Julie Doucet, cartoon strip from What an Intense City, 1992. ©Julie Doucet
Held on 30 Apr 2024
The Documents programme explores the relationships between art and publishing, and other subjects that include the effects of archive on narratives of art history, the artist’s book and publishing as an artistic practice. This latest instalment centres on the work of Julie Doucet (Montreal, 1965), a key artist in the development of underground comics in North America at the end of the twentieth century. The encounter features the participation of Raquel Jimeno, Regina López Muñoz and Camille Vannier.
During her university years in Quebec, in the late 1980s, Doucet began to disseminate her first comic strips in fanzines, magazines and in the self-edited, photocopied publication Dirty Plotte. Her work caught the eye of publications such as Weirdo magazine, created by the cartoonist Robert Crumb, and the Canadian publisher Drawn & Quaterly, which, under the above-mentioned title Dirty Plotte, gathered and published, in magazine format, her cartoon strips from 1991 to 1998. It was with Drawn & Quaterly that My New York Diary (1999) first appeared, one of her standout works and an example of her transgressive style with an undercurrent of finesse and melancholy.
Carrying on the legacy of the comix underground of women cartoonists from the 1970s — with pioneering artists such as Aline Kominsky-Crumb, Diane Noomin and Trina Robbins, and publications like Wimmen’s Comix (1972–1992), Twisted Sisters (1976–1994) and Tits & Clits (1973–1979) — Julie Doucet’s cartoon strips display unreserved feminism which does not shy away from tackling themes such as sexuality, menstruation or the risqué obsessions that take hold of the female cartoonist through her oneiric subconscious. All of which is channelled through a variegated, explosive graphic art, in the expressionistic black and white Doucet pointedly uses to transmit, or rather scream out, her concerns, observations and insecurities. The transgressive themes of her work have sparked controversy even within the feminist movement, with certain specialist bookshops refusing to sell her works, considering their content to be violent towards women.
Around the year 2000, she began to move away from the world of comics, working, from that point on, in disciplines such as illustration, collage and poetry. Nevertheless, she remains a reference point in contemporary autobiographical comics, her work splicing previous and more recent generations. The comprehensive publication of her comics by the publisher Fulgencio Pimentel between 2015 and 2017 has contributed to her recognition in a Spanish-language context.
Organised by
Museo Reina Sofía, Centro José Guerrero (Provincial Council of Granada) and La Madraza. Centro de Cultura Contemporánea (University of Granada)
Collaboration
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Acknowledgements
Editorial Fulgencio Pimentel
Collaboration
illycaffèParticipants
Julie Doucet is a cartoonist and artist. She studied Graphic Art at the Université du Québec and began to self-publish her first cartoon strips at the end of the 1980s. Her work has been honoured with the Harvey Award for Best New Talent, in 1981, the Canadian Comic Book Hall of Fame Award, in 2017, and the Grand Prix del Festival de Angoulême, in 2022. Since moving away from the world of comics — only returning sporadically in projects such as My New York Diary (2010), in collaboration with film-maker Michael Gondry — she has developed her work in spheres such as collage, in Journal (L’Association, 2004) and J comme Je: Essais d’autobiographie (Seuil, 2006), and poetry, with À l’école de l’amour (L’Oie de Cravan, 2006).In 2022, she returned to the realm of comics with El río, published in Spanish by Fulgencio Pimentel.
Raquel Jimeno coordinates the Museo Reina Sofía’s Cultural and Audiovisual Activities
Regina López Muñoz is a literary translator who specialises in comic books. She has translated over 150 titles for publishers such as Salamandra Graphic, Fulgencio Pimentel, Sapristi and Blackie Books, and the authors she has translated to Spanish most notably include Nine Antico, Joann Sfar, Zuzu, Lizzy Stewart, Julia Wertz, David B., Posy Simmonds, Gipi, Olivier Schrauwen, Manuele Fior, Igort, Sarah Glidden and Raymond Briggs. She also teaches course and workshops and participates in encounters with authors.
Camille Vannier is a visual artist and illustrator who has worked for journals and magazines such as El Jueves, Vice and Pandora Magazine. Furthermore, she has published different graphic novels in which she narrates personal stories and the environment surrounding her, for instance El horno no funciona (Sins Entido, 2011), Tuerca y Tornillo (Apa-Apa Cómics, 2013), Poulou y el resto de mi familia (Sapristi, 2018) and Imbécil (Caramba, 2024).
Más actividades
Mediations of the Archive: Art, Community, and Political Action
Tuesday 7, and Thursday 23, April, 2026 – 17:00 h
The online seminar Archival Mediations: Art, Community, and Political Action, curated by Sofía Villena Araya, examines the role of archival practices in caring for, dignifying, and activating memory in Central America. As part of the Cáder Institute for Central American Art’s first line of research, driven by the question “What Art Histories does Central America produce?”, this seminar proposes an approach to the archive as a mediator that articulates relationships between art, community, and political action, while engaging with the historiographical questions raised by their intersections.
Although the proposal is not limited to discussions of the Central American isthmus, it is framed by the particular conditions under which memory has been constructed in the region. Central America is a territory vulnerable to natural and geological disasters, marked by political violence exercised by authoritarian states and fragile institutions, a persistent colonial and imperial legacy, and the social fragmentation resulting from these factors. It is also a context in which the archive does not necessarily refer to a specific place —such as a building or documentary collection— nor does it primarily follow the protocols of a discipline such as archival science. Rather, the seminar explores how the archive operates, through art, as a dispositif that forges connections, generates forms of belonging, and opens spaces for political action.
The encounter unfolds across two sessions: the first focuses on archival practices addressing questions of memory, violence, and war; the second examines community-based practices surrounding queer and sex-dissident archives. In the face of the systematic destruction of memory, the archival practices discussed in these sessions demonstrate how the archive emerges in other spaces and according to different logics. Within this framework, the proposed space for exchange and research explores the role of art as a productive medium for constructing archives through images, affects, intimacy, performativity, the body, orality, and fiction, as well as through other materialities that challenge the centrality of the document and of writing.
Intergenerationality
Thursday, 9 April 2026 – 5:30pm
This series is organised by equipoMotor, a group of teenagers, young people and older people who have participated in the Museo Reina Sofía’s previous community education projects, and is structured around four themed blocks that pivot on the monstrous.
The third session gazes at film as a place from which to dismantle the idea of one sole history and one sole time. From a decolonial and queer perspective, it explores films which break the straight line of past-present-future, which mix memories, slow progress and leave space for rhythms which customarily make no room for official accounts. Here the images open cracks through which bodies, voices and affects appear, disrupting archive and questioning who narrates, and from where and for whom. The proposal is at once simple and ambitious: use film to imagine other modes of remembering, belonging and projecting futures we have not yet been able to live.
Thinking with African Guernica by Dumile Feni
Wednesday 25th March, 2026 – 7.00pm
Curator Tamar Garb brings together a panel of specialists from different disciplines, ranging from Art and Social Anthropology to African Studies and the History of violence, on the occasion of the first edition of the series History Doesn’t Repeat Itself, but It Does Rhyme, starring African Guernica (1967) by Dumile Feni (Worcester, South Africa, 1942 – New York, 1991). The aim of this meeting is to collectively reflect on the points of convergence between the works of both Pablo Picasso and the South African artist.
African Guernica is the monumental drawing created by Dumile Feni in the 1960s. The piece is being shown for the first time outside South Africa, in dialogue with Picasso’s Guernica (1937). This provocative physical encounter invites us to consider both artworks as anti-war and anti-totalitarian manifestos, albeit relating to different places and moments.
For this panel, Siyabonga Njica presents the artistic and cultural context of 1960’s Johannesburg, contemporary to Feni’s work. Pumla Gobodo-Madikizela addresses the trauma of apartheid from both aesthetic and oneiric perspectives. Thozama April analyses the artist’s corpus in relation to archival practices and conservation. Finally, Elvira Dyangani Ose offers a reading of African Guernica through the lens of Pan-African modernity and the collapse of the centre-periphery duality.
These events, which form part of the core strands of the Public Programmes department, aim to provide deeper insight into and broaden public engagement with the Museum’s Collections and temporary exhibitions.
History Doesn’t Repeat Itself, but It Does Rhyme. Dumile Feni: African Guernica
Tuesday 24th March, 2026 – 6.30pm
On the occasion of the exhibition History Doesn’t Repeat Itself, but It Does Rhyme. Dumile Feni: African Guernica, its curator Tamar Garb, introduced by Manuel Segade, Director of the Museo Reina Sofía, highlights the opportunities for reflection offered by the presentation at the Museum of African Guernica (1967), the African sibling to Pablo Picasso’s emblematic painting. The event concludes with the live premiere of a musical composition created especially for this event by the South African artists Philip Miller and Tshegofatso Moeng.
African Guernica, the monumental drawing produced by the South African artist Dumile Feni (Worcester, South Africa, 1942 – New York, 1991) in the 1960s, is presented for the first time outside South Africa in dialogue with Picassos’s Guernica (1937). Feni’s work is deeply connected to its place of origin, emerging from the context of state violence and institutionalised racial oppression under apartheid. Viewing both artworks side by side makes it possible to consider their shared references and strategies, their similarities and synergies, as well as the formal and figurative differences that largely result from their geographical and temporal separation.
The musical composition by Philip Miller and Tshegofatso Moeng intends to establish a parallel dialogue between traditional South African sounds and the classical repertoire for strings, voice and wind instruments. A full ensemble of performers from South Africa and Spain has been brought together for this purpose.
These inaugural conversations, which form part of the core strands of the Public Programmes Department, aim to explore in depth the content of the exhibitions organised by the Museum from the perspective of artists, curators and specialists.
Remedios Zafra
Thursday March 19, 2026 - 19:00 h
The José Luis Brea Chair, dedicated to reflecting on the image and the epistemology of visuality in contemporary culture, opens its program with an inaugural lecture by essayist and thinker Remedios Zafra.
“That the contemporary antifeminist upsurge is constructed as an anti-intellectual drive is no coincidence; the two feed into one another. To advance a reactionary discourse that defends inequality, it is necessary to challenge gender studies and gender-equality policies, but also to devalue the very foundations of knowledge in which these have been most intensely developed over recent decades—while also undermining their institutional support: universities, art and research centers, and academic culture.
Feminism has been deeply linked to the affirmation of the most committed humanist thought. Periods of enlightenment and moments of transition toward more just social forms—sustained by education—have been when feminist demands have emerged most strongly. Awareness and achievements in equality increase when education plays a leading social role; thus, devaluing intellectual work also contributes to harming feminism, and vice versa, insofar as the bond between knowledge and feminism is not only conceptual and historical, but also intimate and political.
Today, antifeminism is used globally as the symbolic adhesive of far-right movements, in parallel with the devaluation of forms of knowledge emerging from the university and from science—mistreated by hoaxes and disinformation on social networks and through the spectacularization of life mediated by screens. These are consequences bound up with the primacy of a scopic value that for some time has been denigrating thought and positioning what is most seen as what is most valuable within the normalized mediation of technology. This inertia coexists with techno-libertarian proclamations that reactivate a patriarchy that uses the resentment of many men as a seductive and cohesive force to preserve and inflame privileges in the new world as techno-scenario.
This lecture will address this epochal context, delving into the synchronicity of these upsurges through an additional parallel between forms of patriarchal domination and techno-labor domination. A parallel in which feminism and intellectual work are both being harmed, while also sending signals that in both lie emancipatory responses to today’s reactionary turns and the neutralization of critique. This consonance would also speak to how the perverse patriarchal basis that turns women into sustainers of their own subordination finds its equivalent in the encouraged self-exploitation of cultural workers; in the legitimation of affective capital and symbolic capital as sufficient forms of payment; in the blurring of boundaries between life and work and in domestic isolation; or in the pressure to please and comply as an extended patriarchal form—today linked to the feigned enthusiasm of precarious workers, but also to technological adulation. In response to possible resistance and intellectual action, patriarchy has associated feminists with a future foretold as unhappy for them, equating “thought and consciousness” with unhappiness—where these have in fact been (and continue to be) levers of autonomy and emancipation.”
— Remedios Zafra