MADRID
jueves, 6 de junio de 2024
THE TRANS LIGHTHOUSE ___________ Manifesto____________ I International Congress of Ecological Humanities ________ UAM May 2023
The universal manifesto for the TRANS-LIGHTHOUSE is formulated as a speculative literature about the humanity of the future, and proposes several leaps of scale for the generation of a hybrid sensibility, which bases the strategy of thought in a utopian and at the same time pragmatic scenario, proposes the rapprochement of these two antagonisms. Although realism illuminates us in our daily course, the vision of the horizon, our own future in a hundred years, a future no longer ours, but of the species, allows us to assume greater challenges and greater conceptual breadths. Once the tone of this manifesto has been pointed out, we go on to narrate what for us could be a global scenario that would host a transnational investigation of world housing. In a world already mestizo and brotherhood, the hundred largest cities, where the avant-garde is presented in a self-generated way on the margins, in the trenches, emerges from those who are not represented by the current forces and powers, who act with paternalism on questions of a philosophical nature, a need for union, for a bond that shows a new city, transnational, a dispersed city that lives all over the globe. If we take the latest philosophical concepts, about petrosex-racialized bodies, we assume that the generating discourse has to emerge from a global synthesis. The logics of the panoptic vision, which today make up the big brother in the network, we take the guides to provide a certain literary avant-garde to face a conceptual idea of great size. If today in the world there are more than a hundred cities with a million inhabitants, we will take those hundred and analyze their form and their socioeconomic context. The dystopian will be mutilated in favor of a test-tube thought, a thought where the most vulnerable are the new untouchables, those who access the TRANS LIGHTHOUSE, which is not only the name of the manifesto, but also the tectonic-spatial formula that we want to develop as an urban and social concept. What is to come is larger than we know. We will not call it a laboratory, but a scene of the real within the real. The transhumanoid is a complex body because it contains all the possible bodies without distinction.
Just as the law is universal and for all, the transhumanoid is the prototype that encompasses all the bodies trained by the algorithm, a tool that responds to common needs and these people become the focus of discourse, to be the discourse. This map of people are the ones we are going to take care of, we are going to incubate the proposal for them and we are going to make that germ our flag. The new FAROS TRANS respond to the new urban planning policies, where building land is an expensive and scarce resource. The new urban enterprises are promoted throughout the new centers defined and equipped with quality public services and spaces. The idea has been to reduce the number of trips by car and increase journeys on foot or by bicycle. The development of these centers with new public spaces of proximity and quality, with the necessary services, at distances of no more than five minutes on foot, implies an efficient and resilient use of the land, without styling or coloring. The color will come from your height and your garbo, where in each window there will be a different voice and a different language. The TRANS NEIGHBORHOODS are proposed, where the questions of future wishes will be formulated to the citizen, where the TRANS LIGHTHOUSE provides a housing infrastructure regardless of your past life, and a TRANS LIGHTHOUSE for each city in the world, without exception. The new cathedral is the TRANS LIGHTHOUSE. It is proposed that between each of them there is a network of exchange of spaces once the citizen space has been obtained. The new urban trends will be swallowed by the algorithm, taking the densification, the elements of order, surrounding it and watering it with an immense green and aqueous structure, around the TRANS LIGHTHOUSE, which will always be built with active facades and generators of energy, will be batteries of the system. There would be no individual traffic, only shared transport, which will be renamed as an ecological zone in motion, which will also be an energy generator, the displacement will be entropic, energy will be gained, the speed will be minimal and the meeting places will be all possible places, with a rhizomatic universal design of differential spaces, which will sustain the parameters of the TRANSHUMAN scale to generate historical depth and memory of the past and the future.
The project wants to first store data and map ideas from civil society to provide proposals that concretize the interconnection between the hundred most populated cities in the world, with the possibility of mixing with all cultures and ages with the flexibility that gives the use of bigdata. For each situation exposed there will be an inclusive text that encourages transhumanism. Moral notions inherited from philanthropic concepts will be taken, and these will be passed through the filter of utopian ideas and versioned by reformist verses, where the notions of equality, centrality and globality will have to be discussed and new reports will be given on what interests transhumanoids, those who will live in the TRANS FACES. within TRANS districts, in TRANS neighborhoods, generating new nodes, applying the maxims of contemporary urbanism, which requires that the centers be developed, and that mobility be minimized in favor of stillness. Each TRANS district is a counterweight to the idea of center. The new label of TRANS CITY will be a global body created by the effect, with direct voting by internet from every corner, and the practical notions derived from artificial intelligence and algorithms will be used in favor of this new multi-nodal city.
Each body is a gift, an offering that within the manifesto we must take care of from the beginning to the end. We will analyze the normalized trajectories of the hundred years of half-life of each body and naturalize its face-to-face and visual exchange with all other bodies that do not represent their age, but one of the other numbers. The memory of each of the bodies makes it a color. If we take childhood as a yellow and adulthood as a blue, all possible ranges of greens are the social map to develop. The encounters between these bodies form the human forest we desire, transecological humanism is the horizon. Living among transgenerations is a way to strengthen all the natural states of the transhumanoid. The TRANS TOWERS contemplate not only the inclusion of bodies of different ages, but of bodies of colors, cultural identities and diverse sexual orientations. Age represents a temporary clause that will be one more ingredient in the TRANSHUMANIST ecosystem.
An exhibition is proposed in the form of an anti-symposium, where eminent sociologists, economists, philosophers, nutritionists, indigenists, futurists, avant-garde, revolutionaries and high bourgeois of all times will be invited in the form of text, essay, document or image and make these ideas, interrelated with transhumanist futurist visions, take the form of manifesto of the TRANS LIGHTHOUSE. We provide images of our own harvest, of our projects, so as not to take the image yet to familiar places. We do not want to be small library hermeneutics that provide a found case, and go unraveling as a scientific essay that justifies the theoretical deployment. We use in a synthetic way our formal exercises as active transhumans, as cells that digest the look of signs and result in a very minimalist, dry, black and white exposure with data. We want the vision to be as revolutionary as a field of sunflowers on a roof, to be as fresh as a kindergarten run by old people, a library for the blind, a supermarket run by psychotics and gardens carved by an army of very high class ladies, in their best clothes, photographed by the youngest for the networks, all at the service of ecological and avant-garde transhumanism.
Figure 1: The network of most populous cities in the world each contains a TRANS FARO. Each of the cities develops a mapping and establishes and executes a neighborhood, with the towers, which assumes all the necessary parameters to receive the nomenclature. Each FARO is an embassy for the transhumanoid, who will be free to move around the sector with all the freedoms that FATO brings. In each FARO there is a list of jobs and volunteers for subsistence.
Figure 2: The trans city sits in what we call the fifth urban city. Taking each city as a platonic form, represented by interconnected temporal layers, where the historical times of urbanism have defined ways of life associated with constructive forms and development. The central layer is an area of the city called the historic center, the first spot, the origin, compact, while the second and third layers expand the city towards a more fluffy city, pushed towards the countryside by decentralizing movements and by the expansions. The fourth city corresponds to the functionalist city, associated with the automobile, while the fifth city, where the TRANS FAROS are based, is a form of multinoodal densification, of filling that heals.
Figure 3 - The TRANS TOWERS sit in the fifth city, on the interstices wasted by the urbanism that precedes them, as a form of healing for the territory. The image of the lighthouses refers to constructions of considerable size, where the exterior spaces are sewn by the presence of the volumes and where the buildings represent a retrofuturistic order, which has a symbolic meaning of great power and brotherhood with the image of the manifesto of FAROS TRANS. The sector responds to an image of structures manufactured for a new humanism, for a man who inhabits the center of the cities in his new cathedrals.
Figure 4. The TransCitizen has universal rights. and is connected to a large database that gives him his rights in real time, within the capitalism of mixed economy, shared economy, circular economy and private economy. The TransCitizen represents as an image the synthesis of the species. The TRANSHUMAN sapiens sapiens.
SITUATIONAL SPLENDOR
The unstable relational sphere and the tectonic scenes generate an emotional field, where I use words, drawings and everyday objects that are introduced into the time-image series, which form fragments in the vertebrae of the new FIELD. I have lived for years in my own gallery installation accompanied by the work of selected artists. I have designed large-scale buildings and curated a hundred shows, exhibiting work in numerous international venues and galleries. PROPOSAL My choreographic scene was born in the city. It was born in the use of the city as an artifact. My relationship with the city, and with cities in general, is intense. I was trained as an architect and as an urban planner, I studied the city, I studied aesthetics and flows, and I have designed some buildings. Later, I dedicated myself to art, from the position of a curator and critic. I have lived in an art gallery for some years as a scenic proposal. When walking through the city, my body develops automatisms of acclimatization and belonging. In Mexico City in 2013 and in London in 2015 I began the series of urban positions in long video-performative drifts. The objective was photographic and filmic, and the body was barely exposed, but a methodology was generated that has led to choreographic situations in a ritualistic sense. For a few years, I have choreographed a dancer recurrently in the city and in the countryside, as an alter ego, and since 2022 I have naturally introduced my body in a choreographic series, assuming the role of the body. I wrote a thesis on relational art and I have directed a long series of conceptual art since 2009. As for my intentions in the residency en Carinthia, I think it is necessary to expand the battlefield. I would like to propose a collaborative piece called FUGA, where the pastures I propose can be cloned and thus bring them a perhaps novel format in its choreographic form, far from the classical canons, much more linked to body art, to installation and situational narratives, which need to be explored and exposed. I have of course studied dance and theater and I keep a record of the pieces I attend as a critic, which I would like to explore in further situations I present to you my latest piece, DOUBLE SIDED, which is my current conceptual synthesis, in which I include, in addition to my objects and movements, another choreographer with freedom of action, I double the stake and the scene. It seems pertinent to me to be with someone when working, to be exposed, as a form of subtle and precise direction.
La crítica describe una obra que utiliza una combinación de elementos simbólicos, surrealistas y a veces provocativos.
La obra parece utilizar una mezcla de simbolismo mundano y elementos surrealistas. Desde la directora que realiza acciones inusuales hasta la representación de la virgen y la madre inmaculada por cinco señoritas orondas, la obra parece estar explorando significados más allá de la realidad tangible. La utilización de cuerpos para representar a otros puede sugerir una exploración de la identidad, la transformación o la conexión entre las personas. El uso de cinco señoritas orondas para dar forma a la virgen podría tener connotaciones simbólicas y estéticas. La crítica destaca la combinación de elementos como la música de Semana Santa con el retozo en la mierda, lo cual sugiere un contraste llamativo entre lo sagrado y lo profano. Este contraste puede ser una herramienta para provocar reflexiones y reacciones en el público. La obra parece buscar provocar y desafiar las expectativas del público a través de imágenes y acciones provocativas, como la directora realizando actos inusuales y la representación de actos sexuales y degradantes. La "metralla verbal" junto con una "imaginería minimalista" sugiere que la obra puede depender de la potencia de las palabras y las imágenes simplificadas para transmitir sus mensajes y emociones. La referencia a "una vez más" al final de la crítica podría sugerir que la obra está explorando temas recurrentes o que busca transmitir un mensaje que persiste a lo largo del tiempo. En general, parece ser una obra que busca desafiar las convenciones teatrales, mezclando elementos cotidianos con simbolismo más profundo, y utilizando provocación para estimular la reflexión del público. La interpretación final de la obra dependerá en gran medida de la perspectiva y sensibilidad individual de cada espectador.
LIDELL https://antolloveras.blogspot.com/2022/01/el-padre-la-virgen-y-la-ecuacion.html
MEAT_________UNSTABLE INSTALLATION SERIES _________ 2010 2023 ____________ MADRID LONDON MARSEILLE NIZA BERLIN CÁDIZ NORWAY LONDON GALICIA ÁVILA MADRID MÁLAGA ___________ ONGOING SERIES #866
SERIES OF ACTIONS ON URBAN FURNITURE AND OBJECTS
EACH ACTION MAKES A SUBTRACTION FROM CONTEXT TO BUILD
A SERIES OF INTALLATIONS
A SERIES OF INTALLATIONS
NEW LAYERS FOR THE UNSTABLE INSTALLATION SERIES
FIRST 100 WITH TAGS AND MULTICAST, FROM NUMBER 200 ON, SINGLE CUT
THE SUBTRACTED PIECES ARE DISPLAYED AS INSTALLATION
TOGETHER WITH THE MEMORY OF THE ACTION IN PHOTO AND VIDEO
PALINDROME 2014
EXHIBITION, FRANCE MAY
61 RASTRO
62 IBIZA
63 ECHEGARAY
64 PULA
65 POREC
66 COMENDADORAS
67 SANTA ENGRACIA
68 BRAVO MURILLO
69 ANDENES
70 SESIÓN 300 EL INTRUSO
71 MARISA
72 ATRAPANUBES
LONDON
85 http://tomototomoto.blogspot.com.es/2015/04/meat-85-limehose-090415-elegant.html
86 http://tomototomoto.blogspot.com.es/2015/04/meat-86-chaise-longue-paars-east-london.html
87 http://tomototomoto.blogspot.com.es/2015/04/meat-87-button-london-042015.html
88 http://tomototomoto.blogspot.com.es/2015/04/meat-88-soft-london-042015.html
89 http://tomototomoto.blogspot.com.es/2015/04/meat-89-yellow-and-pink-whitechapel.html
90 http://tomototomoto.blogspot.com.es/2015/04/meat-90-blue-poplar-blue-east-london.html
91 http://tomototomoto.blogspot.com.es/2015/04/meat-91-gallery-on-cornerlondon-2015.html
92 http://tomototomoto.blogspot.com.es/2015/04/meat-92-london-2015.html
93 http://tomototomoto.blogspot.com.es/2015/04/meat-93-london-all-saints.html
94 http://tomototomoto.blogspot.com.es/2015/04/meat-94-flag-london-2015-east-go-east.html
95 http://tomototomoto.blogspot.com.es/2015/04/meat-95-mile-end-equiltero-isosceles.html
96 http://tomototomoto.blogspot.com.es/2015/04/meat-96-5th-base-london-2015-brick-lane.html
097 http://tomototomoto.blogspot.com.es/2015/04/meat-97-side-street-mile-end-london.html
098 http://tomototomoto.blogspot.com.es/2015/04/meat-98-london-brick-lane-la-nuit.html
099 http://tomototomoto.blogspot.com.es/2015/04/meat-99-london-lights-2015-wounded.html
100 http://tomototomoto.blogspot.com.es/2015/04/meat-100-contract-terms-king-london.html
101 http://tomototomoto.blogspot.com.es/2015/07/meat-101-london-2015.html
102 http://tomototomoto.blogspot.com.es/2015/07/meat-102-red-red-london-2015.html
103 http://tomototomoto.blogspot.com.es/2015/07/meat-103-madrid-2015_9.html
104 http://tomototomoto.blogspot.com.es/2015/07/meat-104-madrid-052015.html
105 http://tomototomoto.blogspot.com.es/2015/07/meat-105-madrid-2015.html
106 http://tomototomoto.blogspot.com.es/2015/07/meat-106-madrid-2015.html
107 http://tomototomoto.blogspot.com.es/2015/07/meat-107-madrid-ambulancia.html
108 http://tomototomoto.blogspot.com.es/2015/07/meat-108-bar-madrid-equilatero-2015.html
EXHIBITION, APRIL 2016 LONDON
http://antolloveras.blogspot.com.es/2015/04/taxidermy-east-london-city-is-animal.html
ELIPSIS ::: COMPRESSION 2016
EXHIBITION, SPAIN AUGUST 2016
http://antolloveras.blogspot.com.es/2017/02/taxidermy-2016-subtractions-series.html
SERIES GO IN MADRID
AND WILL SHOW AT
ARTNATIONS http://artnations.blogspot.com.es
205 206 207 208
209 210 211 212
213 214 215 216
217 http://tomototomoto.blogspot.com.es/2017/01/meat-217-madrid-fuencarral-2017.html218http://tomototomoto.blogspot.com.es/2017/01/meat-218-madrid.html219http://tomototomoto.blogspot.com.es/2017/01/meat-219-madrid.html220http://tomototomoto.blogspot.com.es/2017/02/meat-220-madrid-2017.html221http://tomototomoto.blogspot.com.es/2017/02/meat-221.html222http://tomototomoto.blogspot.com.es/2017/02/meat-222.html223http://tomototomoto.blogspot.com.es/2017/02/meat-223.html224http://tomototomoto.blogspot.com.es/2017/02/meat-224.html225http://tomototomoto.blogspot.com.es/2017/02/meat-225.html226http://tomototomoto.blogspot.com.es/2017/02/meat-226.html227http://tomototomoto.blogspot.com.es/2017/02/meat-227-madrid.html228 http://tomototomoto.blogspot.com.es/2017/02/meat-228-urgel.html
229 230 231 232
233 234 235 236
237 238 239 240 MADRID 02.2017
241 http://tomototomoto.blogspot.com.es/2017/02/meat-241-madrid.html
242 http://tomototomoto.blogspot.com.es/2017/02/meat-242-madrid.html
243 http://tomototomoto.blogspot.com.es/2017/02/meat-243-madrid.html
244 http://tomototomoto.blogspot.com.es/2017/03/meat-244-madrid.html
245 http://tomototomoto.blogspot.com.es/2017/03/meat-245-madrid.html
246 http://tomototomoto.blogspot.com.es/2017/03/meat-246-247-madrid-santo-domingo-2017.html
247 http://tomototomoto.blogspot.com.es/2017/03/meat-246-247-madrid-santo-domingo-2017.html
248 http://tomototomoto.blogspot.com.es/2017/03/meat-248-madrid-2017.html
249 http://tomototomoto.blogspot.com.es/2017/03/meat-249-250-madrid-arnations.html
250 http://tomototomoto.blogspot.com.es/2017/03/meat-249-250-madrid-arnations.html
251 http://tomototomoto.blogspot.com.es/2017/03/meat-251.html
252 http://tomototomoto.blogspot.com.es/2017/03/meat-252.html
MARCH 2017 ____________________ THE CITY IS AN ANIMAL
253 254 255 256
257 258 259 260
261 262 263 264
265 266 267 268
269 270 271 272
273 274 275 276
277 278 279 280281 282 283 284
285 286 287 288 TWINS MÁLAGA
CUT 300 REACHED ::::::::::::::::::::::: APRIL 2017_________MADRID
ONGOING CITY CUTS
NEW SERIES 301 TO 312 CUT 01 MAY 2017 MADRID CENTER
313
324
325
336
MAY 2017 MADRID
=
337
348
JACKETS
349
360
MAY 2017 MADRID
JULY / 3RD SET IS READY TO SHOW
SOLO SHOW GALLERY RICO CROATIA
CURRENT UPDATES FOR THE UPCOMING 4TH TAXIDERMY
SEPTEMBER 2017
FEBRUARY 2019____NUMBER 731 !
BARBATE SPAIN
735 MADRID JUNE 2019
741 UDDEBO JULY 2019
S W A N
785
790
BROTH IS ONGOING NOW.
LAPIEZA
MOVEMENTS FOR AN UNSTABLE SYMPHONIC RITUAL
SERIES 120 - 1407-1415
SERIES 119 - 1398-1406
SERIES 118 - 1389-1397
SERIES 117 - 1380-1388
SERIES 116 - 1371-1379
SERIES 115 - 1362-1370
FRONTLINE
SPACESHIP
791 DECEMBER 2021
https://antolloveras.blogspot.com/2021/12/the-road-to-restorationfilm.html
792
January 2022
800
866 MADRID
11.202306.2024 MÁLAGA
871