Archive of technology, entertainment and everyday life
Comics and comic magazines were created as widely circulated, inexpensive, and vulnerable printed matter. The available documentation shows how archives, museums, digital projects, and collectors have helped reconsider them as cultural sources whose preservation requires context, description, and access—not storage alone.
Open storyA cautious reading of Spanish television from the 1970s to the 2000s: the screen’s consolidation in domestic life, the technical importance of colour, and the contemporary change brought by consulting television heritage through digital archives.
Open storyThe 2006 creation of Mexico City’s Museo Archivo de la Fotografía provides a way to examine a central question: an image is not only what it depicts, but also who produced it, why, how it was preserved, and what information makes it accessible.
Open storyA reading of catalogues, educational materials and academic works to understand what can be documented about everyday life without turning routines into unfounded nostalgia.
Open storyThe creation of Mexico City’s Museo Archivo de la Fotografía, published on 6 December 2006, offers a way to examine why preserving images also means preserving their institutional, urban, and documentary context.
Open storyA look at the sources that turn food into historical material: academic studies, exhibition catalogues, bibliographies, archives, and ethnographic collections.
Open storyThe Museo Cerralbo recovery project shows that restoring a house museum is not merely a matter of repairing objects: it also means interpreting spaces, uses and historical ways of displaying a collection. This analysis separates documented facts from the questions that remain open.
Open storyThe creation of Mexico City’s Museum Archive of Photography in 2006 makes it possible to examine photography not only as an image, but as a document that must be organized, preserved, and made accessible. Its case is in dialogue with Spanish institutions that safeguard long-running photographic collections.
Open storyBetween 1944 and 2009, several documented interventions affected room decoration and other spaces at Madrid’s National Museum of Romanticism. This feature examines what can be stated about those phases and why historic decoration must be read through the building, display, and documentation together.
Open storyArchives 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.
Open storyModena’s Museo della Figurina offers a starting point for considering the sticker not only as an item for swapping, but as a printed object requiring provenance, description and context. This reading connects its collection with public principles of inventory, conservation and access.
Open storyThe 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.
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