems.
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    There we had many machines to create art.
    The world's first colour photocopier
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    had been invented 2 or 3 years earlier
    and we had it there in the classroom.
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    It worked wonders to such an extent
    that the inventor of the photocopier said
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    “I have created a machine that reproduces reality
    as faithfully as possible and you transform that reality”.
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    And he came to see
    what we were doing, he said
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    “I can't believe that this machine
    is an instrument of creation”. 
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    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,
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    but now there are a thousand resources,
    a thousand machines and a thousand ways.
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    So I don't want to spread myself
    thin by trying all kinds of tools,
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    so I concentrate on one, although
    I have already tried artificial intelligence.
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    She is an artist who is still active.
    So the conversation remains open.
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    Furthermore, Marisa's work is never closed,
    she continually reconfigures her series.
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    For this exhibition you will see many posters
    that end in 2025 because she has reconfigured,
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    she has finished, she has gone back to her
    archive to produce some new work as well.
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    Come and see the exhibition and
    you will see different stages.
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    It is not a collective exhibition,
    it is a individual exhibition,
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    although it could seem to be a collective
    exhibition because of the diversity of resources
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    and themes that I have developed
    over more than 50 years.
Title:
vimeo.com/.../1086772166
Video Language:
Spanish
Duration:
03:42
museoreinasofia edited English subtitles for vimeo.com/.../1086772166
museoreinasofia edited English subtitles for vimeo.com/.../1086772166

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