Documents 28. Julie Doucet

Autofiction and Underground Comics

Tuesday, 30 April 2024 - 7pm

Free, until full capacity is reached. Tickets may be collected at the Museo’s Ticket Offices or on the Museo Reina Sofía website from 10am on 26 April (a maximum of 2 per person). 20% of the visitor-capacity will be reserved for attendance without ticket collection on the day of the activity. Doors open 30 minutes before the session

Nouvel Building, Auditorium 200
200 people
Organised by
Museo Reina Sofía, Centro José Guerrero (Provincial Council of Granada) and La Madraza. Centro de Cultura Contemporánea (University of Granada)

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.


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).