The idea for Concreta arose from a shared desire and an absence: the desire to construct a platform from which to contribute to the contemporary thinking of images through a twice-yearly journal and a series of artists’ books; and to do so from a precise place, a community marked by the systematic disappearance over the last fifteen years of cultural infrastructure dedicated to the visual arts. This local situation of cultural crisis comes on top of the global collapse of financial capitalism, and points to a paradigm shift on many levels, not only macroeconomic but also, and above all, micropolitical, portending a dark future for culture and the arts.
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