CONCRETA JOURNAL
FOREWORD
Concreta 25, The Force of Images
Concreta 25 proposes itself as a space for reflection on images in their capacity to form relationships that can alter our regimes of visibility. We are interested in exploring our imaginative forces, our poetic and political potential for resistance…
EDITORIAL
Concreta 24, Hosting the ‘mediodía’
From Arab hospitality as a practice of resistance to the images created by Palestinian peoples as acts of radical generosity, the contributions in Concreta 24 (Fall 2024) span themes such as memory, diaspora, fluid feminisms, and alternative…
FOREWORD
Concreta 23, The active composition of presence, Jara Rocha, Nicolas Malevé
Concreta 23 (spring 2024) A rider has gotten off his bike to join a picket, a scientist has abandoned the electrodes to talk to her study subjects, a bird has relearned to fly with a drone, a curatorial team has been perplexed Due to the inherited…
CONCRETA TEXTS
A history of African Photography South of the Sahara: Dynamics, Trends, Aesthetics.
Photography produced by photographers from and residing in sub-Saharan Africa has been poorly represented in general histories of photography…
Souvenir, Souvenir. An Anthropologist Before Tourism
Fernando Estévez González (La Orotava, 1953- 2016) was always an atypical anthropologist. His research focused mainly on debunking colonial and ideological prejudices of his own discipline, or…
ONLINE
Linda Rocco advocates for an education that transforms artificial intelligence into an ally of critical thinking and intellectual autonomy.
In 1945, during the Cold War, Dynamo Moscow’s tour of Great Britain triggered violent clashes in stadiums. As a result of these incidents, Orwell wrote an ironically titled article, The Sporting Spirit, in which he…
In A Thousand Plateaus, Gilles Deleuze and Felix Guattari distinguish tools from weapons extrinsically. Based on their projection, the same object could be one or the other. Tools…

















