Focus and Scope

Subject matter

SOBRE is journal published annually that addresses from a complex and multifaceted perspective the relationship between the practice of art and architecture- and its modes and production systems - with structures, means and devices serving to distribute and communicate in academic and professional spheres, as well as in society in general.

The articles submitted to sections “Campo”, “Panorama” and "Pliego" are subject to anonymous review (“double blind” process).

The research or review articles submitted to the “Campo” section of the journal may openly adhere to  the following lines:

• Studies that deepen and put into question the use of both traditional (books, journals, catalogues, film, photography ...) and contemporary (video, internet, social networks …) means of dissemination and communication of art and architecture production.
• Reflections on artistic projects that use editorial means or that enquire into concepts such as the multiplicity, seriality or sequentiality of written or visual archives.
• Studies of archives and records in the field of art and architecture.
• Review of initiatives and experiences related to legislation, copyright policies and licenses in the fields of art and architecture.
• Tools and technologies that allow to edit, reproduce, multiply and disseminate artistic works.
• Delve into the question of edition and reflect on the practices and experiments linked to the matter.
• Review of cultural experiences (music, performing arts, dance, cinema, etc.) that affect or bolster the editing processes.

Reception of articles for the “Campo” section is permanently open.

The research or review of articles submitted to the journal for the “Panorama” and "Pliego" sections must  adhere to the topic of each issue and respect the journal’s deadline.

Scope

Traditionally, the exhibition has been the main means of displaying artistic work while catalogues and journals have played the role of bringing together and communicating to both professionals and academics, as well as to society in general, the contributions offered by the agents of contemporary art to the different fields of knowledge.

It is not new that these means of display have been questioned, twisted, abandoned and brought back to them in terms of changes and new requirements that have transformed not only art but society itself.

Neither is the effect of a new productive and communicative reality exerts on the means and modes of disseminating contemporary art surprising as they develop alternative models of editing and distribution of projects, complementary to those currently in use, but which may be more appropriate and effective today.

The current social reality marked by a deep destabilising economic crisis precipitating a predicament among the media and spaces traditionally serving to disseminate contemporary artistic and cultural production has led many artists and cultural producers to devise and experiment with new concepts and formats to sustain production and seek alternative channels of editing and distribution of their work.

The currently emerging lines of research and experimentation in the panorama of contemporary cultural production pose alternatives to traditional circuits of presentation and distribution. These require reassessment and transformation hinging on the means, systems and spaces that are testing alternative modes and formats of edition better adapted to the current social and professional reality. This has given rise to new distribution networks, exhibition spaces and even forms of production that require attention as they are putting into question the normal means of producing and spreading culture.

New publishing formats, platforms and alternative editing networks, as well as other organic   models contrasting with the traditional production systems, etc. are yielding a network of events, scenes and specialised spaces that summoned by artists and cultural producers, as well as by collectors, managers and cultural critics, as innovative references for the production and diffusion of current art work.

This reality leads to reflect on a system that, relying on new technologies, has become more autonomous, has socialised contact with art, has recovered formats and generated alternatives that lead to participation and a hybridisation of languages and the media (musical productions, workshops, conferences, publishers, production companies, trade shows and markets in cities, etc.) and on popular and technical knowledge. This has above all led to ways by which research and artistic production continue propagating advances in knowledge.

The interest of this journal is therefore to investigate, experiment and communicate the potential links between contemporary artistic production and the dissemination of knowledge, emphasising the roles of the political and relational dimensions of current modes and systems of edition.

Languages

Spanish-English

Periodicity

Annual