Concreta 11 (Spring 2018) is dedicated to the question of labour in art and the financialisation of life: economy, housing, vacation, leisure time, and even thought, expression and desire get financialised. On the other hand, it looks at the disappearance of the traditional notion of labour, that is to say, as epicentre of social relations and reciprocal recognition. It counts with contributions by Silvia Federici, Max Jorge Hinderer, Alice Creischer, Jonathan Beller, Isidoro Valcárcel Medina, Theaster Gates, Elvira Dyangani Ose, Julia Bryan-Wilson, Ahlam Shibli, Mladen Stilinović, Anna Manubens, Mercedes Vicente and Ester Pegueroles.
Concreta 10 (Autumn 2017) prompts a reflection around the relationship between art and tourism in late modernity: a period when gradual museumization and touristification of the world were part of the same process. Once the artwork is no longer an object of contemplation but an experience, the hierarchical order between authentic/inauthentic experiences falls apart. To address this and other questions, the issue counts with the collaboration of José Díaz Cuyás, Eugenia Afinoguénova, Mariano de Santa Ana, Gilberto González, Dean MacCannell, James Meyer, Lena Peñate y Juan José Valencia, Richard Hamilton, Kelly Yeaton, Vicente Benet, Roberto Gil Hernández, Beatriz Herráez and George Maciunas.
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.
“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.