The magazine was a decisive way to read comics in Spain: it gathered serial work, gave younger artists space, and reached the newsstand. Between the boom in adult-oriented titles from 1981 to 1990 and their sharp decline in the 1990s, albums and other formats changed that publishing ecology.
From stickers attached to consumer goods to albums sold in packets, the Spanish history of sticker collecting explains a leisure practice based on completing, trading and preserving. Panini’s international Mexico 1970 album helps locate a decisive shift: football turned an already widespread practice into a mass phenomenon.
The Historical Archive of the Puerto Cristal Museum brings together documents on a Chilean mining camp from the 1960s to the 1990s. Its scope—school, radio, warehouses, laboratory, mine and processing plant—makes it possible to read work and domestic life as parts of the same historical context.
Archives and museums do not preserve photographs merely as images: they safeguard their supports, descriptions, provenance, and links to the activity that produced them. Drawing on cases from Spain and Mexico City, this article examines why preservation, digitisation, and access are parts of the same cultural responsibility.
Spanish television changed in medium, image, and conditions of access between the 1970s and the 2000s. The available evidence does not amount to a total history, but it does allow an examination of how a broadcast medium also became accessible archival heritage.
The Museo Cerralbo project offers a way to examine restoration as the recovery of a historic interior rather than work on isolated objects alone. Documentation, coordination among trades, and the sequence of work from 2002 to 2009 show why conservation also means deciding which material and museographic evidence should remain legible.
A critical guide to turning gestures, household objects, domestic work and familiar spaces into historical questions, without mistaking an isolated image for an era’s complete experience.
Museums and collections show that a toy is not merely a cherished object: it can document industry, education, consumption, gender and everyday life. A critical reading of how this material memory is preserved, displayed and contextualised.
The Museo Universitario del Chopo opened in 1975, and its Information Centre and Media Library holds materials useful for researching musical cultures and practices. Available documentation places it as a landmark for Mexican underground cultures in the 1980s and as host to the first Tianguis de la Música.
Stickers did not begin as isolated toys. In Spain, the evidence gathered places their antecedents in commercial wrappers from the late nineteenth century, their spread through consumer products in the 1920s, and the sale of packets in the post-war period. This history explains why the album, the duplicate, and swapping form a cultural system of their own.
Between the second half of the 1970s and 1990, magazines were a decisive route for adult comics in Spain. This piece examines their expansion on newsstands, their editorial diversity, and the reasons attributed to their later decline, distinguishing available evidence from interpretation.
A guide to working with catalogues, photo archives, periodicals, and academic studies when reconstructing everyday practices. It starts from available evidence on Mexico, Spain, and Ibero-American archives, distinguishing what a source documents from what it only permits as a hypothesis.
