CONCRETA JOURNAL

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 temporalities that challenge modern logics. The essays and visual proposals engage with Arab, Andalusi, and decolonial cultural legacies, proposing a geopolitical imaginary that weaves together transnational and diasporic traditions, while exploring new ethical and aesthetic possibilities in the face of dominant narrative structures. The issue features contributions from Nadia Yaqub, Sandi Hilal (DAAR), Eva Álvarez, Carlos Gómez, Jussi Parikka, Charles Hirschkind, Antonio Collados, Rafa SM Paniagua (La Madraza), Adrian Schindler, Monia Ben Hamouda, Elias Rizek, Sadik Kwaish Alfraji, Jawa El Khash, Learning Palestine, Lumbung Press, Punam Khosla, Natasha Aruri, Omar Jabary Salamanca, and Nicolás Combarro (TEJA).

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 audience categories, a group of environmentalists has reconsidered the debts of the territory they defend, a hedgehog has shared its transspecies grief: all going through in one way or another a simultaneous but differentiated process of rejection and affirmation in the middle of an infrastructural framework. enormous data capture. Icono de Validado por la comunidad Sugerencias

Concreta 22 (autumn 2023) seeks to warn of the divergence between the cultural figure of the mother and the biographical fact, between the institution and the experience; express non-conformity in the face of the oppressive expectations placed on non-motherhood and non-motherhood. It is edited by Maite Muñoz Iglesias and collaborated by Julie Phillips, M/E/A/N/I/N/G, Emily LaBarge, Clara Benito, Larre, Luisa Fuentes Guaza, Paz Francés, Consuelo García del Cid, Alba Schiaffino, Artist Parents, Laida Lertxundi and Ren Ebel, among other voices gathered in a chorus of artist parents.

Concreta 21 (spring 2023) proposes a genealogy of the media, channels and portals that we have used in fiction from the immaterial, mysterious and malleable prism of fantasy. It features the participation of Federico Campagna, Claudia Rodríguez Ponga, Lydia Ourahmane, Isabel Valli, Yasmine d'O, Chus Martínez, Carles Àngel Saurí, Guillem Sarrià, Darío Alva, Diego Navarro, Juliette Lizotte, Ana Llurba, Mi You, Pilar Soler Montes, Rafa Barber Cortell and Álvaro Chior.

Concreta 20 (Autumn 2022) addresses arts education from precarization, privatization, homogenization and depoliticization, but also from opening processes and collective situated practices that exert influences and generate disruptions, impulses and experiences. Collaborators of this issue include Alba Colomo, Nora Sternfeld, Flavio Rodrigo, Laurence Rassel, Laura Vallés Vílchez, Valérie Pihet, Massa Salvatge, Éricka Flórez, Bulegoa z/b, Ana Dević (WHW), Pablo Martínez, Adiba Iriz Shahjahan, Harnoor Kaur, Francesc Royuela, Francesca Renda, Nuria Enguita, Susanne Hesse-Badibanga, Carlos Almela, Emma Brasó y Pedagogías invisibles.

Concreta 19 (Spring 2022) unfolds a renewed literacy of time and conjures up subsequent epistemic shifts by resituating us in the chain to which we have always belonged: deep time, dark time, crip time, vegetable time, cyclical time. How this deep time is articulated in contemporary artistic, curatorial and philosophical practices is the subject of this issue. It is edited by Bárbara Rodríguez Muñoz, with contributions by Catherine Malabou, Petra Feriancová, Grace L. Dillon, Laura Vallés Vílchez, Maria Ptqk, Irene Kopelman, Sop, Miguel Ángel Martínez, Tavia Nyong’o, Institute for Postnatural Studies, Jorge Van den Eynde, Kim Hyesoon, Rachel Pimm and Graham Cunnington.

Concreta 18 (Autumn 2021) reflects on the restitution and reparation of African heritage in the post-colonial context. An issue circumscribed to the return of collected or looted objects that often ignores the immaterial dimension outside the walls of museums. It counts with the editing of Hasan G. López Sanz, Tania Safura Adam and the collaboration of Massamba Lea Guèye, Ángela Rodríguez Perea, Françoise Vergès, Catarina Simão, Kader Attia, Sammy Baloji, Grada Kilomba, Yinka Esi Graves, Miguel Ángel Rosales, Javier Fernández Vázquez, Dan Hicks, Iván de la Nuez and Léopold Sédar Senghor.

Concreta 17 (Spring 2021) offers a chorus of voices that approach the issue of the bodies: their legibility and political, poetic and aesthetic alliances beyond representation. It counts with the collaboration of Laura Vallés Vílchez, Ursula K. Le Guin, Néstor García, Yael Davids, Jon Mikel Euba, Andrea Soto Calderón, Marina Vishmidt, Paula Pérez-Rodríguez, Jorge Satorre, María Salgado, María Montero Sierra, Lara García Díaz, Irene Blanco-Fuente, Miguel Ángel López-Sáez, Lucas Platero and Álex Martín Rod.

Concreta 16 (Autumn 2020) proposes a series of collective and individual positions fed by indigenous and non-indigenous traditions and developed in Latin America. New words, assumptions, attitudes and desires bring us closer to the effectiveness of art to promote contact between communities, but also to its colonial spirit of growth and incorporation. It counts with the collaboration of Pablo Lafuente, Umus Pãrõkumu (Firmiano Arantes Lana) and Tõrãmu Kehíri (Luiz Gomes Lana), Sandra Benites, Luiza Proença, Elvira Espejo, Denilson Baniwa, Sallisa Rosa, Jaider Esbell, Clarissa Diniz, Fernando Palma, María Berríos, Francisco Huichaqueo, María Íñigo, Benvenuto Ixtelalá, Gleyce Kelly Heitor and Akari Waura.

Concreta 15 (Spring 2020) arises from the question, "can we wish the end of a world?", and goes through the scenarios imagined by dystopian narratives and scientific projections that begin to creep into our social, economic and political realities whose exhaustion heralds a new horizon and confronts a new order. Edited by Caja Negra, it counts with the collaboration of Yuk Hui, Leo Felipe, Naief Yehya, Jack Halberstam, Julia Volpato, Alejo Ponce de León, Juliana Huxtable, criticaldias, José Esteban Muñoz, Paolo Tavares, Zoe Leonard, Lucrecia Masson, Moira Millán, Santiago Villanueva, Sofía Dourron, Aliwen, Paco Chanivet and Lina Meruane.

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 13 (Spring 2019) proposes the complex and vast task of addressing contemporary curating practices beyond the exhibition space. Edited by a new generation of open-call athletes, these essays analyse a context in transition, emerged from the heat of the Internet and its obsession with real time. It counts with the collaboration of Stefanie Hessler, New Scenario, Mold Map, Cordova, Auto Italia South East, Lucy Steeds, Hans Ulrich Obrist, Leire Vergara, Laura Vallés, ofluxo.net, Brad Troemel, @boombboring, Carles Àngel Sauri, Ali A Maderuelo and Julia Castelló.

Concreta 12 (Autumn 2018) poses different approaches to what could be a cinema-to-come today. And it does so from the digital dematerialization and the multiplication of screens and cameras, and from the forms of rematerialization of the filmic: its "becoming body" in the everyday, its relational promiscuity with other artistic practices, and its breaks, deviations and contemporary ravings. It counts with the collaboration of Pere Portabella, Miguel Ángel Baixauli, Sonia Martínez, Vicente Ponce, Natalia Marín, Christine Buci-Glucksmann, Patricia Pisters, Andrés Duque, Álvaro de los Ángeles, Glauber Rocha, Manuel Asín, Daniel Pitarch, Daniela Ortiz, Los ingrávidos, Isabel de Naverán, Christa Blümlinger, Ana Carvalho, Fabio Costa Menezes, Vicent Carelli and Tita, Chus Domínguez and Belén Sola, and Societat Doctor Alonso.

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 permit 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.

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.

Concreta 04 (Fall 2014) arises from a series of issues that have to do with the opening of places for the possibility and detours in the political space: unique actions and proposals for common actuation against the reactionary forces, those which are trying to impose values, create senses and impose directions. This issue features essays and articles by Marina Garcés, Miren Jaio, Clémentine Deliss, Niño de Elche, Jeff Wall, David Campany, Cabello/Carceller, María Virginia Jaua, Peter Pál Pelbart, Mauro Restiffe, Bleda y Rosa, Carles Guerra, Pascale Féghali, Sonia Fernández Pan and the collective Mujeres Creando.

Concreta 03 (Spring 2014) goes through the notions of fiction, memory and history n this issue the articles gathered together represent a turn back to the style, the nuance, the individuation, that is, the fragility of a moment of crystallization of experiences. It counts with the collaboration of Laurence Rassel, Vicente Ponce, Florencia Garramuño, Hasan G. López, Imma Jansana, Railuca Voinea, Alexandra Pirici, Manuel Pelmuș, Xavier Antich, Joan Fontcuberta, Kobena Mercer, Juan Pérez Agirregoikoa, Moyra Davey, Bárbara Rodríguez, Joana Hurtado, Beatriz Herráez, Philippe Artières, Joaquín Vázquez, Mar Villaespesa and Verónica Francés.

Concreta 02 (Autumn, 2013) examines the notions of the trace and the face, as well as the experiences of time and the performative disposition of art to go beyond the mere production of objects and instead engage with actions. It is not so much a question of doing art as what to do with art. This issue of the magazine features essays and articles by Liz Kotz, Lola Hinojosa, Maria Muhle, Teresa Lanceta, Ricardo Basbaum, Thierry de Duve, Lorena Muñoz-Alonso, Víctor del Río, Mela Dávila, Nataša Petrešin-Bachelez and Enric Mira; as well as projects by Yto Barrada, Vicente Tirado, Oier Etxeberría and Hans-Peter Feldmann.

Concreta 01 (Spring, 2013) contains a number of essays, conversations and projects addressing the idea of displacement understood not only as a transfer, movement or oscillation, but as an aesthetic and political positioning within contemporary art practice that explores territory as a shared place for commonality, a space for dialogue and as a position of confrontation. This issue of the magazine features essays and articles by Jean-François Chevrier, Lluis Benlloch i Calvo, Esteban Pujals, Enrique Vila-Matas, Graciela Carnevale, Nacho París, Ângela Ferreira, Jürgen Bock, Marie José Mondzain, Peio Aguirre, Laura Vallés, Maia Creus and Alberto López Cuenca; as well as projects by Xavier Ribas, Anna Boghiguian and Carla Filipe.

Concreta 00 (Autumn, 2012) rethinks the image through a reflection on alternative ways, manifestations or forms of display or assembly related with concepts of edition, seriation and copy. This issue of the magazine features essays and articles by José Emilio Burucúa, Laura Malosetti, Enric Mira, Matthew Fuller, Damián Ortega, Pablo Lafuente, María Berríos, Max Schumann, Óscar Faria, Álvaro de los Ángeles, Milene Trindade and Oriol Fontdevila; as well as projects by Ahmad Hosni, Yuri Shibuya, Xisco Mensua and Superflex.