Documents 10. Examining the José Carlos Mariátegui Archive and the Journal Amauta
Encounter and Presentation

Mariátegui Archive. Website consulted in February, 2019. Data section "Topics addressed by correspondence,1929"
Held on 11 abr 2019
The Museo Reina Sofía’s programme Documents looks at artists’ publications, platforms, networks and independent publishing spaces, in addition to the potential of archive to reinvent narratives of art and its ecosystem. Its tenth edition examines the archive of José Carlos Mariátegui (1894–1930), the founder of Amauta, one of the twentieth century’s most influential cultural journals and the focal point of the exhibition The Avant-garde Networks of Amauta: Argentina, Mexico, and Peru in the 1920s (Museo Reina Sofía, 20 February to 27 May 2019). The presentation of the archive by its director José-Carlos Mariátegui, a theorist and curator of art and technology, and Jaume Nualart, an open-source software programmer, will take place in the galleries housing the exhibition, thereby generating correspondence between the exhibition’s narrative threads and the content of the repository.
The José Carlos Mariátegui Archive houses, conserves, digitalises, arranges, displays and disseminates publications and documents related to the Peruvian intellectual and critic and his journal Amauta. The archive comprises letters, photographs, drawings, prints, administrative and corporate documents and manuscripts, and, with a view to sparking new ideas and enhancing knowledge of Mariátegui’s work, it uses digital platforms and explores different strategies which range from the use of archival science to data visualisation tools.
For instance, to discern the complex network of contributors and correspondents articulated by Amauta and which surrounded Mariátegui’s intellectual work, the archive added and identified, by name, year, geographical location and theme, all information available in its records. Thus, 60 cities in which Amauta was disseminated in Peru and over 80 around the rest of the world, primarily in Latin America, were localised, underscoring Amauta’s broad scale of distribution, despite the limitations to infrastructures of the time. Furthermore, Mariátegui’s extensive correspondence demonstrates how letters were the chief source of communication between agents and contributors who infused life into the publication. Finally, the digitalisation of the archive has, in addition to gaining a global view of the exhaustive content of Amauta, enabled the consideration of a new non-linear, interconnected narrative in the reading and analysis of its texts.
Participants
José-Carlos Mariátegui is a writer, curator and culture and technology entrepreneur. He is the director of the José Carlos Mariátegui Archive and, from 1995 to 2005, was honorary director of the José Carlos Mariátegui Museum-House. He has worked in art, science and technology projects for over two decades and has founded the non-governmental organisation Alta Tecnología Andina–ATA, which develops similar projects in Latin America. Along with M. Hernández and J. Villacorta, he recently edited El mañana fue hoy. 21 años de videocreación y arte electrónico en el Perú (ATA, 2018), and has written for publications such as Third Text, The Information Society and Telos y Leonardo.
Jaume Nualart Vilaplana is a programmer and open-source software developer. He works at the intersection between art, science and technology, most notably on free knowledge platforms. He is an associate professor at Universitat Oberta de Catalunya–UOC and has worked as a researcher at Ars Electronica (Linz, Austria). Together with the Mariátegui Archive team, he has worked on applying semantic technology and data displays to the repository.



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Francisco López and Barbara Ellison
Thursday, 11 December - 8pm
The third session in the series brings together two international reference points in sound art in one evening — two independent performances which converse through their proximity here. Barbara Ellison opens proceedings with a piece centred on the perceptively ambiguous and the ghostly, where voices, sounds and materials become spectral manifestations.
This is followed by Francisco López, an internationally renowned Spanish sound artist, who presents one of his radical immersions in deep listening, with his work an invitation to submerge oneself in sound matter as a transformative experience.
This double session sets forth an encounter between two artists who, from different perspectives, share the same search: to open ears to territories where sound becomes a poetic force and space of resistance.

Long Live L’Abo! Celluloid and Activism
4, 5, 6 DIC 2025
L’Abominable is a collective film laboratory founded in La Courneuve (Paris, France) in 1996. It came into being in response to the disappearing infrastructures in artisan film-making and to provide artists and film-makers with a self-managed space from which to produce, develop and screen films in analogue formats such as Super 8, 16mm and 35mm. Anchored in this premise, the community promotes aesthetic and political experimentation in analogue film opposite digital hegemony. Over the years, L’Abominable, better known as L’Abo, has accompanied different generations of film-makers, upholding an international movement of independent film practices.
This third segment is structured in three sessions: a lecture on L’Abo given by Pilar Monsell and Camilo Restrepo; a session of short films in 16mm produced in L’Abo; and the feature-length film Une isle, une nuit, made by the Les Pirates des Lentillères collective.

Estrella de Diego Lecture. Holding Your Brain While You Sleep
Wednesday, 3 December 2025 – 7pm
Framed inside the Museo Reina Sofía’s retrospective exhibition devoted to Maruja Mallo, this lecture delivered by Estrella de Diego draws attention to the impact of the artist’s return to Spain after her three-decade exile in Latin America.
Committed to values of progress and renewal in the Second Republic, Mallo was forced into exile to Argentina with the outbreak of the Civil War and would not go back to Spain to settle definitively until 1965 — a return that was, ultimately, a second exile.
Mallo saw out her prolific artistic trajectory with two impactful series: Moradores del vacío (Dwellers of the Void, 1968–1980) and Viajeros del éter (Ether Travelers, 1982), entering her most esoteric period in which she drew inspiration from her “levitational experiences” of crossing the Andes and sailing the Pacific. Her travels, both real and imaginary, became encounters with superhuman dimensions.
In parallel, her public persona gained traction as she became a popular figure and a key representative of the Generation of ‘27 — the other members of which also started returning to Spain.
This lecture is part of the Art and Exile series, which seeks to explore in greater depth one of the defining aspects of Maruja Mallo’s life and work: her experience of exile. An experience which for Mallo was twofold: the time she spent in the Americas and her complex return to Spain.

Juan Uslé. That Ship on the Mountain
Tuesday, 25 November 2025 – 7pm
Ángel Calvo Ulloa, curator of the exhibition Juan Uslé. That Ship on the Mountain, engages in conversation with artist Juan Uslé (Santander, 1954) in the Museo’s Auditorium 400 to explore in greater depth the exhibition discourse of this anthological show spanning four decades of Uslé’s artistic career.
The show casts light on the close relationship Uslé’s work bears to his life experiences, establishing connections between different stages and series which could ostensibly seem distant. Framed in this context, the conversation looks to explore the artist’s personal and professional journey: his memories, experiences of New York, his creative process, conception of painting, and ties with photography and film, and the cohesiveness and versatility that characterise his art. Key aspects for a more in-depth understanding of his artistic sphere.
The conversation, moreover, spotlights the preparatory research process that has given rise to this exhibition to grant a better understanding of the curatorial criteria and decisions that have guided its development.
These inaugural conversations, part of the main working strands of the Museo’s Public Programmes Area, aim to explore in greater depth the exhibition narratives of the shows organised by the Museo from the perspective of artists, curators and specialists.

Crossed Vignettes
Friday, 21 November 2025 – Check programme
The Crossed Vignettes conference analyses the authorship of comics created by women from an intergenerational perspective and draws from the Museo Reina Sofía Collections. Across different round-table discussions, the programme features the participation of illustrators Marika, Carla Berrocal, Laura Pérez Vernetti and Bea Lema and researchers Viviane Alary, Virginie Giuliana and Elisa McCausland.
The aim of the encounter is twofold: to explore in greater depth the different forms in which women comic book artists have contributed to developing a counterculture; namely, the appearance of ruptures, reformulations and new genres within the ninth art. And to set up a dialogue which ignites an exploration of genealogies linking different generations of artists.
Moreover, the activity is put forward as a continuation to the exhibition Young Ladies the World Over, Unite! Women Adult Comic Book Writers (1967–1993) and the First International Conference on Feminist Comic Book Genealogies, held in April 2024 at the Complutense University of Madrid.
In redefining the visual narratives of the comic book and questioning gender stereotypes in a male-dominated world, women comic book writers and artists have impelled greater visibility and a more prominent role for women in this sphere. The study of intergenerational dialogue between female artists past and present enables an analysis of the way in which these voices reinterpret and carry the legacy of their predecessors, contributing new perspectives, forms of artistic expression and a gender-based hybridisation which enhances the world of comics.
The conference, organised jointly by the Museo Reina Sofía and Université Clermont Auvergne/CELIS (UR4280), features the participation of the Casa de Velázquez and is framed inside the context of the CALC programme The Spanish Artistic Canon. Between Critical Literature and Popular Culture: Propaganda, Debates, Advertising (1959–1992), co-directed by Virginie Giuliana. It is also the outcome of the projects Horizon Europa COST Actions iCOn-MICs (Comics and Graphic Novels from the Iberian Cultural Area, CA19119) and COS-MICs (Comics and Sciences, CA24160).





![Miguel Brieva, ilustración de la novela infantil Manuela y los Cakirukos (Reservoir Books, 2022) [izquierda] y Cibeles no conduzcas, 2023 [derecha]. Cortesía del artista](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/ecologias_del_deseo_utopico.jpg.webp)
![Ángel Alonso, Charbon [Carbón], 1964. Museo Reina Sofía](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/perspectivas_ecoambientales.jpg.webp)