Marisa González. Domesticated records

Domesticated Records is a project that seeks to show the unity that lies behind the themed, technical and formal motivation present throughout the artist's forty-five year long career. The exhibit, organized by the Spanish Ministry of Education, Culture, and Sport's General Subdirectorate for the Promotion of Fine Arts, was presented at the Tabacalera Promoción del Arte exhibit hall in Madrid, at the beginning of 2015.

It shows the coherent evolution of that which motivated Marisa González, as well as her search for solutions to respond to present-day social problems. This is done through a dialogue held by addressing her on-going concern on what art is and the role that it can play in today's world.

The exhibit consists of a series of collaborative works, unpublished to date in Spain, executed during Marisa González's educational stage in the United States. There are also other works that address autobiographical recollections as a way of defending the collective memory of labour and industrial processes, or the issue of political, economic, productive and labour inequality that are reflected in the daily life testimonies in emerging south-east Asian countries.

In the review carried out in the rooms of the CGAC, the series titled Generative Systems (1971-1973) is a key work alongside other related works belonging to the nineteen-nineties. This part of the project shows works that use different media which are closely linked to copy-art, photography, conceptual strategies, or feminism. Another block worth highlighting is Industrial Archaeology which brings together works such as La Fábrica (2000) and Nuclear Lemóniz (2003-2006), that use object installations and video. The exhibit also includes the installation Estación Fax / Fax Station (1993) and one of her latest video works, Ellas filipinas (2010-2014), on Philippine emigrants in Hong-Kong.