{"id":6226,"date":"2024-02-08T10:36:52","date_gmt":"2024-02-08T09:36:52","guid":{"rendered":"https:\/\/editorialconcreta.org\/?page_id=6226"},"modified":"2026-04-29T11:33:00","modified_gmt":"2026-04-29T09:33:00","slug":"concreta-texts","status":"publish","type":"page","link":"https:\/\/editorialconcreta.org\/en\/concreta-texts\/","title":{"rendered":"Concreta texts"},"content":{"rendered":"\t<div class=\"cnvs-block-section cnvs-block-section-1710597439848 cnvs-block-section-layout-full textos_margin_bottom textos_des_mvl cnvs-block-section-fullwidth\"  id=\"\">\n\t\t<div class=\"cnvs-block-section-outer\" style=\"\">\n\t\t\t<div class=\"cnvs-block-section-inner\">\n\t\t\t\t\n\n<div class=\"cnvs-block-section-content cnvs-block-section-content-1710597439834\" >\n\t<div class=\"cnvs-block-section-content-inner\">\n\t\t\n\t<div class=\"cnvs-block-posts cnvs-block-posts-1710597439821 cnvs-block-posts-layout-horizontal-type-5 revista-destacada\" data-layout=\"horizontal-type-5\" data-min-height=\"\">\n\t\t<div class=\"cs-posts-area\" data-posts-area=\"\">\n\t\t\t<div class=\"cs-posts-area__outer\">\n\t\t\t\t<div class=\"cs-posts-area__main cs-block-posts-layout-horizontal-type-5 cs-posts-area__image-width-half\">\n\t\t\t\t\t\n<article class=\"post-16542 post type-post status-publish format-standard has-post-thumbnail category-concreta-texts category-curating-and-feminisms-series tag-nuevo-texto-en cs-entry cs-video-wrap\">\n\t<div class=\"cs-entry__outer\">\n\t\t\n\t\t\t\t\t<div class=\"cs-entry__inner cs-entry__thumbnail cs-entry__overlay cs-overlay-ratio cs-ratio-original\">\n\t\t\n\t\t\t\t\t\t\t<div class=\"cs-overlay-background cs-overlay-transparent\">\n\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"1160\" height=\"869\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2025\/04\/concreta-textos_el-ensayo-de-la-exposicion.jpg\" class=\"attachment-csco-large-uncropped size-csco-large-uncropped wp-post-image\" alt=\"\" srcset=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2025\/04\/concreta-textos_el-ensayo-de-la-exposicion.jpg 2000w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2025\/04\/concreta-textos_el-ensayo-de-la-exposicion-1200x899.jpg 1200w\" sizes=\"auto, (max-width: 1160px) 100vw, 1160px\" \/>\t\t\t\t<\/div>\n\t\t\t\n\t\t\t\n\t\t\t\n\t\t\t\n\t\t\t<a href=\"https:\/\/editorialconcreta.org\/en\/concreta-texts\/the-papers-of-the-exhibition-1977-2017\/\" class=\"cs-overlay-link\"><\/a>\n\t\t<\/div>\n\t\t\n\t\t<div class=\"cs-entry__inner cs-entry__content\">\n\t\t\t<div class=\"cs-entry__post-meta-wrapper\">\n\t\t\t\t<div class=\"cs-entry__post-meta \" ><div class=\"cs-meta-category\"><ul class=\"post-categories\">\n\t<li><a href=\"https:\/\/editorialconcreta.org\/en\/category\/concreta-texts\/\" rel=\"category tag\">CONCRETA TEXTS<\/a><\/li>\n\t<li><a href=\"https:\/\/editorialconcreta.org\/en\/category\/curating-and-feminisms-series\/\" rel=\"category tag\">CURATING AND FEMINISMS SERIES<\/a><\/li><\/ul><\/div><\/div>\n\t\t\t\t<div class=\"cs-entry__post-meta cs-entry__post-meta-line\" ><\/div>\t\t\t<\/div>\n\t\t\t<div class=\"cs-entry__content-inner\">\n\t\t\t\t\t<h2 class=\"cs-entry__title \">\n\t\t\t\t\t<a href=\"https:\/\/editorialconcreta.org\/en\/concreta-texts\/the-papers-of-the-exhibition-1977-2017\/\">The Papers of the Exhibition (1977-2017)<\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tAn exhibition is a collection of objects brought together in a specific physical space. Visitors encounter forms and artifacts that share the same spatial and temporal framework. This allows the viewer to walk through the space and trace their own paths, engaging in a direct, though mediated, encounter between their body and the objects&#8230;  \t\t\t<\/div>\n\t\t\t\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/article>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\n\t\t\t\t\t<\/div>\n\t<\/div>\n\t\n\t<\/div>\n<\/div>\n\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\n\t\n\n\t<div class=\"cnvs-block-section cnvs-block-section-1613390193812 cnvs-block-section-layout-full textos_margin_bottom textos_margin_top cnvs-block-section-fullwidth\" >\n\t\t<div class=\"cnvs-block-section-outer\" style=\"\">\n\t\t\t<div class=\"cnvs-block-section-inner\">\n\t\t\t\t\n\n<div class=\"cnvs-block-section-content cnvs-block-section-content-1613390193775\" >\n\t<div class=\"cnvs-block-section-content-inner\">\n\t\t\n\n<div class=\"cnvs-block-row cnvs-block-row-1709127238276 cnvs-block-row-columns-1\" >\n\t<div class=\"cnvs-block-row-inner\">\n\t\t\n\n<div class=\"cnvs-block-column cnvs-block-column-1709127238419\" >\n\t<div class=\"cnvs-block-column-inner\">\n\t\t<div>\n\t\t\t\n\n<p class=\"tit_serie hr-lines cnvs-block-core-paragraph-1709127469601\"><span>Arte y turismo series<\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\t<\/div>\n<\/div>\n\n\n\t<div class=\"cnvs-block-posts cnvs-block-posts-1613390284066 cnvs-block-posts-layout-standard-type-1 revistas-mosaico mosaico-textos\" data-layout=\"standard-type-1\" data-min-height=\"\">\n\t\t<div class=\"cs-posts-area\" data-posts-area=\"\">\n\t\t\t<div class=\"cs-posts-area__outer\">\n\t\t\t\t<div class=\"cs-posts-area__main cs-block-posts-layout-standard-type-1\">\n\t\t\t\t\t\n<article class=\"post-13457 post type-post status-publish format-standard has-post-thumbnail category-arte-y-turismo-series category-concreta-texts tag-english cs-entry cs-video-wrap\">\n\t<div class=\"cs-entry__outer\">\n\n\t\t\n\t\t\t\t\t<div class=\"cs-entry__inner cs-entry__thumbnail cs-entry__overlay cs-overlay-ratio cs-ratio-original\">\n\t\t\n\t\t\t\t\t\t\t<div class=\"cs-overlay-background cs-overlay-transparent\">\n\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"1160\" height=\"680\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/07\/concreta-textos_creacion-portada_fernando-estevez-souvenir-1160x680.jpg\" class=\"attachment-csco-large size-csco-large wp-post-image\" alt=\"\" \/>\t\t\t\t<\/div>\n\t\t\t\n\t\t\t\n\t\t\t\n\t\t\t\n\t\t\t<a href=\"https:\/\/editorialconcreta.org\/en\/concreta-texts\/arte-y-turismo-series\/souvenir-souvenir-an-anthropologist-before-tourism\/\" class=\"cs-overlay-link\"><\/a>\n\t\t<\/div>\n\t\t\n\t\t<div class=\"cs-entry__inner cs-entry__content\">\n\t\t\t\n\t\t\t\t<h2 class=\"cs-entry__title \">\n\t\t\t\t\t<a href=\"https:\/\/editorialconcreta.org\/en\/concreta-texts\/arte-y-turismo-series\/souvenir-souvenir-an-anthropologist-before-tourism\/\">Souvenir, Souvenir. An Anthropologist Before Tourism<\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tFernando Est\u00e9vez Gonz\u00e1lez (La Orotava, 1953- 2016) was always an atypical anthropologist. His research focused mainly on debunking colonial and ideological prejudices of his own discipline, or criticising the role the social&hellip;\t\t\t<\/div>\n\t\t\t\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/article>\n\n<article class=\"post-13439 post type-post status-publish format-standard has-post-thumbnail category-arte-y-turismo-series category-concreta-texts tag-english cs-entry cs-video-wrap\">\n\t<div class=\"cs-entry__outer\">\n\n\t\t\n\t\t\t\t\t<div class=\"cs-entry__inner cs-entry__thumbnail cs-entry__overlay cs-overlay-ratio cs-ratio-original\">\n\t\t\n\t\t\t\t\t\t\t<div class=\"cs-overlay-background cs-overlay-transparent\">\n\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"1160\" height=\"680\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/07\/concreta-textos_creacion-portada-1160x680.jpg\" class=\"attachment-csco-large size-csco-large wp-post-image\" alt=\"\" \/>\t\t\t\t<\/div>\n\t\t\t\n\t\t\t\n\t\t\t\n\t\t\t\n\t\t\t<a href=\"https:\/\/editorialconcreta.org\/en\/concreta-texts\/arte-y-turismo-series\/the-virtual-tourist-image-as-destination\/\" class=\"cs-overlay-link\"><\/a>\n\t\t<\/div>\n\t\t\n\t\t<div class=\"cs-entry__inner cs-entry__content\">\n\t\t\t\n\t\t\t\t<h2 class=\"cs-entry__title \">\n\t\t\t\t\t<a href=\"https:\/\/editorialconcreta.org\/en\/concreta-texts\/arte-y-turismo-series\/the-virtual-tourist-image-as-destination\/\">The Virtual Tourist. Image as Destination<\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tThe desire to travel and to see other places, inherent to human beings, has always meant more than a matter of mere survival. Our ability to venture ourselves, varying our position in the world, is a way of adopting another&hellip;\t\t\t<\/div>\n\t\t\t\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/article>\n\n<article class=\"post-6301 post type-post status-publish format-standard has-post-thumbnail category-arte-y-turismo-series category-concreta-texts tag-texto cs-entry cs-video-wrap\">\n\t<div class=\"cs-entry__outer\">\n\n\t\t\n\t\t\t\t\t<div class=\"cs-entry__inner cs-entry__thumbnail cs-entry__overlay cs-overlay-ratio cs-ratio-original\">\n\t\t\n\t\t\t\t\t\t\t<div class=\"cs-overlay-background cs-overlay-transparent\">\n\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"907\" height=\"680\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/02\/concreta_textos_portada_2022-jose-diaz-cuyas_encuentros-salvajes_act.jpg\" class=\"attachment-csco-large size-csco-large wp-post-image\" alt=\"\" \/>\t\t\t\t<\/div>\n\t\t\t\n\t\t\t\n\t\t\t\n\t\t\t\n\t\t\t<a href=\"https:\/\/editorialconcreta.org\/en\/concreta-texts\/arte-y-turismo-series\/wild-encounters-art-consumption-and-cannibal-tourism\/\" class=\"cs-overlay-link\"><\/a>\n\t\t<\/div>\n\t\t\n\t\t<div class=\"cs-entry__inner cs-entry__content\">\n\t\t\t\n\t\t\t\t<h2 class=\"cs-entry__title \">\n\t\t\t\t\t<a href=\"https:\/\/editorialconcreta.org\/en\/concreta-texts\/arte-y-turismo-series\/wild-encounters-art-consumption-and-cannibal-tourism\/\">Wild Encounters: Art, Consumption and Cannibal Tourism<\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\t&quot;Cannibals have always been others. This is a common and widespread prejudice throughout the world. It is a way of attributing to the stranger the negative mark of an extreme otherness that allows us to delimit the borders of&hellip;\t\t\t<\/div>\n\t\t\t\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/article>\n\n<article class=\"post-6307 post type-post status-publish format-standard has-post-thumbnail category-arte-y-turismo-series category-concreta-texts tag-texto cs-entry cs-video-wrap\">\n\t<div class=\"cs-entry__outer\">\n\n\t\t\n\t\t\t\t\t<div class=\"cs-entry__inner cs-entry__thumbnail cs-entry__overlay cs-overlay-ratio cs-ratio-original\">\n\t\t\n\t\t\t\t\t\t\t<div class=\"cs-overlay-background cs-overlay-transparent\">\n\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"907\" height=\"680\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/02\/concreta_textos_portada_2018-ralph-kistler_la-gran-experiencia_act.jpg\" class=\"attachment-csco-large size-csco-large wp-post-image\" alt=\"\" \/>\t\t\t\t<\/div>\n\t\t\t\n\t\t\t\n\t\t\t\n\t\t\t\n\t\t\t<a href=\"https:\/\/editorialconcreta.org\/en\/concreta-texts\/arte-y-turismo-series\/the-great-experience-the-commune-of-otto-muehl-in-la-gomera\/\" class=\"cs-overlay-link\"><\/a>\n\t\t<\/div>\n\t\t\n\t\t<div class=\"cs-entry__inner cs-entry__content\">\n\t\t\t\n\t\t\t\t<h2 class=\"cs-entry__title \">\n\t\t\t\t\t<a href=\"https:\/\/editorialconcreta.org\/en\/concreta-texts\/arte-y-turismo-series\/the-great-experience-the-commune-of-otto-muehl-in-la-gomera\/\">The great experience. The commune of Otto Muehl in La Gomera<\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\t&quot;The Viennese Actionist artist, Otto Muehl, founded a commune in 1970 with the intention of fusing art and life. The project had an exceptional development, it had more than five hundred members, becoming one of the largest&hellip;\t\t\t<\/div>\n\t\t\t\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/article>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\n\t\t\t\t\t<\/div>\n\t<\/div>\n\t\n\t<\/div>\n<\/div>\n\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\n\t\n\n\t<div class=\"cnvs-block-section cnvs-block-section-1709127663733 cnvs-block-section-layout-full textos_margin_top cnvs-block-section-fullwidth\" >\n\t\t<div class=\"cnvs-block-section-outer\" style=\"\">\n\t\t\t<div class=\"cnvs-block-section-inner\">\n\t\t\t\t\n\n<div class=\"cnvs-block-section-content cnvs-block-section-content-1709127663722\" >\n\t<div class=\"cnvs-block-section-content-inner\">\n\t\t\n\n<div class=\"cnvs-block-row cnvs-block-row-1709127663684 cnvs-block-row-columns-1\" >\n\t<div class=\"cnvs-block-row-inner\">\n\t\t\n\n<div class=\"cnvs-block-column cnvs-block-column-1709127663673\" >\n\t<div class=\"cnvs-block-column-inner\">\n\t\t<div>\n\t\t\t\n\n<p class=\"tit_serie hr-lines cnvs-block-core-paragraph-1709127663661\"><span>Imagen y antropolog\u00eda series<\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\t<\/div>\n<\/div>\n\n\n\t<div class=\"cnvs-block-posts cnvs-block-posts-1709127663706 cnvs-block-posts-layout-standard-type-1 revistas-mosaico mosaico-textos\" data-layout=\"standard-type-1\" data-min-height=\"\">\n\t\t<div class=\"cs-posts-area\" data-posts-area=\"\">\n\t\t\t<div class=\"cs-posts-area__outer\">\n\t\t\t\t<div class=\"cs-posts-area__main cs-block-posts-layout-standard-type-1\">\n\t\t\t\t\t\n<article class=\"post-14424 post type-post status-publish format-standard has-post-thumbnail category-concreta-texts category-imagen-y-antropologia-series tag-nuevo-texto-en cs-entry cs-video-wrap\">\n\t<div class=\"cs-entry__outer\">\n\n\t\t\n\t\t\t\t\t<div class=\"cs-entry__inner cs-entry__thumbnail cs-entry__overlay cs-overlay-ratio cs-ratio-original\">\n\t\t\n\t\t\t\t\t\t\t<div class=\"cs-overlay-background cs-overlay-transparent\">\n\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"1160\" height=\"680\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/09\/concreta_textos_portada_2024-hasan-lopez-sanz_una-historia-fotografia-africana_act-1160x680.jpg\" class=\"attachment-csco-large size-csco-large wp-post-image\" alt=\"\" \/>\t\t\t\t<\/div>\n\t\t\t\n\t\t\t\n\t\t\t\n\t\t\t\n\t\t\t<a href=\"https:\/\/editorialconcreta.org\/en\/concreta-texts\/imagen-y-antropologia-series\/a-history-of-african-photography-south-of-the-sahara-dynamics-trends-aesthetics\/\" class=\"cs-overlay-link\"><\/a>\n\t\t<\/div>\n\t\t\n\t\t<div class=\"cs-entry__inner cs-entry__content\">\n\t\t\t\n\t\t\t\t<h2 class=\"cs-entry__title \">\n\t\t\t\t\t<a href=\"https:\/\/editorialconcreta.org\/en\/concreta-texts\/imagen-y-antropologia-series\/a-history-of-african-photography-south-of-the-sahara-dynamics-trends-aesthetics\/\">A history of African Photography South of the Sahara: Dynamics, Trends, Aesthetics.<\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tPhotography produced by photographers from and residing in sub-Saharan Africa has been poorly represented in general histories of photography&#8230;\t\t\t<\/div>\n\t\t\t\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/article>\n\n<article class=\"post-6309 post type-post status-publish format-standard has-post-thumbnail category-concreta-texts category-imagen-y-antropologia-series tag-texto cs-entry cs-video-wrap\">\n\t<div class=\"cs-entry__outer\">\n\n\t\t\n\t\t\t\t\t<div class=\"cs-entry__inner cs-entry__thumbnail cs-entry__overlay cs-overlay-ratio cs-ratio-original\">\n\t\t\n\t\t\t\t\t\t\t<div class=\"cs-overlay-background cs-overlay-transparent\">\n\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"907\" height=\"680\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/02\/concreta_textos_portada_2017-hasan-lopez-sanz_zoos-humanos_act.jpg\" class=\"attachment-csco-large size-csco-large wp-post-image\" alt=\"\" \/>\t\t\t\t<\/div>\n\t\t\t\n\t\t\t\n\t\t\t\n\t\t\t\n\t\t\t<a href=\"https:\/\/editorialconcreta.org\/en\/concreta-texts\/imagen-y-antropologia-series\/human-zoos-ethnic-freaks-and-ethnological-exhibitions\/\" class=\"cs-overlay-link\"><\/a>\n\t\t<\/div>\n\t\t\n\t\t<div class=\"cs-entry__inner cs-entry__content\">\n\t\t\t\n\t\t\t\t<h2 class=\"cs-entry__title \">\n\t\t\t\t\t<a href=\"https:\/\/editorialconcreta.org\/en\/concreta-texts\/imagen-y-antropologia-series\/human-zoos-ethnic-freaks-and-ethnological-exhibitions\/\">Human Zoos, <em>Ethnic Freaks<\/em> and Ethnological Exhibitions<\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\t&quot;A decade ago, while I was carrying out doctoral research in Paris on the relationships between photography and anthropology, I had the opportunity to learn about a phenomenon that from the first moment caught my attention:&hellip;\t\t\t<\/div>\n\t\t\t\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/article>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\n\t\t\t\t\t<\/div>\n\t<\/div>\n\t\n\t<\/div>\n<\/div>\n\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\n\t\n\n\t<div class=\"cnvs-block-section cnvs-block-section-1718021796726 cnvs-block-section-layout-full enlinea_home cnvs-block-section-fullwidth\"  id=\"publitodos\">\n\t\t<div class=\"cnvs-block-section-outer\" style=\"\">\n\t\t\t<div class=\"cnvs-block-section-inner\">\n\t\t\t\t\n\n<div class=\"cnvs-block-section-content cnvs-block-section-content-1718021796710\" >\n\t<div class=\"cnvs-block-section-content-inner\">\n\t\t\n\n<div class=\"cnvs-block-row cnvs-block-row-1719399852732 cnvs-block-row-columns-2\" >\n\t<div class=\"cnvs-block-row-inner\">\n\t\t\n\n<div class=\"cnvs-block-column cnvs-block-column-1719399852932\" >\n\t<div class=\"cnvs-block-column-inner\">\n\t\t<div>\n\t\t\t\n\n<h2 class=\"cnvs-block-section-heading cnvs-block-section-heading-1719400015794 halignleft\" >\n\t<span class=\"cnvs-section-title\">\n\t\t<span>ADS<\/span>\n\t<\/span>\n<\/h2>\n\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n\n<div class=\"cnvs-block-column cnvs-block-column-1719399852953\" >\n\t<div class=\"cnvs-block-column-inner\">\n\t\t<div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\t<\/div>\n<\/div>\n\n\n\n<div class=\"cnvs-block-row cnvs-block-row-1718021539624 cnvs-block-row-columns-2\" >\n\t<div class=\"cnvs-block-row-inner\">\n\t\t\n\n<div class=\"cnvs-block-column cnvs-block-column-1718021539844\" >\n\t<div class=\"cnvs-block-column-inner\">\n\t\t<div>\n\t\t\t\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"227\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/01\/banner_Txuspo_Poyo.gif\" alt=\"\" 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href=\"https:\/\/bulegoa.org\/\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"685\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/06\/banner-buleoga-23.jpg\" alt=\"\" class=\"wp-image-12101\" srcset=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/06\/banner-buleoga-23.jpg 600w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/06\/banner-buleoga-23-380x434.jpg 380w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full cnvs-block-core-image-1718023359866\"><a href=\"https:\/\/laoficinagaleria.com\/\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"685\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/10\/LA-OFICINA-2024-2.gif\" alt=\"\" class=\"wp-image-15062\" 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