Concreta 09 (Spring 2017) brings together a series of conversations, materials and texts about the idea of care as an interdependent condition for human, non-human and more-than-human life, in other words, as a possibility to make visible and tangible the ties and histories that connect us between us as humans, but also between objects and spaces. Borrowed relations of a political, socioeconomic and cultural context that permits to imagine a fabric full of ties as complex as diverse. It counts with the contribution of Donna Haraway, Fabrizio Terranova, Soledad Gutiérrez, Ramón Lapiedra, María Puig de la Bellacasa, Maria Thereza Alves, Hamish Fulton, La Taula per la Partida, Eduardo Molinari, Laura Vallés, Agar Ledo and Alice Mortiaux.
Concreta 08 (Fall 2016) reflects on the drifts of the philosophy of photography where the discipline is understood not only as a research subject —as an image or a practice— but as a theoretical object. This phenomenological change in status transforms photography into a model that allow us to think ethical, political, anthropological and epistemological questions that are crucial in our social and cultural present and future contexts. In this sense, photography is not only addressed as an image, but first and foremost, as a field of relations in which praxis and medium are intertwined. It counts with the collaboration of Enric Mira, Claudia Andujar, Pablo Lafuente, Alexandra Moschovi, Mauricio Lissovsky, Miguel Benlloch, Ariella Azoulay, Teresa Arozena, Christopher Williams, Vilém Flusser, Paco Inclán, Greta Alfaro, Rafael Barber, Iris Dressler and Pedro G. Romero.
Concreta 07 (Spring 2016) proposes new approaches to the notion of ornament understood as a force capable of subverting visual, social and political hierarchies and of proposing a series of collective relations from the everyday life. This issue features essays and articles by Marisa García Vergara, Teresa Lanceta, Lía Nin, Paulapé, Thomas Golsenne, Alfred Gell, Gabriela Kraviez, Jordi Bernadó, Oier Etxeberria, Sandra Santana, José Luis Castillejo, José Díaz Cuyás, Juan José Lahuerta and Prabhakar Pachpute.
Concreta 06 (Fall 2015) reflects on the exhibition space as a settled and privileged place in which art occurs, that is, art is activated. Furthermore, it raises questions regarding the material condition of the artwork, its meaning and its relations with diverse contexts and audiences. This issue features essays and articles by Lucy R. Lippard, Mar Villaespesa, Tamara Díaz Bringas, Fernando López García, La Ribot, Peter Osborne, Edit András, Goshka Macuga, Anna Boghiguian, Grant Watson, Roman Ondák, Mireia c. Saladrigues, Antonio Menchen, Laura Vallés, Jaime Cuenca and Imogen Stidworthy.
“Brasil, país do futuro” (Brazil, Land of the Future) is almost an axiom, an automatic enouncing, something like “Paris, City of Light” or “New York, the Big Apple”. Epithets that might derive from the ones given to monarchs: “Peter the Great”, “Ivan the Terrible” or “Richard the Lionhearted”. On this occasion, Carla Zaccagnini proposes an investigation on the Brazilian territory, its people and its natural resources, tracing a series of publications such as Stefan Zweig’s homonimous book that, since the beginning of the twentieth century, illustrate ideas of future and progress that resonates with our present.
A sonic experiment in geolocative narrative that is built with found information from the Internet in real time while walking down the streets. The actual city and its digital experience are collapsed in a sonic drift that sometimes relates to the context and other times presents itself in an completely abstract way.This book includes a text generated by the Las Calles Habladas (Spoken Streets) app while walking through the streets of Valencia on April 11, 2016.
Artist’s book Esperpento (November, 2014) was created by combining aerial views of Spain obtained from “Google Earth” and extracts from Ramón María del Valle Inclán’s “Bohemian Lights”. Valle Inclán’s play, published in 1920, reflects the Spanish society of the time, among other things. The play spares no one, every class is victim and contributor of a deteriorated society. Iñigo Royo’s work reminds us how the reality Valle describes still exists nowadays.
Artist’s book Timelines (April, 2014) by Lia Perjovschi illustrates a chronology of events built by the juxtaposition of images and text that shape the subjective history of the world from the Stone Age to date. In addition, a series of notes and key words developed by the artist narrate those events revealing her particular vision of the world.