Untitled [«AA AA AA AA A..»], October 1974. Typescript text on paper, 22.5 x 16.4 cm
Untitled, n.d. Typescript text on paper, 31.6 x 21.5 cm
¿Guernika?, n.d. Collage on cardstock, 21 x 29.6 cm
Poems related to Arte Cisoria, n.d. Collage on paper, 31.4 x 21.4 cm
Poster and program of «Concierto Música Electrónica», s.l. [Madrid?]: Colegio Mayor Chaminade, 18 May 1974
Grupo Glotis (Javier Maderuelo, María Villa, Pedro Esteban) performing at Fundación Juan March, Madrid, 29 September 1982
Program of Glotis. Músicas textuales, Madrid: Elenfante, 28 de noviembre de 1980
Instructions for Namur Cuarteto, 2 May 1977
«Umbelifera Cármina» concert at Pabellón Villanueva of the Real Jardín Botánico, Madrid, 6 June 1985
Javier Maderuelo, César Pérez-Chirinos
Poem Despedida, made at the Centro de Cálculo, n.d. Typescript text on paper, 27.9 x 24 cm
Hörspiel Fragmentos de espejo roto for RNE, n.d.
Partita of the recitative Sónica III, by Fernando Millán, March 1975. Ink on paper, 21.4 x 31.3 cm
Letter from Elena Asins to Javier Maderuelo, Hamburg, 24 April 1988
Unpublished project Álbum de fotocopias Pintura Escultura, 1982
Javier Maderuelo, Elda: Casa de Cultura de Elda, 15 February 1985
Second movement of the project Simo 18, 1978
Score of Voices Mix, 1985. Ink, marker and flowmaster on paper, 56.3 x 34 cm
Mixing scheme of Cage Solo Voces, 1991. Ink, markers and colour pencils on paper, 56.3 x 34 cm
Javier Maderuelo and John Cage at the concert «Cage solo voces», Círculo de Bellas Artes, Madrid, 8 November 1991
1,000 works of art, poems, publications and documents.
Javier Maderuelo (Madrid, 1950) became interested in experimental poetry and art in 1972 under the influence of Fernando Millán, José Luis Castillejo and Felipe Boso, as well as artists like Elena Asins, Juan Hidalgo and Javier Aguirre, with whom he collaborated. He began producing typewritten poems and collages with texts extracted from newspapers, which converge in the unpublished book Arte Cisoria (1981). Felipe Boso introduced him to the world of phonetic poetry and with Pedro Estevan and María Villa he cofounded the Glotis Group (1979), dedicated to disseminating both the work of avant-garde poets, as well as neo-avant-garde works, some of them expressly written for Glotis. As a composer, he worked at the electronic music studio Alea (1973-1977) and was part of the musical movement Elenfante. He was a member of the Seminar of Analysis and Automatic Generation of Musical Forms, run by Florentino Briones, collaborating on the SIMO concerts. At the end of the eighties he abandoned poetic and musical creation to devote himself to an academic career.
Among his other publications about those years it is worth mentioning: Una música para los 80 (Editorial Garci, 1981), Escritura experimental en España (Ediciones La Bahía, 2014) and Ulises Carrión, escritor (Ediciones La Bahía, 2016). Archivo Lafuente houses: typewritten poems, collages, handwritten documents, diagrams, scores, programs, posters, books, photographs and press dossiers that reflect his activity as a creator and the context in which that activity took place.