Abstract

This essay posits a material reading of the Semanario musical. Autógrafos. Fotografías, an album composed by Isidora Zegers from documents she collected over more than forty years. By observing the material traces of the work deployed on her archive and in the composition of the object itself, we propose that Zegers presented herself as a complete artist. Thus, in the intimate space of this album, she challenged the prevailing sex-gender framework that limited her to being an amateur and cultural agent, through her networks and her salon.