LMNZ Nuclear Plant.../.. Control Mechanisms .....2003-04


Complete text's on catalogue

LMNZ Nuclear Plant / Control Mechanisms
Marisa González

Lemóniz. History, myth and ruins at a nuclear plant's cross-roads
Carlos Jiménez

The plant/ The Castle
Santiago B. Olmo



Title: Nuclear Plant / Control Mechanisms
Edited by Cab de Burgos, May 2004, Burgos.
Size 17 x 21,5 cm, 100 pages with color photographs, and texts in spanish and english.


FOREWORD TO THE CATALOGUE OF MARISA GONZALEZ

Among the numerous lines or faces of contemporary artistic creation featured in the Centro de Arte Caja de Burgos' - CAB- programme, projects by various artists that, due to the apparently less artistic and more discoursive nature of their proposals have serious difficulties in order to materialize, will be included.

This could very well be the case of the dense and exhaustive work that Marisa González has been gathering, for over two years, around Lemóniz nuclear plant, and which the CAB now presents by way of a first part under the title "LMNZ Nuclear Plant/Control Mechanisms". As the artist herself commented, various aspects of the project will be progressively developed in future exhibitions.

During the various days that she spent at the nuclear plant, where she could directly witness its dismantlement, the security and control both inside the buildings and in their surroundings provided her with abundant graphic material that she re-processed from her own personal outlook: photographs, videos and installations unfolding the itinerary that she proposes through the various rooms of CAB's first floor. A visual and emotional experience that leads us to an inevitable reflection upon the materials we are presented with.

The vast graphic documentation compiled in this catalogue, along with the text written by the artist herself and the interesting reflections that art critics Carlos Jiménez and Santiago B. Olmo propose, will contribute without a doubt to an enhanced understanding of this outstanding exhibitory project.

We are sincerely grateful for the sustained dedication shown by Marisa González to the project as well as the energy and enthusiam that she displayed in order to realize this exhibition, in which both her interest in industrial archaeology and its inherent concerns -akin to memory and oblivion, architecture, town-planning and their social and cultural resonances- are manifest.

CAJA DE BURGOS