NATURE BOY

 

https://www.youtube.com/watch?v=hMdr7cjvams 

HIM

HER 

https://www.youtube.com/watch?v=hMdr7cjvams

RESTORAN SPLENDID _________ SOCIAL SCULPTURE SERIES

The Restoran Splendid piece is a social sculpture defined as a site-specific installation. The eight artists that are part of the Rabbit Island residence are located in the eight designated locations in eight photos. Each artist takes a new place in the rotation, which includes them all. Each photo is the same and is different. All the images are placed in a sequence one after the other in a loop. A form of democratic presentation of the whole. 

Anto Lloveras 

.

 

                      

METKA KRASOVEC 

BRIGITTE BRAND 

RUDI BENETIK 

STANISLAV HABJAN

SEBASTIJAN VOJVODA 

ZUZANA KALINAKOVA 

ANTO LLOVERAS - SOCIOPLASTICS-

COLONIA DI RIVIERA 

NIKOLA ISLAND  - POREC CROATIA          

VERNISSAGE - SEPTEMBER 14TH 2012 8PM

CURATED BY DANINO BOZIC

Between Quotation Marks * Entres comillas 2012

Between Quotation Marks, a social sculpture conceived by Anto Lloveras in Madrid, 2012, operates at the intersection of spatial memory, performative portraiture and sculptural semiotics, transforming the domestic wall of the artist’s live-in gallery into a site of dialogic engagement. The black, three-dimensional quotation marks — simultaneously comic, grotesque and mute — suspend the portrayed guests within a rhetorical parenthesis, suggesting that their very presence constitutes a statement in and of itself. This gesture extends Joseph Beuys’ notion of the “social sculpture”, reframing the individual not only as subject but as a material element within a relational aesthetic. The installation is grounded in Lloveras’s own lived environment, a space layered with years of artistic practice, where editing, reading, drawing and receiving visitors coexisted in a rhythm of creative domesticity. The mural becomes a palimpsest, retaining traces of earlier sketches, phone calls and artistic gestures, now punctuated by the performative act of posing. By inviting artists, poets and musicians — including Elise Plain, Susan Campos, Monoperro and Yanira — to participate, Lloveras initiates a choreography of stillness, where each image acts as both documentation and sculpture. The work stages the threshold between private and public, interior and exterior, author and subject, highlighting the porous nature of authorship in collaborative or participatory frameworks. At once tender and conceptual, Between Quotation Marks critiques the spectacle of representation by literalising the framing device — the quotation — as a sculptural presence, invoking questions about voice, authorship and the performativity of the portrait in contemporary art practice.

Trabajé durante años junto a este muro. Lo pinté de blanco en 2008, cuando comencé a vivir en la galería de la calle Palma, al dejar CAMAROTE. En esta habitación trabajaba alternativamamente sentado (editando), tumbado (leyendo documentos) y de pie, dibujando y escaneando. Tenía teléfono fijo, y los amigos y clientes me llamaban en el día, sabían que estaba. En la tarde, más allá del muro de carga, reorganizaba la obra, y recibía a los visitantes, ávidos de arte fresco. Para la acción de clausura en 2012, elegí el muro, con restos de gráficas, junto con las ligeras comillas, para la sesión de fotos, la escultura social, con algunos invitados.

 INSTALLATION AND PHOTO CALL BY ANTO LLOVERAS 

IN COLLABORATION WITH MARISA CAMINOS 

PHOTOS BARTE

ELISE PLAIN

POET

MARÍA ENRÍQUEZ

ARTIST

SABINE FELDEN

ARTIST

SUSAN CAMPOS

MUSIC COMPOSER

YANIRA

SINGER

FEDE GÓMEZ

ARTIST

GIUSEPPE ZAMORA

ARTIST

MONOPERRO

ARTIST

OMAR JEREZ

ARTIST

SEBAS BEYRO

ARTIST

VIC SNAKE

ARTIST

House and Dome: Minimal Architecture as Conversational Sculpture ________ ZUCCATO GALLERY_______________ POREC CROATIA | A CONVERSATION WITH DANINO BOZIC____________CURATED BY JERICA ZIHERL

50%            SHOW           50%

WITH DANINO BOZIC

A

CONVERSATION INSTALLATION

http://regionalexpress.hr/site/more/zatvaranje-izlozhbe-anto-lloveras-anino-bozhi/

>

ISTRIA NEWS

http://www.glasistre.hr/vijesti/kultura/izlozba-koja-je-eksperiment-i-za-umjetnike-467602

KICK OFF

>

AFTER 2 YEARS

I COME BACK TO CROATIA

TO PLAY A NEW GAME IN A PALACE

AND 

EXPAND THE 

UNSTABLE INSTALLATION SERIES

ADDING COMPLEXITY TO THE CLOUD

WITH

LIGHT SOCIAL SCULPTURES

http://antolloveras.blogspot.com.es/2014/08/blue-bags-2014-madrid-berlin-cadiz.html

TAGS AND PAPER

http://antolloveras.blogspot.com.es/2014/03/fuegos-fireworks-tag-and-memory.html

CUTS AND INSTALLATIONS

http://antolloveras.blogspot.com.es/2013/12/carne-meat-nube-de-nubes.html

TWINS AND UNSTABLE SETS

http://antolloveras.blogspot.com.es/2014/04/twins-mexico-df-city-is-animal.html

FILMS AND MEMORY

http://antolloveras.blogspot.com.es/p/copos-flakes-urba.html

CONVERSATIONS

http://lapiezalapieza.blogspot.com.es/p/frozen-heat-art-satellites-norway.html

ARTSHOW
WITH DANINO BOZIC 
CURATED BY JERICA ZIHERL
http://www.poup.hr/tekstovi/anto-lloveras-unstable-installations-đanino-božić-stable-installatons.aspx

Belonging to the Minimal Architecture Series, exemplifies an aesthetic of radical simplicity, where the structure is reduced to the most elemental gestures: lines of bamboo and threads barely outlining the memory of a shelter. What emerges is not a model of construction but a diagram of inhabitation, a fragile articulation between geometry and void. Its architectural vocabulary resists solidity; instead, it thrives on instability, exposing the precariousness of all spatial definitions. Presented within the context of the Unstable Installation Series at Zuccato Gallery in Poreč, Croatia, and in dialogue with Danino Bozic under the curatorial direction of Jerica Ziherl, the work functions as both installation and conversation. Here, architecture becomes performance, a medium for negotiation and encounter rather than permanence. The so-called “house” and “dome” are stripped of domestic promise, reduced to signs that hover between drawing and construction. In this way, they propose an architecture of thought rather than of habitation. What is particularly striking is how the work oscillates between the individual line and the collective cloud. The fragility of bamboo evokes nature, yet its alignment into minimal frames suggests the persistence of human order. The dome, historically a symbol of universality, is re-imagined here as an incomplete curve, an unfinished horizon of possibility. By refusing closure, the work resists the monumental and aligns itself with the ethos of unstable sculptures: structures that are not ends in themselves but occasions for dialogue, memory and shared experimentation. In this sense, House and Dome stages a tension between absence and presence, architecture and its erasure. It is not a shelter but a question, not an edifice but a notation, inviting viewers to imagine what could dwell in the voids between its minimal traces.

HEIN D IR

V E T O N E S

Los vetones fueron el demónimo que los historiadores romanos emplearon sobre el conjunto de los pobladores prerromanos de cultura celta que habitaban un sector de la parte occidental de la península ibérica. Su asentamiento tuvo lugar entre los ríos Duero y Tajo, principalmente en el territorio de las actuales provincias españolas de Ávila, Salamanca y Cáceres. Un castro es un poblado fortificado propios de finales de la Edad del Bronce y de la Edad del Hierro. El castro es un poblado fortificado que se empezó a habitar desde el siglo VI A.C., carente de calles que formen ángulos rectos y llenos de construcciones de planta casi siempre circular. Se sitúan en lugares protegidos naturalmente. Las casas más antiguas eran de paja-barro, el techo era de ramaje y barro y después de varas largas. Fundamentalmente, eran estancias únicas. Uno de sus legados más características son los verracos de piedra. Su cultura se caracterizó por su carácter guerrero y ganadero. Construyeron asentamientos defensivos en zonas elevadas. Oppida Ulaca o Mesa Miranda.

The vetones were the demonym that Roman historians used on the set of pre-Roman settlers of Celtic culture that inhabited a sector of the western part of the Iberian Peninsula. Its settlement took place between the Duero and Tajo rivers, mainly in the territory of the current Spanish provinces of Ávila, Salamanca and Cáceres. A castro is a fortified town typical of the late Bronze Age and the Iron Age. The castro is a fortified town that began to be inhabited from the 6th century BC, lacking streets that form right angles and full of buildings almost always circular. They are located in naturally protected places. The oldest houses were made of straw-mud, the roof was made of branches and mud and after long poles. Fundamentally, they were unique stays. One of his most characteristic legacies are the stone boars. Its culture was characterized by its warrior and cattle character. They built defensive settlements on high ground. Oppida Ulaca or Mesa Miranda.

​

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