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El pensamiento es un jardín hibrido. El archivo Mariotti – Luy (1964-2024)

Co-edited with Miguel A. López in the framework of the exhibition of the same name, presented simultaneously at the Museo de Arte de Lima – MALI and the Museo de Arte Contemporáneo de Lima MAC-Lima, this book is the first publication devoted entirely to the work of Francesco Mariotti and María Luy: six decades of artistic and cultural production traversing continents, languages, and disciplines.

One central challenge for this publication was one of scale. The Mariotti–Luy Archive, held on long-term loan at MALI since 2017, comprises more than fifteen linear meters of documentation —photographs, correspondence, sketches, posters, films, programmes, computational poems, manifestos— alongside an extensive body of works across widely varied media. Rather than attempting an exhaustive catalogue, we opted for a structure that functions as an invitation to explore this pluriverse: an extended curatorial essay, the product of more than a decade of joint research; a portfolio of works that also includes ephemeral projects documentation of significant historical value; a series of original essays —by Mijail Mitrovic, Almendra Otta, Giuliana Vidarte, Emilia Curatola, Rosalyn Chávarry, and a foundational text by Gustavo Buntinx three decades ago on the work of Mariotti—; a section of appendices gathering key documents, manifestos, and interviews; and a detailed chronology.

The recent passing of Francesco Mariotti during the editorial process transformed the character of the book, which became also a tribute. This publication only begins to reveal the richness of a practice that will continue to generate new readings and new wonder in the years to come.

Digital Museum. Intelligences and Artifices

This bilingual edition explores the role of museums in the digital age, with a special focus on exploring and discussing digital practices and global perspectives; it also recognizes the rich history of art and technology in the region. The publication is structured in two main sections: «Future Technologies: Memory, Languages and Knowledges”, discussing indigenous knowledge systems and their relationship with new technologies; and, «The Museum as Laboratory: Technology, Data and New Artistic Practices”, exploring how museums can function as laboratories for knowledge and experimentation.   Both topics aim at discussing not only the impact of digitalisation and technology in museums, but mostly, how the museum should be reconfigured for the 21st century challenges. 

Museo Digital: inteligencias y artificios / Digital Museum. Intelligences and Artifices is published by Museo Universitario Arte Contemporáneo (MUAC) of the National Autonomous University of Mexico (UNAM) with the support of Telefónica Movistar Foundation México.  

Book edited by José-Carlos Mariátegui (Peru/UK).
Contributors include: Sara Diamond (Canada), Ulises Mejías (Mexico/USA), Roberto Zariquiey (Peru), Priscilla Molina Muñoz (Costa Rica), Fernanda Pita (Brazil), Yásnaya Elena Gil (Mexico), Bruno Moreschi (Brazil), Bernardo Fontes (Brazil), Luz María Bedoya (Peru), Juan Cortés (Colombia), and Luis Martínez-Uribe (Spain).   

Available on open access in Spanish and English 

This book emerged from the third edition of the International Digital Museum Conference, which I curated and brought together artists, researchers, and cultural managers to reimagine museums in the digital era.


Mariátegui, José-Carlos, ed. 2025. Digital Museum. Intelligences and Artifices. Edited by José-Carlos Mariátegui. Mexico: Museo Universitario Arte Contemporáneo – MUAC, Universidad Nacional Autónoma de México – UNAM.

The Rafael Hastings Film Project

Rafael Hastings (1942–2020) was one of the most unclassifiable figures in Latin American experimental film and video art. Born in Lima, he studied in Brussels into the orbit of Jean-Luc Godard, Maurice Béjart, and the experimental ferment of 1960s Europe — absorbing cinema, choreography, conceptual art, and countercultural politics before returning to Peru in the early 1970s with an ambition that defied any single medium.

This book revisits a dimension of his practice that has remained almost entirely invisible until now: his work in film and video. At its centre is El incondicionado desocultamiento (1974), a 35mm experimental film believed lost for nearly five decades and recently recovered from the archive of the Filmoteca Española in Madrid. Shot across weeks of travel along the Peruvian coast — through the desert of Paracas and the ancient ceremonial complex of Sechín — the film weaves together pre-Columbian archaeology, Oriental mysticism, and speculative fiction into four short films that meditate on disappearance, transcendence, and the deep time of culture.

Alongside the restored film, and a catalogue raisonné, this book publishes for the first time the complete Diario de filmación — Hastings’ handwritten production notebook and its transcriptions, filled with watercolours, technical calculations, collaged magazine clippings, and poetic instructions to himself — a document that reveals how he worked and thought as a filmmaker. The book includes original contributions by José-Carlos Mariátegui, Fietta Jarque, Natalia Rey de Castro, Jorge La Ferla and Luis Alvarado.


Mariátegui, José-Carlos, ed. 2025. El Incondicionado Desocultamiento.  The Rafael Hastings Film Project. Edited by Instituto Cultural Peruano Norteamericano ICPNA. Lima: ICPNA, Instituto Cultural Peruano Norteamericano.

Thinking is a Hybrid Garden: the Mariotti – Luy Archive (1964-2024)

Thinking is a Hybrid Garden: the Mariotti – Luy Archive (1964-2024) showcases six decades of artistic and cultural work by Francesco Mariotti (Bern, Switzerland, 1943) and María Luy (Puerto Maldonado, Peru, 1950), revealing a pioneering body of work that intertwines technology, collectivity, nature, and social commitment. Spread across the galleries of the Museo de Arte de Lima – MALI and the Museo de Arte Contemporáneo de Lima – MAC Lima, this exhibition provides a comprehensive overview on the Mariotti – Luy Archive, currently on loan to MALI. This archive contains historical documentation (photographs, newspaper clippings, magazines, posters, films, and other materials) spanning from the 1960s to the present, covering key moments in both local and international cultural production. Alongside these documents, numerous artworks trace the trajectory of both artists between Peru and Europe.

The exhibition takes as its point of departure the concept of the hybrid, a central theme in the artistic and cultural production of both artists. For Mariotti, the hybrid is not merely  a mixture of elements, but rather a complex form of existence that integrates seemingly opposing components, such as technology and nature. The concept derives from his installations known as Hybrid Gardens (or Quantum Gardens), in which distinct elements converge. For the artist, the hybrid is linked to plastic, waste, and consumer culture, as well as to magic, poetry, and art. It is both artificial and natural, and both organic and synthetic. In other words, it embodies a practice of resistance and transformation.

At a time when artificial intelligence (AI) poses new challenges regarding the relationship between humanity, technology, and nature, this exhibition offers a close look at several pioneering developments in this field. We present works that have never before been  exhibited in Peru, offering  multisensory and luminous experiences. These early projects foreshadow the evolution of artificial intelligences emerging in dialogue with diverse cultural traditions and worldviews, from Dadaism to Amazonian mythologies. The exhibition also highlights cultural management work that has been the driving force behind the prolific creative production of Francesco Mariotti and María Luy.

Co-Curated with Miguel A. López

Hidden Histories of Technology and Cybernetics in Latin America

Techno-oligarchs treat computation as a tool for consolidating power, extracting value, and scaling control — but there is a suppressed history where technology was imagined as something radically different, and this happened in Latin America.

In this piece for UMBAU, the online journal of HfG Karlsruhe, I trace how the region’s engagement with cybernetics was never a simple transplant of Western ideas into tropical soil, but an original intellectual project that integrated technology with local socio-political conditions in ways that remain remarkably relevant today — from Manuel Sadosky’s Marxist vision of computation as liberation in Argentina, to Waldemar Cordeiro’s pioneering computer art as a tool for social transformation in Brazil, to the Bariloche Foundation’s Latin American World Model, which challenged MIT’s «Limits to Growth» from the perspective of those already living in crisis.

Beyond these, the piece recovers lesser-known experiments like CENTRO in Peru — where exiled intellectuals attempted a «Model of Cybernetic Socialism» — and URUCIB in Uruguay, a locally built Executive Information System for the presidency that anticipated real-time dashboards and early warning detection decades before Silicon Valley made them standard. Where today’s tech billionaires design systems that make citizens into members of global digital platforms while eroding the capacity to ask structural questions about society, these Latin American projects sought the opposite: collective exploration, democratic participation, and local autonomy through cybernetic thinking. Perhaps what we have most lost is not the technology itself but the systemic perspective — the ability to recognise that what a system does, rather than what it claims to do, reveals its true purpose.

Read the full piece (open access)


Mariátegui, José-Carlos. 2026. «Hidden Histories of Technology and Cybernetics in Latin America.» UMBAU (Issue Five: Hide and Seek). https://umbau.hfg-karlsruhe.de/posts/hidden-histories-of-technology-and-cybernetics-in-latin-america.

Limitations of the Linnaean categorization model in the age of Al

Much of the current conversation around AI focuses on bias, ethics, and governance — but rarely does it dig into the history of categories themselves and their lasting impact.

In this paper in the Cambridge Forum on AI: Culture and Society, Juan Cortés and I argue that Linnaean classification — rigid hierarchies and fixed labels — has quietly become the template for how we structure data, metadata, and annotation pipelines, systematically sidelining Indigenous knowledge systems that have understood nature as a living web of relationships for millennia. The categories shaping how we train models were designed in the 18th century to sort and control the natural world.

Drawing on Buffon’s dynamic vision of nature, Kakataibo taxonomies from the Peruvian Amazon, K’iche’ Maya maize cosmology, and other ethnobiological systems from Latin America, we argue why a new classification built on multiplicity, relationality, and cultural context, rather than fixed schemas, what we call rhizomatic hylomorphism, generates living maps where meaning emerges from relationships rather than predetermined labels.

Read the full piece (open access)


Cortes, Juan, and José-Carlos Mariátegui. 2026. «Limitations of the Linnaean categorization model in the age of AI.» Cambridge Forum on AI: Culture and Society 2 (AI & Archives): e5. https://doi.org/10.1017/cfc.2025.10010.

Cambridge Forum on AI: Culture and Society, Themed Issue: AI & Archives
Guest edited by Katie Mackinnon, Louis Ravn, Nanna Thylstrup Joo Eun Seo and Caroline Bassett.

How to Non-Organize

This piece was a contribution to the book and the main theme of Lisbon Triennale 2025 How Heavy is a City?, curated by John Palmesino, Ann-Sofi Rönnskog of Territorial Agency which was also published in e-flux Architecture, as part of the Lisbon Architecture Triennale’s «Intensification» series.

Here I trace how Italian industrialist Aurelio Peccei — shaped by his years building Fiat Concord in Argentina — arrived at the idea of the Club of Rome as a deliberate «non-organization»: not an institution but a permeable intellectual ecosystem designed to operate across the very boundaries that Cold War logic insisted were insurmountable. What’s been largely forgotten is that this non-organizational structure is precisely what allowed the Bariloche Foundation to emerge as a radical counter-proposal to the research comissioned by the Club of Rome to MIT: Limits to Growth. Bariloche Foundation’s Latin American World Model challenged Limits to Growth ecological catastrophism from the perspective of those already living in crisis, and pioneering the basic human needs framework that the UN system later adopted without credit. Over fifty years later, with climate breakdown, technological governance, and inequality either prevailing or worsening, the question is not whether we need new solutions but whether we need new forms of collective thinking — as diverse and complex as the challenges they seek to address.

Intensification is a collaboration between e-flux Architecture and the Lisbon Architecture Triennale within the context of its seventh edition, “How heavy is a city?,” curated by John Palmesino and Ann-Sofi Rönnskog (Territorial Agency).
Editors Nick Axel, Nikolaus Hirsch, John Palmesino, Ann-Sofi Rönnskog
Contributors: Anne McClintock, Emanuele Coccia, Soundwalk Collective, Patti Smith, Andrew Pickering, Lívia Nolasco-Rózsás, Paul N. Edwards, José-Carlos Mariátegui, Raqs Media Collective, Tim Lenton, Geoff Manaugh, Michael Marder, Kate Crawford, Laura Tripaldi, Mark Williams, Jan Zalasiewicz, Michaela Büsse and John Tresch

Read the full piece (free access)


Mariátegui, José-Carlos. 2025. «How to Non-Organize.» E-Flux Architecture, no. Intensification. https://www.e-flux.com/architecture/intensification/6782956/how-to-non-organize.

Also published in paperback: How Heavy is a City?, edited by John Palmesino, Ann-Sofi Rönnskog and Territorial Agency, 199-211. Lisbon: Lisbon Triennale 2025.

Electro-Poet-Rivelazionaria: Il Salvataggio delle Poesie Computazionali di Gianni Toti – Una conversazione con Francesco Mariotti

Beyond Project Cybersyn: Tracing the Influence of Stafford Beer Projects and Ideas in Latin America

This research paper explores Stafford Beer’s lesser-known journeys and collaborations in Latin America beyond the well-known Chilean project Cybersyn. It traces Beer’s involvement in the region back to the 1960s through his company SIGMA and its projects in Chile, as well as its attempts to expand into other Latin American countries. The paper also sheds light on a relatively unknown project in the 1970s in Peru, the Centre for the Study of People’s Participation (CENTRO), which was influenced by Beer’s ideas on real-time enterprise information and control systems. Furthermore, it explores Beer’s involvement in various projects across Latin America during the 1980s and 1990s, as the region gradually returned to democracy, including cases in Mexico, Uruguay (URUCIB), Venezuela (Cybervenez), and Colombia. While some implementations, particularly in Uruguay and Colombia, demonstrated the Viable System Model’s (VSM) potential for fostering genuine organizational democracy and social transformation, others in Mexico and Venezuela failed due to political instability or systemic corruption. The paper argues that though Beer’s VSM is often characterized as purely technocratic, its implementation in Latin America reveals that while sometimes appropriated by neoliberal reforms, it also aligned with regional aspirations for social transformation and creative liberation through the use of technology, challenging persistent biases about where technological innovation can originate.

This paper is part of an ongoing research on the history of cybernetics, which is mostly based on archival research and oral histories. I am particularly grateful to Carlos de Senna Figueiredo and Angela Espinosa, who have contributed with invaluable information ever since I started this research. I am also grateful to the Stafford Beer Collection at Liverpool John Moores University (Emily Parsons) and the team at Darcy and Berta Ribeiro Archive at the University of Brasilia (José Ronaldo Cunha, Katiane Brito and Janaina Dos Santos Melo), as well as to the ILO Archives in Geneva (Jacques Rodriguez). For this research, I interviewed a number of people to whom I am grateful: Víctor Ganón, Joan Garcés, Allenna Leonard, and Francisco Sagasti.

Read the full piece (open access)


Mariátegui, José-Carlos. 2025. «Beyond Project Cybersyn: Tracing the Influence of Stafford Beer Projects and Ideas in Latin America.» Systemic Practice and Action Research 38 (2): 9. https://doi.org/10.1007/s11213-025-09717-2. https://doi.org/10.1007/s11213-025-09717-2.

El Incondicionado Desocultamiento: Experimentaciones Audiovisuales de Rafael Hastings

Rafael Hastings (1942–2020) was one of the most unclassifiable figures in Latin American experimental film and video art. Born in Lima, he studied in Brussels into the orbit of Jean-Luc Godard, Maurice Béjart, and the experimental ferment of 1960s Europe — absorbing cinema, choreography, conceptual art, and countercultural politics before returning to Peru in the early 1970s with an ambition that defied any single medium.

This exhibition revisits a dimension of his practice that has remained almost entirely invisible until now: his work in film and video. At its centre is El incondicionado desocultamiento (1974), a 35mm experimental film believed lost for nearly five decades and recently recovered from the Filmoteca Española in Madrid. Shot across weeks of travel along the Peruvian coast — through the desert of Paracas and the ancient ceremonial complex of Sechín — the film weaves together pre-Columbian archaeology, Oriental mysticism, and speculative fiction into four short films that meditate on disappearance, transcendence, and the deep time of culture. Censored on its first release, screened only to a small circle of friends, and then quietly presumed gone, it is one of the most significant works of Latin American experimental cinema never to have entered the historical record.

Alongside the restored film, there is a projection of Hastings’ handwritten Diario de filmación — a production notebook dense with watercolours, technical calculations, collaged magazine clippings, and poetic instructions to himself — as well as16mm projection of raw footage of the film, making the materiality of celluloid itself part of the experience. Two recently recovered works, We Are Not a Family (1973) and Ceremony (1978), enable to trace the full arc of a decade in which Hastings produced thirteen audiovisual works and established himself as one of the most prolific and visionary experimental filmmakers in Latin America.

El incondicionado desocultamiento: Experimentaciones audiovisuales de Rafael Hastings was on view at the Espacio ICPNA San Miguel from 13 March to 26 April 2025.