Pedro G. Romero

Concreta 14 (Autumn 2019) proposes an entanglement between rrom, gypsies and flamencos to define camp as a real and sensitive construction, full of trompe l’oeil, tricks and traps. A nomadic cultural field that operates as an interference, beyond music and dance. Camp, in short, as a space traversed by movements of the bodies and objects that remained on the margins of history. It counts with the collaboration of Pedro G. Romero, Ethel Brooks, María García Ruiz, Teresa San Román, Pastori Filigrana, Joy Charpentier, Delaline Le Bas, Gerhard Steingress, Isaki Lacuesta, Alice Becker Ho, George Didi-Huberman, Leonardo Piasere and Alejandra Riera.

Concreta 05 (Spring 2015) gathers a constellation of essays, conversations and projects reflecting on the idea of the appearance and the disappearance of the image. That is to say, questions related to the notions of iconoclasm, profanation and vandalism. This issue features essays and articles by Pedro G. Romero, Pablo Lafuente, Jacques Rancière, Geoff Cox, Harold Berg, Ellef Prestsæter, Michael Murtaugh, Nicolas Malevé, Matthew Fuller, Dario Gamboni, José Díaz Cuyás, George Didi-Huberman, Andrea Canepa, Lourdes Castro, Alexander García Düttmann, Asier Mendizabal, Alberto López Cuenca, María Torres Martínez and Xavier Arenós.