Born in 1976 in Buenos Aires.
During 2009 and 2010, she was awarded with a grant from Centro de Investigaciones Artísticas and participated in the Independent Study Program for Artists. In 2008 she received the second prize of arteBA-Petrobras for Visual Arts for her project Quehué. In 2004 she was the recipient of Fundación Antorchas’ Grant for Artistic Creation.
Since 2004 she participated in the workhops and classes of argentinean artists Miguel Harte, Ernesto Ballesteros and Mónica Girón.
Between 1996/2000 she attended B.A. studies in Musical Composition in C.L.Buchardo Conservatory of Music, Buenos Aires.
In 1998 she obtained a degree in Information Professional and Librarian in the City of La Plata.
She studied Painting and Drawing at the National School of Fine Arts P.Pueyredón between 1996 and 1998.
Marisa Rubio grew up in Ushuahia, Tierra del Fuego, where she completed her secondary school in an Art Institute. She specialized in piano studies and became a Music Teacher in 1995.
Proyecto NMQ (2008/en proceso)
Es un proyecto que comenzó a finales del 2008 y en el que estaré trabajando durante algún tiempo. Básicamente consiste en explorar los límites de la interpretación dentro de circuitos determinados mediante la representación de un personaje que se desempeña como actriz y que, como teórica, lleva adelante el desarrollo de la Teoría del Quehacer Actoral Cotidiano para Intérpretes.
Durante varios meses asistimos a un mismo taller de radio en un Centro Cultural de San Martín como personas desconocidas. Cada uno adoptó un personaje diferente con el que se vinculó con el resto de los participantes del taller y desde el que generó un modo de participación particular, intentando desplazar los límites de las relaciones cotidianas a puntos más extremos y llegando a situaciones que correspondían a una realidad creíble tan solo por estar desarrollándose dentro un lugar determinado entre un grupo de personas extrañas entre sí.
M. Galindo, M. López, M. Rubio.
InterGarden is based on the gathering of a group of senior citizens, a gerontological nurse and an actor (playing a security guard), placed in an installation set up like a nursing home for the elderly inside the Appetite gallery.
The installation, still uninhabited then, was opened to the public on September, 26, 2008, at 7.00 pm. The place, comprising only an empty courtyard, an entry hall and a room with dimensions slightly smaller than the usual, is dimly lit. There is a pungent smell, product of the combination of naphthalene and various products used in health care institutions, and little place to move around.
The action sequence was organized so that the public would come in first, followed by the guard (in charge of switching the light of the hall on and turning on a TV showing fragments of a movie, in a loop), followed by the nurse and, finally, the senior citizens, who arrived in a school bus.
The senior citizens, upon arrival, are greeted by the nurse, who leads them towards the room for an afternoon snack. After more than two hours there, the senior citizens are led back to the hall, where they wait a few minutes for the school bus, which takes them, as well as the nurse, away. The action takes place in a way in which the senior citizens seem not to notice the public.
During the whole process, the guard remains in the installation’s entry hall, in the way of the public, and answering ambiguously when addressed.
During the week following the exhibition’s opening, the guard keeps going to the place and starts adopting attitudes such as dressing more and more informally, having lunch there, inviting friends, watching TV for hours on end, sleeping and smoking. This encroachment increases with time, contrary to his respecting his work hours: after a week of arriving later every time and leaving earlier and earlier, he stops going altogether.
Osías Yanov (photographs), Gabriela Escobar (video), Stella Aronna (gerontological nurse), Osvaldo Stagnaro (security guard)
Dark Jenny [burrita oscura] (2008)
“Burrita oscura” is an attempt at taking Harold Foster’s “Prince Valiant” to film, or maybe, and finally, at creating a way of showing the inadequacy of the script as regards the means of production, of acting skills as regards the text’s deficiencies, and its refusal to become universal and, thus, the impossibility of adaptation: then, from that impossibility, to desperation, and once there, to expressiveness. The tale becomes blurred in gestures. Actors discover in the movement of their hands a way of going beyond the text’s content, as if resignation was not possible when facing inadequacy, and as if moving the hands was a way of heralding a subsequent revolutionary avalanche […]
M. Galindo, M. Rubio.
This project’s objective was to intervene on the reality of a specific group of people sharing a same space, both in territorial and cultural terms.
I sent a massive amount of mail to a town chosen randomly out of a group of towns with similar features (less than 500 inhabitants, literate, and developing a characteristic activity, among other criteria). The chosen town was Quehué, about 70 km from Santa Rosa, La Pampa.
In order to gather the names and zip codes of the town inhabitants, I created a magazine called New Tourism [Nuevo Turismo], with characters in executive positions, which contacted the Quehué Hunting Club and the Town Hall.
With those data, I designed a map or system of relations, on which I worked to develop the letters’ content, using different formats, such as personal letters —which interrelated in some cases—, legal notices, gifts, threats, promotional excerpts from a book and invitations to the inauguration ceremony of a monument for the author of that book (a monument we placed in front of Quehué Town Hall some hours before the letters’ being delivered), fictional images of Marisa Rubio, as a sort of campaign for the ‘Queen of Hunting’ beauty pageant, etc.
The delivery was made on November 29th, 2007: each citizen received a letter, all coming from the same sender. The date was chosen because that’s when the Hunting Festival takes place, the event New Tourism magazine, as well as several of the letters, deal with, as it commands great interest in the community.
Collaborator: Marcelo Galindo, Milagros Velasco.
quehué | installation (2008)
La instalación fue uno de los formatos con los que se exhibieron parte de los registros de “Quehué”, proyecto que consistió básicamente en un envío masivo de cartas a un pueblo.
Esta instalación fue realizada dentro del Premio arteBA-Petrobras, Quinta Edición.
Fotos: Tomás Lerner
quehué | web (2009)
Bajo este formato se intentó mostrar más exhaustivamente el trabajo realizado en “Quehué” durante la muestra “Investigación/Infraestructura”, curada por Claudio Iglesias en el CCEBA.
El catálogo de la muestra (donde se incluye la desgrabación de una interesante conversación con uno de los pobladores del pueblo) está disponible en http://www.cceba.org.ar/CatalogoSala_Abr09.pdf
house [casa] (2007)
Set of approaches with a camera to the interior of various houses, in which the dwellers’ (who don’t know they are being filmed and spied on through the windows) privacy is revealed.
Ushuaia, 2006. This video is halfway between a theatrical mise-en-scène and a documentary. Through the telling of stories, the relation between two sisters is shown.
The father’s portrait [retrato del padre] (2006)
Ushuaia, 2006. A portrait of my father at his home, in Ushuaia. A record of his daily chores, and some conversations, it gradually shows both his habits and his personality and his isolation. The video is a documentary only to a certain extent, as it was cut and modified to create more tension in the character’s description.