{"id":7110,"date":"2024-02-05T18:08:06","date_gmt":"2024-02-05T17:08:06","guid":{"rendered":"https:\/\/editorialconcreta.org\/?page_id=7110"},"modified":"2026-04-29T11:33:10","modified_gmt":"2026-04-29T09:33:10","slug":"concreta-journal","status":"publish","type":"page","link":"https:\/\/editorialconcreta.org\/en\/concreta-journal\/","title":{"rendered":"Concreta Journal"},"content":{"rendered":"\t<div class=\"cnvs-block-section cnvs-block-section-1707239202300 cnvs-block-section-layout-full revista_destacada_seccion 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-1707239202294\" >\n\t<div class=\"cnvs-block-section-content-inner\">\n\t\t\n\t<div class=\"cnvs-block-posts cnvs-block-posts-1707239202287 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-17903 post type-post status-publish format-standard has-post-thumbnail category-concreta-26-en category-concreta-journal tag-nuevo-numero-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=\"680\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2025\/12\/revista-concreta_portada_num_26-1160x680.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-journal\/editorial-concreta-26-operational-vectors-or-what-artificial-intelligence-sees\/\" 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-journal\/concreta-26\/\" rel=\"category tag\">CONCRETA 26<\/a><\/li>\n\t<li><a href=\"https:\/\/editorialconcreta.org\/en\/category\/concreta-journal\/\" rel=\"category tag\">CONCRETA JOURNAL<\/a><\/li><\/ul><\/div><div class=\"cs-meta-reading-time\">3 min read<\/div><\/div>\n\t\t\t\t\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-journal\/editorial-concreta-26-operational-vectors-or-what-artificial-intelligence-sees\/\"><span class=\"seccion\">EDITORIAL <\/span><br>Concreta 26, Operational Vectors, or What Artificial Intelligence Sees<\/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\tConcreta 26 reflects on the profound influence that artificial intelligence has had on the reconfiguration of contemporary visual culture. Concreta 26 is edited by Toni Navarro and features contributions from N. Katherine Hayles, Luciana Parisi, Laura Tripaldi, Anna Engelhardt, Linda Rocco, Taller Estampa, Joanna Zylinska, Paco Chanivet, Amanda Wasielewski, Felipe Rivas San Mart\u00edn, Alejandra L\u00f3pez Gabrielidis and Proyecto UNA. \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 revistas_mosaico 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\t<div class=\"cnvs-block-posts cnvs-block-posts-1613390284066 cnvs-block-posts-layout-standard-type-1 revistas-mosaico\" 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-16719 post type-post status-publish format-standard has-post-thumbnail category-concreta-25-en category-concreta-journal tag-editorial-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\/2025\/05\/revista-concreta_portada_num_25-1160x680.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-journal\/concreta-25\/foreword-concreta-25-the-force-of-images\/\" 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-journal\/concreta-25\/foreword-concreta-25-the-force-of-images\/\"><span class=\"seccion\">FOREWORD<\/span> <br>Concreta 25, The Force of Images<\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 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&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-15983 post type-post status-publish format-standard has-post-thumbnail category-concreta-24-en category-concreta-journal tag-editorial-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\/12\/revista-concreta_portada_num_24-2-1160x680.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-journal\/editorial-concreta-24-hosting-the-mediodia\/\" 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-journal\/editorial-concreta-24-hosting-the-mediodia\/\"><span class=\"seccion\">EDITORIAL <\/span><br>Concreta 24, Hosting the &#8216;mediod\u00eda&#8217;<\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tFrom 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,&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-8537 post type-post status-publish format-standard has-post-thumbnail category-concreta-23-en category-concreta-journal tag-editorial tag-editorial-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\/06\/revista-concreta_portada_num_23-1160x680.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-journal\/concreta-23\/foreword-concreta-23-the-active-composition-of-presence-jara-rocha-nicolas-maleve\/\" 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-journal\/concreta-23\/foreword-concreta-23-the-active-composition-of-presence-jara-rocha-nicolas-maleve\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 23, The active composition of presence<span class=\"autor\">, Jara Rocha, Nicolas Malev\u00e9<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 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&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-7113 post type-post status-publish format-standard has-post-thumbnail category-concreta-22-en category-concreta-journal tag-editorial-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\/2023\/11\/revista-concreta_portada_num_22-1160x680.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-journal\/concreta-22\/foreword-concreta-22-motherhood-an-exquisite-suffering-maite-munoz-iglesias\/\" 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-journal\/concreta-22\/foreword-concreta-22-motherhood-an-exquisite-suffering-maite-munoz-iglesias\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 22, Motherhood: \u00abAn exquisite suffering\u00bb<span class=\"autor\">, Maite Mu\u00f1oz Iglesias<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 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&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-6295 post type-post status-publish format-standard has-post-thumbnail category-concreta-21-en category-concreta-journal tag-editorial-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=\"907\" height=\"680\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/02\/revista-concreta_portada_num_21-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-journal\/concreta-21\/foreword-concreta-21-lets-venture-a-genealogy-of-fantasy-media-jorge-van-den-eynde\/\" 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-journal\/concreta-21\/foreword-concreta-21-lets-venture-a-genealogy-of-fantasy-media-jorge-van-den-eynde\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 21, Let&#8217;s venture. A genealogy of fantasy media<span class=\"autor\">, Jorge Van den Eynde<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 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&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-6209 post type-post status-publish format-standard has-post-thumbnail category-concreta-20-en category-concreta-journal tag-editorial-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=\"907\" height=\"680\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/02\/revista-concreta_portada_num_20.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-journal\/concreta-20\/foreword-concreta-20-pressing-issues-on-art-and-education-alba-colomo\/\" 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-journal\/concreta-20\/foreword-concreta-20-pressing-issues-on-art-and-education-alba-colomo\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 20, Pressing issues on art and education<span class=\"autor\">, Alba Colomo<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 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&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-6215 post type-post status-publish format-standard has-post-thumbnail category-concreta-19-en category-concreta-journal tag-editorial-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=\"907\" height=\"680\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/02\/revista-concreta_portada_num_19.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-journal\/concreta-19\/foreword-concreta-19-deep-time-barbara-rodriguez-munoz\/\" 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-journal\/concreta-19\/foreword-concreta-19-deep-time-barbara-rodriguez-munoz\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 19, Deep time<span class=\"autor\">, B\u00e1rbara Rodr\u00edguez Mu\u00f1oz<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 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,&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-6218 post type-post status-publish format-standard has-post-thumbnail category-concreta-18-en category-concreta-journal tag-editorial-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=\"907\" height=\"680\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/02\/revista-concreta_portada_num_18.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-journal\/concreta-18\/foreword-concreta-18-dialogue-as-restitution-and-reparation-beyond-objects-hasan-g-lopez-sanz-tania-safura-adam\/\" 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-journal\/concreta-18\/foreword-concreta-18-dialogue-as-restitution-and-reparation-beyond-objects-hasan-g-lopez-sanz-tania-safura-adam\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 18, Dialogue as restitution and reparation Beyond objects<span class=\"autor\">, Hasan G. L\u00f3pez Sanz, Tania Safura Adam<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 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&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-6762 post type-post status-publish format-standard has-post-thumbnail category-concreta-17-en category-concreta-journal tag-editorial-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=\"907\" height=\"680\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/02\/revista-concreta_portada_num_17.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-journal\/concreta-17\/foreword-concreta-17-sonorities-at-the-frontiers-of-the-body-laura-valles-vilchez\/\" 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-journal\/concreta-17\/foreword-concreta-17-sonorities-at-the-frontiers-of-the-body-laura-valles-vilchez\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 17, sonorities at the frontiers of the body<span class=\"autor\">, Laura Vall\u00e9s V\u00edlchez<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 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 Vall\u00e9s&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-6777 post type-post status-publish format-standard has-post-thumbnail category-concreta-16-en category-concreta-journal tag-editorial-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=\"907\" height=\"680\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/02\/revista-concreta_portada_num_16.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-journal\/concreta-16\/foreword-concreta-16-in-other-words-pablo-lafuente\/\" 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-journal\/concreta-16\/foreword-concreta-16-in-other-words-pablo-lafuente\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 16, In other words<span class=\"autor\">, Pablo Lafuente<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 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&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-6780 post type-post status-publish format-standard has-post-thumbnail category-concreta-15-en category-concreta-journal tag-editorial-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=\"907\" height=\"680\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/02\/revista-concreta_portada_num_15.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-journal\/concreta-15\/foreword-concreta-15-can-one-wish-for-the-end-of-a-world-caja-negra\/\" 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-journal\/concreta-15\/foreword-concreta-15-can-one-wish-for-the-end-of-a-world-caja-negra\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 15, Can one wish for the end of a world?<span class=\"autor\">, Caja Negra<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 15 (Spring 2020) arises from the question, &quot;can we wish the end of a world?&quot;, and goes through the scenarios imagined by dystopian narratives and scientific projections that begin to creep into our social, economic&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-6785 post type-post status-publish format-standard has-post-thumbnail category-concreta-14-en category-concreta-journal tag-editorial-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=\"907\" height=\"680\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/02\/revista-concreta_portada_num_14.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-journal\/concreta-14\/foreword-concreta-14-what-is-camp-pedro-g-romero\/\" 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-journal\/concreta-14\/foreword-concreta-14-what-is-camp-pedro-g-romero\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 14, What is camp?<span class=\"autor\">, Pedro G. Romero<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 14 (Autumn 2019) proposes an entanglement between rrom, gypsies and flamencos to define camp as a real and sensitive construction, full of trompe l\u2019oeil, tricks and traps. A nomadic cultural field that operates as an&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-6788 post type-post status-publish format-standard has-post-thumbnail category-concreta-13-en category-concreta-journal tag-editorial-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=\"907\" height=\"680\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/02\/revista-concreta_portada_num_13.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-journal\/concreta-13\/foreword-concreta-13-fragile-volatile-and-precarious-ali-a-maderuelo-carles-angel-sauri-julia-castello\/\" 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-journal\/concreta-13\/foreword-concreta-13-fragile-volatile-and-precarious-ali-a-maderuelo-carles-angel-sauri-julia-castello\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 13, Fragile, volatile and precarious<span class=\"autor\">, Ali A. Maderuelo, Carles \u00c0ngel Saur\u00ed, Julia Castell\u00f3<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 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&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-6791 post type-post status-publish format-standard has-post-thumbnail category-concreta-12-en category-concreta-journal tag-editorial-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\/2018\/11\/revista-concreta_portada_num_12-1160x680.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-journal\/concreta-12\/foreword-concreta-12-cinema-to-come-sonia-martinez\/\" 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-journal\/concreta-12\/foreword-concreta-12-cinema-to-come-sonia-martinez\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 12, Cinema to come<span class=\"autor\">, Sonia Mart\u00ednez<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 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&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-6794 post type-post status-publish format-standard has-post-thumbnail category-concreta-11-en category-concreta-journal tag-editorial-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\/2018\/04\/revista-concreta_portada_num_11-1160x680.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-journal\/concreta-11\/foreword-concreta-11-time-of-work-nuria-enguita-mayo\/\" 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-journal\/concreta-11\/foreword-concreta-11-time-of-work-nuria-enguita-mayo\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 11, Time of work<span class=\"autor\">, Nuria Enguita Mayo<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 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,&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-6797 post type-post status-publish format-standard has-post-thumbnail category-concreta-10-en category-concreta-journal tag-editorial-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\/2017\/11\/revista-concreta_portada_num_10-1160x680.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-journal\/concreta-10\/foreword-concreta-10-art-and-tourism-jose-diaz-cuyas\/\" 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-journal\/concreta-10\/foreword-concreta-10-art-and-tourism-jose-diaz-cuyas\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 10, Art and tourism<span class=\"autor\">, Jos\u00e9 D\u00edaz Cuy\u00e1s<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 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&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-6800 post type-post status-publish format-standard has-post-thumbnail category-concreta-09-en category-concreta-journal tag-editorial-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\/2017\/04\/revista-concreta_portada_num_09-1160x680.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-journal\/concreta-09\/foreword-concreta-09-the-perfect-storm-laurence-rassel\/\" 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-journal\/concreta-09\/foreword-concreta-09-the-perfect-storm-laurence-rassel\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 09, The perfect storm<span class=\"autor\">, Laurence Rassel<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 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&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-6803 post type-post status-publish format-standard has-post-thumbnail category-concreta-08-en category-concreta-journal tag-editorial-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\/2016\/11\/revista-concreta_portada_num_08-1160x680.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-journal\/concreta-08\/foreword-concreta-08-photography-as-a-theorical-object-enric-mira\/\" 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-journal\/concreta-08\/foreword-concreta-08-photography-as-a-theorical-object-enric-mira\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 08, Photography as a theorical object<span class=\"autor\">, Enric Mira<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 08 (Fall 2016) reflects on the drifts of the philosophy of photography where the discipline is understood not only as a research subject \u2014as an image or a practice\u2014 but as a theoretical object. This phenomenological&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-6806 post type-post status-publish format-standard has-post-thumbnail category-concreta-07-en category-concreta-journal tag-editorial-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\/2016\/04\/revista-concreta_portada_num_07-1160x680.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-journal\/concreta-07\/foreword-concreta-07-the-traps-of-ornamentation-oriol-fontdevila\/\" 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-journal\/concreta-07\/foreword-concreta-07-the-traps-of-ornamentation-oriol-fontdevila\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 07, The traps of ornamentation<span class=\"autor\">, Oriol Fontdevila<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 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&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-6809 post type-post status-publish format-standard has-post-thumbnail category-concreta-06-en category-concreta-journal tag-editorial-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\/2015\/11\/revista-concreta_portada_num_06-1160x680.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-journal\/concreta-06\/foreword-concreta-06-overflowing-the-exhibition-space-laura-valles-vilchez\/\" 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-journal\/concreta-06\/foreword-concreta-06-overflowing-the-exhibition-space-laura-valles-vilchez\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 06, Overflowing the exhibition space<span class=\"autor\">, Laura Vall\u00e9s V\u00edlchez<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 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&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-6812 post type-post status-publish format-standard has-post-thumbnail category-concreta-05-en category-concreta-journal tag-editorial-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\/2015\/04\/revista-concreta_portada_num_05-1160x680.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-journal\/concreta-05\/foreword-concreta-05-iconoclasm-profanation-vandalism-pedro-g-romero\/\" 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-journal\/concreta-05\/foreword-concreta-05-iconoclasm-profanation-vandalism-pedro-g-romero\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 05, Iconoclasm, profanation, vandalism<span class=\"autor\">, Pedro G. Romero<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 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&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-6815 post type-post status-publish format-standard has-post-thumbnail category-concreta-04-en category-concreta-journal tag-editorial-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\/2014\/11\/revista-concreta_portada_num_4-1160x680.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-journal\/concreta-04\/foreword-concreta-04-deviation-in-political-space-nuria-enguita-mayo\/\" 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-journal\/concreta-04\/foreword-concreta-04-deviation-in-political-space-nuria-enguita-mayo\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 04, Deviation in political space<span class=\"autor\">, Nuria Enguita Mayo<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 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&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-6818 post type-post status-publish format-standard has-post-thumbnail category-concreta-03-en category-concreta-journal tag-editorial-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\/2014\/04\/revista-concreta_portada_num_03-1160x680.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-journal\/concreta-03\/foreword-concreta-03-between-fiction-memory-and-history-laurence-rassel\/\" 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-journal\/concreta-03\/foreword-concreta-03-between-fiction-memory-and-history-laurence-rassel\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 03, Between fiction, memory and history<span class=\"autor\">, Laurence Rassel<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 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&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-6821 post type-post status-publish format-standard has-post-thumbnail category-concreta-02-en category-concreta-journal tag-editorial-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\/2013\/11\/revista-concreta_portada_num_02-1160x680.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-journal\/concreta-02\/foreword-concreta-02-experiences-of-time-traces-and-faces-enric-mira\/\" 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-journal\/concreta-02\/foreword-concreta-02-experiences-of-time-traces-and-faces-enric-mira\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 02, Experiences of time: traces and faces<span class=\"autor\">, Enric Mira<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 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&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-6824 post type-post status-publish format-standard has-post-thumbnail category-concreta-01-en category-concreta-journal tag-editorial-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\/2013\/04\/revista-concreta_portada_num_01-1160x680.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-journal\/concreta-01\/foreword-concreta-01-displacements-and-evictions-laura-valles-vilchez\/\" 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-journal\/concreta-01\/foreword-concreta-01-displacements-and-evictions-laura-valles-vilchez\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 01, Displacements and evictions<span class=\"autor\">, Laura Vall\u00e9s V\u00edlchez<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 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&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-6827 post type-post status-publish format-standard has-post-thumbnail category-concreta-00-en category-concreta-journal tag-editorial-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\/2012\/11\/revista-concreta_portada_num_00-1160x680.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-journal\/concreta-00\/foreword-concreta-00-editing-seralisation-asn-copying-nuria-enguita-mayo\/\" 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-journal\/concreta-00\/foreword-concreta-00-editing-seralisation-asn-copying-nuria-enguita-mayo\/\"><span class=\"seccion\">FOREWORD <\/span><br>Concreta 00, Editing, seralisation asn copying<span class=\"autor\">, Nuria Enguita Mayo<\/span><\/a>\n\t\t\t<\/h2>\n\t\n\t\t\t\t\t\t<div class=\"cs-entry__excerpt\">\n\t\t\t\tConcreta 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&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=\"\" class=\"wp-image-18321\" srcset=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/01\/banner_Txuspo_Poyo.gif 1000w, 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class=\"wp-block-image size-full cnvs-block-core-image-1718023356018\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"685\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/03\/GIF.-Banner-Web-Alarcon-Criado-AYP.gif\" alt=\"\" class=\"wp-image-18535\" srcset=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/03\/GIF.-Banner-Web-Alarcon-Criado-AYP.gif 600w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/03\/GIF.-Banner-Web-Alarcon-Criado-AYP-380x434.gif 380w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/figure>\n\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n\n<div class=\"cnvs-block-column cnvs-block-column-1718021796413\" >\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\"><a 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\" srcset=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/10\/LA-OFICINA-2024-2.gif 600w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/10\/LA-OFICINA-2024-2-380x434.gif 380w\" sizes=\"auto, (max-width: 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https:\/\/editorialconcreta.org\/wp-content\/uploads\/2025\/05\/Banner-Concreta-Artingenium-380x434.jpg 380w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><a href=\"https:\/\/travesiacuatro.com\/\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"2242\" height=\"2560\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2025\/11\/web-scaled.jpg\" alt=\"\" class=\"wp-image-17697\" style=\"object-fit:contain\" srcset=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2025\/11\/web-scaled.jpg 2242w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2025\/11\/web-641x732.jpg 641w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2025\/11\/web-768x877.jpg 768w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2025\/11\/web-1345x1536.jpg 1345w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2025\/11\/web-1794x2048.jpg 1794w, 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https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/03\/expo-CCDUPV_CONCRETA-380x433.gif 380w\" sizes=\"auto, (max-width: 601px) 100vw, 601px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><a href=\"https:\/\/grisconcepte.com\/\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"685\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/08\/banner-gris-concreta.gif\" alt=\"\" class=\"wp-image-14341\" srcset=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/08\/banner-gris-concreta.gif 600w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/08\/banner-gris-concreta-380x434.gif 380w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><\/figure>\n\n\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-1718956377578 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-1718956377536\" >\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\"><a href=\"https:\/\/teatenerife.es\/exposicion\/para-que-podamos-vivir\/257\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"227\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/04\/AAFF_LaLaguna_ConcretaBanner.png\" alt=\"\" class=\"wp-image-18674\" srcset=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/04\/AAFF_LaLaguna_ConcretaBanner.png 1000w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/04\/AAFF_LaLaguna_ConcretaBanner-768x174.png 768w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/04\/AAFF_LaLaguna_ConcretaBanner-380x86.png 380w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/04\/AAFF_LaLaguna_ConcretaBanner-800x182.png 800w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><a href=\"https:\/\/lavac.es\/en\/\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"227\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/04\/af_banner_horiz_1000x227_LAVAC.jpg\" alt=\"\" class=\"wp-image-18764\" srcset=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/04\/af_banner_horiz_1000x227_LAVAC.jpg 1000w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/04\/af_banner_horiz_1000x227_LAVAC-768x174.jpg 768w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/04\/af_banner_horiz_1000x227_LAVAC-380x86.jpg 380w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/04\/af_banner_horiz_1000x227_LAVAC-800x182.jpg 800w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><\/a><\/figure>\n\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n\n<div class=\"cnvs-block-column cnvs-block-column-1718956377566\" >\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\"><a href=\"https:\/\/lamadraza.ugr.es\/exposiciones\/\" target=\"_blank\" rel=\" noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"227\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/04\/banner-web_concreta-1.gif\" alt=\"\" class=\"wp-image-18766\" srcset=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/04\/banner-web_concreta-1.gif 1000w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/04\/banner-web_concreta-1-768x174.gif 768w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/04\/banner-web_concreta-1-380x86.gif 380w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/04\/banner-web_concreta-1-800x182.gif 800w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><\/a><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><a 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https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/06\/banner-organizacion-cultural-concreta02-2048x465.jpg 2048w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/06\/banner-organizacion-cultural-concreta02-380x86.jpg 380w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/06\/banner-organizacion-cultural-concreta02-800x182.jpg 800w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/06\/banner-organizacion-cultural-concreta02-1160x263.jpg 1160w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><\/a><\/figure>\n\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\t<\/div>\n<\/div>\n\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-1711545545884 cnvs-block-section-layout-full 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-1711545545877\" >\n\t<div class=\"cnvs-block-section-content-inner\">\n\t\t\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:60%\">\n<p style=\"font-size:0.74rem\" class=\"cnvs-block-core-paragraph-1711545623482\">This magazine has received editing aid from the Ministry of Culture.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-resized cnvs-block-core-image-1711545580058\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"178\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/04\/ministerio-de-cultura-lectura-infinita-768x178-1.png\" alt=\"\" class=\"wp-image-18734\" style=\"width:350px\" srcset=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/04\/ministerio-de-cultura-lectura-infinita-768x178-1.png 768w, 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