The Feminist Genealogies of Artistic Associationism in the Final Stages of Francoism and the Early Years of Democracy
Round-table discussion
Marisa González, Estación fax/Fax Station, 1993
Held on 15 Sep 2025
— Conducted by Marisa González, Angiola Bonanni and Concha Jerez, in dialogue with curator Violeta Janeiro Alfageme
The starting point of this encounter is the birth of awareness around the artistic subject as a political agent and their capacity to emphasise their own autonomy within the sphere of visual arts. This acquired awareness, which came to light in a context of repression and institutional exclusion, was key to creating an associative movement which engendered the Union Association of Plastic Artists in the Spanish State, validated legally in 1977.
From a feminist perspective, this round-table discussion examines this associative movement of artists through the political and artistic trajectory of three core figures: Marisa González, Angiola Bonanni and Concha Jerez, in conversation with curator and researcher Violeta Janeiro Alfageme. Their experiences thus allow for a critical genealogy of artistic associationism to be traced, and its transformative role at a time when women’s subjectivity was excluded and constrained to the roles of mother and wife.
Organised by
Museo Reina Sofía
Participants
Angiola Bonanni
(Rome, 1942) is an artist, a painter’s daughter, who relinquished her philosophy studies to focus on making iron sculptures. By the time she moved to Spain, in the early 1960s, she had already taken part in different collective shows for young artists, holding her first solo show at Galería Neblí in Madrid in 1966, which featured a short introduction by poet José Hierro. She would soon become involved in the associative and democratising efforts of Spain’s culture sectors, and in the 1980s her work transitioned from sculpture to installation, and then to video. In recent years, she has been exploring issues of feminism, multiculturalism and immigration.
Marisa González
(Bilbao, 1943) is an artist and pioneer in the use of new technology applied to art. The reproduction of images and the use of fragments and repetition to generate form are constants running through her practice. González also trained extensively in music and visual arts: she studied piano at the Music Conservatory of Bilbao and obtained degree in Fine Arts from the Complutense University of Madrid in 1971, an MA from the Art Institute of Chicago (USA) in 1973 and a bachelor’s degree in Fine Arts from the Corcoran School of the Arts in Washington D.C. in 1976, where she also received an End-of-Degree Award. Her art-making, based on the assemblage of techniques, has been exhibited widely at many art institutions, with over sixty solo and 150 collective shows, and her work is part of different major collections. In 2023, she was the winner of Spain’s Velázquez Award for Plastic Arts.
Violeta Janeiro Alfageme
(Vigo, 1982) holds a PhD in Art History from the University of Santiago de Compostela. Her work focuses on the memory of women’s resistance movements against the Spanish dictatorship and on collaborative, community and procedural artistic practices which impact the public sphere. She has co-curated exhibitions at the Centro de Arte Dos de Mayo (CA2M) (Móstoles, Madrid), the Museo Universitario Arte Contemporáneo (MUAC) (Mexico City), the Museo de Arte Contemporáneo de Vigo (MARCO) (Vigo, Pontevedra), and curated projects at Städtische Galerie Kubus (Hannover, Germany) and Matadero Madrid. In 2023 and 2024 she directed the FotoNoviembre XVII International Photography Biennial. Her exhibition ¿Cómo continuar? (How to Continue?) [Lima, 2021] won an award from the Association of Curators in Peru. At the present time, she is putting together a show for Le 19, Centre Régional d’Art Contemporain (CRAC) (Montbéliard, France).
Concha Jerez
(Las Palmas de Gran Canaria, 1941) is a pre-eminent artist who has been honoured with Spain’s National Award for Plastic Arts (2015) and the Velázquez Award for Plastic Arts (2017). Jerez’s creative output has been prolific since the 1970s, starting from conceptual art and materialising into site-specific interventions with a strong critical quality. A performance pioneer in Spain, she has made an array of sound and radiophonic artworks, most notably those created with sound artist and composer José Iges.
Activity within the program...
Marisa González. Art, Memory and Commitment
Within the framework of the anthological exhibition devoted to Marisa González (Bilbao, 1943), this two-session public programme explores two specific strands of González’s life and career arc. On one side, the Nuclear Lemóniz (2003–2004) project, with the screening of an audiovisual piece made around the work, and, on the other, a round-table discussion on the associative movement of artists in the late 1960s and the early years of democracy in Spain, revised from a feminist perspective.
Ver programaThe Feminist Genealogies of Artistic Associationism in the Final Stages of Francoism and the Early Years of Democracy
Past activity
— Conducted by Marisa González, Angiola Bonanni and Concha Jerez, in dialogue with curator Violeta Janeiro Alfageme
The starting point of this encounter is the birth of awareness around the artistic subject as a political agent and their capacity to emphasise their own autonomy within the sphere of visual arts. This acquired awareness, which came to light in a context of repression and institutional exclusion, was key to creating an associative movement which engendered the Union Association of Plastic Artists in the Spanish State, validated legally in 1977.
From a feminist perspective, this round-table discussion examines this associative movement of artists through the political and artistic trajectory of three core figures: Marisa González, Angiola Bonanni and Concha Jerez, in conversation with curator and researcher Violeta Janeiro Alfageme. Their experiences thus allow for a critical genealogy of artistic associationism to be traced, and its transformative role at a time when women’s subjectivity was excluded and constrained to the roles of mother and wife.
Lemóniz through Archive
Past activity
— Conducted by Marisa González and Violeta Janeiro Alfageme, the show’s curator
Over the course of 2025, Marisa González has worked on digitising valuable unreleased videographic materials, hitherto conserved on video tapes. These images were recorded by the artist in 2003 and 2004, when she documented the dismantling of the Lemóniz nuclear power station, a work which recovered not only a visual archive, but also reconstructed a personal and political archive. Upon reviewing and ordering this material, González reinterprets and resignifies the past, establishing a dialogue between her individual testimony and the collective memory of the anti-nuclear struggle in the Spanish State.
The work shows art’s capacity to reopen still-unresolved debates, particularly in a present shaped by the energy crisis and its reactivation of old controversies. More than simply recording the past, this reworking becomes a critical tool for thinking about the present.
After the screening, artist and curator will engage in a conversation involving the audience on the meaning of retrieving these images, the memories they preserve and which of them fade over time.
Más actividades
![Blake Edwards, The Party [El guateque], 1968, película](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/ciclocine-piscinas-14.jpg.webp)
Blake Edwards. The Party
Thursday, 20 August 2026
In The Party, actor Hrundi V. Bakshi (Peter Sellers) is mistakenly invited to a glamorous dinner party in Hollywood. His curiosity and two left feet lead to one funny mishap after the other. During the soiree he consoles Michèle, a young actress who has been fired by her producer, and the chaos gathers momentum when Bakshi accidentally opens a retractable floor, making the guests fall into a swimming pool. A small hippie-style elephant gatecrashes the party, brought by a group of young people, and Bakshi asks the guests to wash the elephant as it is a sacred animal in his country. The house fills with soap suds, culminating in a wackily chaotic party.
When Stanley Kubrick was once asked who Peter Sellers was, he replied: “There is no such person as Peter Sellers”. The Party is one of the most widely recognised comedies in the history of film, its director Blake Edwards and the English actor making an entertaining critique of a fading conservative society. The cultural revolutions of the 1960s fit into the container of a choppy swimming pool: people from high society, an elephant, a Russian ballet, waiters, beatnik youth… similar to Sellers’s own identity: an empty vessel that can be refilled. In the film, Edwards tapped into the ingenious actor’s innate improvisation and the swimming pool as a container for revolutionary intent.
Lucrecia Martel. La ciénaga (The Swamp)
Viernes 21 de agosto, 2026
A couple of families spend the summer in a country cottage. The relationship between them exposes a crisis. The alcoholism of Mecha (Graciela Borges) and Gregorio (Martín Adjemián) becomes clear, leading to a drift in the education of their children and impacting relationships of respect and affect. Weariness expresses the lackadaisical environment.
In La ciénaga Lucrecia Martel approaches the decadence of a middle-class Argentinian family. The pool of dirty, stagnant water reflects the economic and social collapse of a whole country, yet reflects more than economic crisis as it becomes a murky well feeding off the pain of those living in the house. An erstwhile space of joy, the swimming pool becomes a reflection of adult depression, resulting in apathy. And the children, especially the girls, seem to be the only people awake in this drift. Barring a flicker of unawareness, the young people immerse themselves in rainwater or the water from the river, in water that flows, but are cautious of getting too close to the swimming pool.
![Yorgos Lanthimos, Kynodontas [Canino], 2009, película](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/ciclocine-piscinas-16_00.jpg.webp)
Yorgos Lanthimos. Dogtooth
Saturday, 22 August 2026
A couple with three adult children live in a modern country cottage. A large swimming pool takes centre stage in a sizeable garden. The property is skirted by a large fence that blocks a view of the outside. Here, the father has educated his children without outside contact, maintaining their belief in a false world: aeroplanes fall in the garden like toys and they must act like dogs to defend themselves from the ferocious cats that surround the house. The promise of going out into the world when they lose their dogtooth is proof of their maturity.
Lanthimos builds a world that is surreal, comical and terrible. The swimming pool is the house’s central element, a limited, controlled space assimilated like the sea, yet under the father’s supervision. A space of imagination, but with sinister intentions: the children are indoctrinated under the water as they believe in a better world. Far from reality. The swimming pool’s limits are the limits of their freedom, a false state of well-being expressed in the weightless bodies in the water. The liquid element is an analgesic magma with the power to educate offspring under the latent fear of a shark bite.
![Binka Zhelyazkova, Baseynat [La piscina], 1977, película](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/ciclocine-piscinas-17_00.png.webp)
Binka Zhelyazkova. The Swimming Pool
Viernes 28 de agosto, 2026
The young, bright Bella (Yanina Kasheva), after unforeseen heartbreak at her graduation party, meets Apostol (Kosta Tsonev), a reserved architect, and Boyan (Kliment Denchev), a comedy actor who is cynical about his country. The three characters climb up to a diving board in a municipal swimming pool, where they begin a strange relationship of friendship, love and despair which reflects a generational clash.
Binka Zhelyazkova, the great enfant terrible of Eastern European cinema, critic of the communist system and widely acclaimed film-maker beyond Bulgarian borders, made in The Swimming Pool a masterly metaphor for a country in decline. The public pool symbolises a closed, immovable enclosure where society is festering. From the height of a diving board she sees, in a panoptic view, the different generations living underneath a limited space. On one side, older people attempt to preserve the old revolutionary spirit with constant collective swimming exercises while, on the other, young people don’t hide the desire for freedom that remains unrealised. The result is an ideological clash in how to act and move in the enclosure, unearthing vast hypocrisy in the lost ideals of socialism, reflected in the total apathy of youth. The Swimming Pool for Zhelyazkova is a reflection of the disillusionment and existential void of a whole country and system.
![Jacques Deray, La piscine [La piscina], 1969, película](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/ciclocine-piscinas-18.jpg.webp)
Jacques Deray. The Swimming Pool
Saturday, 29 August 2026
The characters played by Alain Delon (Jean-Paul) and Romy Schneider (Marianne) experience their love in apparent splendour. A sun-drenched house, a blissful swimming pool, beautiful bodies, sexuality in abundance. The visit of Harry (Maurice Ronet), a successful musician, friend of Jean-Paul and ex-lover of Marianne, accompanied by his young and beautiful daughter Penélope (Jane Birkin), rocks their relationship, bringing to light the jealousy and insecurities of each one in a dark game of possession and male rivalry.
If there was a definition of the glistening blue pool in this sexual thriller, it would be the paradise of Adam and Eve, represented by the shots of happiness of Romy Schneider and Alain Delon in this swimming pool on France’s Côte d’Azur. The appearance of these two beautiful creatures kissing semi-naked by the water is one of film’s resonant images. The paradise cannot be fractured, not even by death. As in the crossing of the Tigris and Euphrates rivers, where humanity’s first lovers bathed naked in the water, innocent to their imminent end, the reflection of the crystalline water of The Swimming Pool shows this game, and the deep traumas which, under this mantle, are hidden in the amorous relationships and limits that only love is capable of breaking to solve.
In this session both endings to the film are screened: the original version, open and symbolic, and the Spanish version, marked by censorship during Francoism, and its sequence for a Spanish premiere — a stereotypical and reductive vision reflecting the sociological condition of the country.