:::::::::: SOCIOPLASTICS : 2025

Saturday, December 13, 2025

PALACIO DE CARLOS V _______ GRANADA ***** LA ALHAMBRA

TRANSLATORIAL

http://antolloveras.blogspot.com/2015/06/yellow-bagsunstable-installarton.html

2015

2025

Accumulation, Repetition, and Cross-Series

Unstable Installation Series reaches its current phase as a field of multiplications, where each cut on an urban object opens parallel pathways across the wider socioplastic practice. The new works echo the double-sided logic of the Stage Series, functioning simultaneously as sculpture and scenography, object and performer. Their presence in the city produces small flakes of instability—micro-events that detach, drift, and recombine with other ongoing lines such as Taxidermy, Broth, the blankets, the bags, and the positional devices. Each action remains singular, yet immediately becomes part of a wider swarm of gestures circulating through the practice. Approaching the thousandth cut, the series now operates like a double-faced organism: one side anchored in the urban object, the other unfolding into expanded installations, filmic echoes, ritual fragments, and situational architectures. This moment marks a transition where accumulation, repetition, and cross-series resonance tighten into a multilayered stage—an evolving choreography in which every subtraction produces a new front and a new backside, a fresh flake sliding into the constellation of the work.

https://antolloveras.blogspot.com/2014/09/meat-series-2014-madrid-marsella-berlin.html

MEAT 948 MÁLAGA 2025

The Tangential Uncanny

Contemporary practices, whether formed at the margins of art or at its center, increasingly turn to objects, feelings, and affective sites as ways of sensing the world’s interdependencies. It is in this expanded terrain—where material gestures meet emotional topographies—that my work positions itself. I use minimal, portable elements such as bags, blankets, and fragments of the built environment to activate subtle relational shifts. These objects function less as artworks than as catalysts for reconfiguring the spaces and communities they touch, echoing the intimate material vocabulary of Tenant of Culture or the situational sociality of Rirkrit Tiravanija, while moving toward what I call socioplastics: a practice that shapes cultural ecologies through attention, circulation, and shared presence. Across installations, architectural interventions, and landscape actions, I explore how environments can be inhabited as evolving dramaturgies rather than fixed forms. Projects like Trole Building, or the NTNU spatial experiments operate through participation, and temporal openness, resonating with the systemic poetics of Pierre Huyghe and the spatial agency found in the work of Theaster Gates, though articulated here through a quieter, provisional grammar. In the Supernatural and Subtraction series, minimal gestures recalibrate the relation between body and territory, allowing ecological time to surface without imposition. Taken together, these works outline a practice that does not claim centrality but builds attentive worlds—temporary, porous, and affectively charged—where objects, architectures, and bodies learn to think and move with one another.

The Principle of Biophilia

Understood as the innate human affinity for other forms of life, has emerged as a profound design strategy that reconfigures the way we inhabit, imagine and construct space by integrating natural systems, materials and aesthetics not as ornament or background but as active agents in the shaping of experience, well-being and ecological awareness, and far from being a nostalgic return to nature, biophilic design represents a forward-looking methodology that incorporates living systems—vegetation, daylight, airflow, organic textures—into architectural vocabularies, generating multisensory environments that foster cognitive restoration, emotional regulation and social connection, as evidenced in the growing proliferation of vertical gardens, indoor forests, green façades, topiary interventions and plant-integrated furniture in both domestic and urban contexts, where nature is not only present but choreographed, curated and inhabited as part of the spatial narrative, offering microclimates of relief and multispecies interaction that question the anthropocentric rigidity of modern design, and this impulse is not merely aesthetic but deeply physiological and psychological, as supported by environmental psychology and neuroarchitecture, which highlight the measurable benefits of natural patterns, organic geometries and dynamic light on mood, attention and healing, thus redefining architecture as a porous interface between the built and the living, a co-evolutionary platform where matter grows, adapts and breathes alongside its inhabitants, transforming maintenance into care and presence into participation in an ongoing metabolic dialogue with the planet.

A slight displacement

A minor cut, an object shifting its assigned role—these minimal operations reveal how environments can be reorganized without resorting to scale or spectacle. The work unfolds not through grand architectures or monumental forms but through compact constellations of micro-events that subtly recalibrate how a space breathes or perceives itself. What appears insignificant becomes a quiet operator within larger ecological and social systems. Such practices rely on the capacity of modest materials—bags, blankets, leaves, fragments, residues—to act as portable agents rather than static artworks. Their meaning accumulates through circulation, repetition, and contact. By drifting from one context to another, they generate relational fields that grow outward from the small. In this mode of working, the minimum behaves as an infrastructure: a device capable of shifting rhythms, thresholds, and proximities with remarkable precision. Landscape and urban environments respond particularly well to this logic. A barely visible subtraction in a forest floor, a displaced object in a street corner, a subtle rearrangement within an interior—each gesture introduces a deviation that invites the setting to think and act with its own logic. Instability becomes a medium, not a failure. Conditions, rather than images, emerge as the true content of the work. Across these interventions, the compact replaces the monumental. Small units—repeated, dispersed, and lightly activated—form a distributed architecture of attention. They demonstrate that transformation does not require gigantism; it requires sensitivity to the micro-scale where relations begin and where perception quietly shifts. In this way, the practice aligns itself with contemporary tendencies that prioritize atmosphere, process, and shared presence. The small gesture, multiplied and sustained, becomes a method for imagining worlds that expand without enlarging—worlds built from precision, gentleness, and the continuous reconfiguration of the everyday.

Engaging with Collectives, Open Series, and the Social Grammar of Contemporary Art (2015–2025)

Parallel to the global drift of the bags, another cluster of entries—Urban Squad, The Road to Restoration, Qualitatskontrolle—has accumulated thousands of visits, reflecting a different kind of magnetism: the attraction of the collective process. These projects unfolded primarily in Europe—Cádiz, Amsterdam, Madrid, Uddebo—where the social grammar of performance and installation thrives on collaboration. Here, the reader encounters not an object but a stage of negotiation: between musicians and architects, between salt sacks and scaffolding, between public squares and precarious infrastructures. The strong readership suggests that audiences respond to art not only as product but as laboratory, a rehearsal space where co-presence is more important than finished form. In this European constellation, the emphasis is on the open-ended: squads, series, controls, each refusing closure and inviting continuous return. That thousands of readers from elsewhere—Latin America, Asia, North Africa—gravitate to these accounts reveals a broader hunger for the collective imagination. What began in European theatres, warehouses, or biennials has reverberated, amplified by the networked logic of the archive. The popularity of these entries suggests that collectives today are not simply groups of artists but formats of reception: audiences visit them as if joining the rehearsal, becoming implicated in the process. In this sense, the readership itself forms part of the work, a dispersed yet attentive body that sustains the life of projects long after the event. To follow the series is to acknowledge that art survives not in permanence but in the unstable memory of actions—thousands of readers becoming, in their own way, a temporary collective.

Bags and Other Portable Sculptures Across Continents, Contexts, and Years (2010–2025)

The persistent fascination with the bag projects—Blue, Yellow, Green, points to the peculiar charisma of the ordinary object when charged with conceptual force. These bags, fragile and functional, have travelled restlessly across South America and Asia—Mexico City, Oaxaca, Bogotá, Lagos, Taipei—where they act as mobile agents of critical pedagogy. They carry almost nothing yet hold everything: traces of encounters, residues of performances, whispers of urban instability. Each documented displacement confirms that their resonance lies not in sculptural weight but in translatability—anyone, anywhere, can recognise a bag. What changes is the context, the ritual, the precarious choreography it enables. In this way, the bags become both artwork and witness, quietly teaching that instability is not a deficit but a shared global condition. What the readership confirms is that these portable sculptures are more than anecdotes. They form a living archive where seriality replaces monumentality, where repetition builds a transnational narrative of fragility and persistence. From South American plazas to Asian port cities, audiences reencounter themselves through this unstable mirror: the humble plastic fold elevated into a site of reflection on mobility, waste, memory, and survival. Their thousands of clicks, distributed across geographies, do not celebrate popularity but indicate a collective will to participate in art that is porous and itinerant. To follow the bags is to embrace a pedagogy of the unstable, a practice that demonstrates how even the smallest object, endlessly re-situated, can redraw the cartography of contemporary conceptualism.

LEMON //////////// WALL SERIES /////////////////// THE LIGHT IN CADIZ

THE LIGHT IN CADIZ

WALL SERIES 2015

http://antolloveras.blogspot.com.es/2015/11/the-ligh-on-rice-fields-vejer-cadiz.html

http://antolloveras.blogspot.com.es/2016/01/the-light-in-cadiz-2016-five-century.html

YELLOW

http://antolloveras.blogspot.com.es/2015/06/yellow-bagsunstable-installarton.html

GREEN / NO LEFTOVERS

http://antolloveras.blogspot.com.es/2015/07/greengreenblack-blackunstable.html

WHITE

http://antolloveras.blogspot.com.es/2015/08/mimesistime-and-honor2015negradas.html

LEMON KISS / FRUITJOBS AND RITUALS

http://antolloveras.blogspot.com.es/2014/09/lemon-kiss-ritual.html

ORANGE

http://antolloveras.blogspot.com.es/2016/07/orange-tag-scuplture-prague-2015-serbia.htm

ART BY LLOVERAS

LAPIEZA ART SERIES

GREEN BRIEFCASE UNSTABLE INSTALLATION SERIES2014 2024 __ MADRID MEXICO NORWAY CROATIA SERBIA CÁDIZ MÁLAGA GALICIA UDDEBO NEGRADAS CANARIAS LAGOS, NIGERIA _IN USE____1514 1770

LAPIEZA ARTNATIONS

https://youtu.be/GGhD3rsUV6U

TIRSO

ARCO 2017 TERESA MARGOLLES

https://antolloveras.blogspot.com/2017/03/red-bag-2017-madrid-artnations.html

RELATED MONOCHROMES _________________________________________________________

BLUE BAGS

YELLOW BAG

EL DORADO

GREEN NET

WHITE NET

RED EXTENSIONS

PURPLE LEGS

GREEN HAT

BLUE PANTS

_______________________________________________________________

http://tomototomoto.blogspot.com.es/2017/03/meat-277-madrid-corredera-2017.html

GALICIA APRIL 2017 WITH MELANCHOLIA SERIES

http://antolloveras.blogspot.com.es/2017/08/collateral-seriestrnslatoril.html

AS ART
JULY 2017 CROATIA

BOGOTÁ
http://antolloveras.blogspot.com/2018/11/qualitatscontrollebogota-2018nov-2018.html

MADRID 2018

CÁDIZ 2019 TARIFA
WITH MAQUEDA

TÓMBOLO https://antolloveras.blogspot.com/2019/06/tomboloactivador-socialcadiz-2019.html

SPACESHIPS MÁLAGA
http://antolloveras.blogspot.com/2019/04/ntnu-architecture-masters-series-trip.html

CORRENS BY THE RIVER
http://antolloveras.blogspot.com/2019/06/symposium-correns-june-2019.html

ANTISYMPOSIUM
http://antolloveras.blogspot.com/2019/03/uddebo-2019-anti-symposium.html
RED BAG / BLUE PANTS

ÁVILA COVID SEMESTER

NEGRADAS
2020

TENERIFE

http://antolloveras.blogspot.com/2022/02/la-gomera.html

la gomera islas canarias

comienza una nueva serie escénica 02.2022

EL MALETÍN PASA UNOS MESES EN

CASA DE JAVI MATEO Y MARÍA EN EXTREMADURA

http://antolloveras.blogspot.com/2024/01/lagos-biennial-2024-3-to-10-february.html

LAGOS

CALLE INVENCIBLE

TEATRO PRADILLO

http://antolloveras.blogspot.com/2023/11/teatro-pradillo-18-02-24-calle.html

GREEN BRIEFCASE is a portable, invisible sculpture and positional fixator. Part of the UNSTABLE INSTALLATION SERIES (2014–2024), it has traveled across multiple locations, including Madrid, Mexico, Norway, Croatia, and Lagos. The briefcase transforms spaces into ephemeral artworks, blending urban mobility with conceptual art. In continuous use, it transcends conventional exhibition formats.

SUNFLOWER FIELDS _________________________________SUPERNATURAL SERIES _ BOKROS SLOVAKIA ___________________ MMXIX

Back in the south of Slovakia, next to Komarno and to the Danube River. The art residence in Bokros works elegantly in a rural hotel runned by a family in a production farm. The farm includes modern technology and has some old buildings from the last century that work as simple anthropological museums. The owners and the staff are gentle and kind. The fields around the farm are covered with corn, sunflowers and potatoes. It rains heavyly in the nights. Nightstorms are wild. We share homemade meals everyday in a big livingroom with the invited artists to this 40th year of the art series runned by artist Yuri Dólan. We work in our ateliers, there are several of them spread around the farm. There are pigs and a couple of horses eating grass. In the evening we have some lectures and presentations about our works and enjoy some music with local spirits. Apricot Pálinka is best. Everyone is very calm and we have time to talk without any hurry. I have no cellphone this time with me, so im extra focused in the real time and the context. I walk the area everyday with joy, the new natural canvas. I already recorded Kómarno and the farm some years ago, and feels very intersting to be back for a few days to make the relationship with the place and the artists stronger. I always return to those scenarios that give me joy and focus. I make a film in relation with the local natural elements. Classic mood. I swim in the Danube and cross the fields. The sound of the bending leaves is great. Corn is still green and sunflowers are getting brown. I collect some natural installations and burn some of them by the river as ritual during the day. All in a very small and light scale. Frugal art. I collect some elements and picture them in sets. Artist work some hours on their steady concepts, with great respect and empathy. I have worked now more that ten years in the field od relartional art, LAPIEZA was launched in 2009 so I feel deep respect for those who have the energy and the will to invite and gather artists for so many years in a row. Congratulations.

UNSTABLE INSTALLATION SERIES

https://antolloveras.blogspot.com/2019/09/setsbokros-mmxix.html

BOKROS IZÁ KÓMARNO SLOVAKIA MMXIX
The triangle is a classic in the floor sets. The stones from the river are smooth and look a bit like candy. Toffee. The equilaterum works in all directions.

The main work for the exhibition is the film in the context. Bokros. The narrative is straight, a direct point of view, a transit towards a house, with the melancholy of the music by el intruso.

https://antolloveras.blogspot.com/2019/09/bokrosmmxix.html
8MIN HD DIGITAL SERIES
THROUGH FILEDS. FIRE AND MUD.SUPERNATURAL SERIES.

POOL is a bonus work on a readymade concrete structure that stands alone as and artwork. I walk down and up once with the bag as art, as in many other structures.

https://antolloveras.blogspot.com/2019/09/poolmmxix.html

The opening day of the residence we are kindly invited by artist Marta Kiss to enjoy the latest collective exhibition of the asociation of hungarian-slovak painters in a magnificent space. The gallery uses an old church in the center of Komarno. The show is dense and there is live music and some drinks.

30TH EXHIBITON SLOVAK HUNGARIAN PAINTERS KOMARNO GALERIA LIMES
https://www.youtube.com/watch?v=pXCxVM3U-9Q

DINNER SPEACH BY FARM OWNERS BEFORE DINNER.
https://www.youtube.com/watch?v=eF3dr3i9uEA&t=1s

SEÑOR PAINTS A JOHN DEERE FOR A LOCAL COLLECTOR

https://antolloveras.blogspot.com/2019/09/senorjohn-deerebokros-2019.html

YASMIN ENSAMBLES POST APOCALYPSE BEETLES
https://www.youtube.com/watch?v=RMdKsBfSAXo

JANA TRNKA CUTS AND PLAYS WITH JOY
https://www.youtube.com/watch?v=Swdhalt-B6k

HALA SWAL PAINTING A DOUBLE HER FLAT SCULPTURE
https://antolloveras.blogspot.com/2019/09/haha-swalbokros-2019.html

THE SITUATION IN BOKROS
IS PART OF THE ONGOING POSITIONAL ESSAY SERIES

RAW IDENTITY VIDEO SERIES //////////////////////////////
SITUATION, CONTEXT AND MEMORY - ONGOING META DOCUMENTARY

AND

THE TRANSLATORIAL -
UNSTABLE TRNASLATORIAL CONTEXT FIXERS

ADDING BODIES AND ATMOSPHERES TO THE SERIES
http://antolloveras.blogspot.com/2015/06/yellow-bagsunstable-installarton.html
++++++++++++ YELLOW BAG / BLUE PANTS / BLACK SHOES / 7TH HA

THAT CONNECT WITH THE ONGOING SUPERNATURAL SERIES

AND THE ONLINE EXHIBITIONS BY LAPIEZA
INTERNATIONAL CONTEMPORARY RELATIONAL ART SERIES

NATURAL SQUAD SERIES - UDDEBO SWEDEN 2019

http://antolloveras.blogspot.com/2019/03/uddebo-2019-anti-symposium.html

BY THE RIVER - PROVENCE 2019

http://antolloveras.blogspot.com/2019/06/symposium-correns-june-2019.html

TRAFALGAR - SUPREMATISM CÁDIZ - 2019
http://antolloveras.blogspot.com/2019/02/cadiz-2019unstable-insallation.html

http://antolloveras.blogspot.com/2016/03/the-word-in-viena-0316lapieza-1000.html

Over the years 1779

What began as a technical profession in architecture has metamorphosed into a lighter, more experimental approach, delving into curating exhibitions and directing scenes. My desire is to imprint an ephemeral mark, employing pure geometry and infusing vibrancy through colored bags, incorporating bodies from my series. In this artistic sojourn, I yearn to engage all senses. I want to savor local dishes, describing the nuanced sensations they evoke. I aspire to immerse myself in unfamiliar languages, learning and absorbing. The plan is to compose a series in collaboration with local artists, capturing the essence of the place that allows me to dream peacefully, fostering a sense of belonging in a remote locale. My proposal remains open-ended, a canvas awaiting the brushstrokes of context. Drawing inspiration from weather, colors, tones of voice, or even culinary experiences, I am ready to weave new connections into my existing series. With a portfolio exceeding two hundred contextual works, I bring a wealth of sensitivity to the table. What sets this moment apart is the convergence of my architectural background, studies in environmental psychology, and experience in curating seasonal exhibitions. This amalgamation positions me to influence the intersections of artistic fields that were once seemingly distant. Embracing autonomy, free from the spotlight and institutional constraints, I believe in the freedom of art to shape new ways of life. As the director of LAPIEZA, a relational artifact that I have guided for a decade, I advocate for the virtues of serial art and the accomplishment of short and medium-term objectives. My narrative is not academic but sensory, rooted in a profound sense of responsibility. Having steered an architecture studio and curated art, I bring extensive experience in management and production, adapting seamlessly to teams working on medium-term projects. Through my journey, I seek to illuminate and inspire, offering my experiences as a beacon for others navigating the diverse realms of art and humanity. I traverse diverse realms, seamlessly integrating my background as an architect and urban planner with my passion for curating exhibitions. The city, to me, is not just a backdrop but the central character in my performance piece, a dynamic entity that shapes and reflects my evolving artistic identity.

Then Blue

Re-(t)exHile * Site Specific Tension

The textile canopy, suspended between monumental equestrian sculptures and industrial concrete, embodies both shelter and rupture, generating a space of contingent collectivity amidst urban residues.

Central to the project is the reuse of second-hand textiles, sourced from Katangua Market, one of Africa’s largest hubs for the circulation of discarded garments from the Global North. Purchased in bulk bags from the lowest-priced section, the fabrics—subjected to resistance testing—bear the wear of global consumption and the imprint of economic asymmetries. Their transformation into a resilient canopy challenges normative notions of material obsolescence, embedding within the structure a tangible critique of circular economies. While discourses around sustainability often celebrate reuse, Re-(t)exHile underscores the paradoxical violence of material dumping, where “recycling” veils extractive trade practices. The project aligns with Ibrahim Mahama’s jute installations and El Anatsui’s reconstituted bottle-top tapestries, yet departs in its deliberate impermanence, crafting a temporal occupation that resists commodification. The red line becomes a symbol of marginality, invisibilized yet persistent, evoking questions of exclusion, mobility, and visibility in urban and artistic domains. Its in-betweenness redefines the installation as a space of latency, where meaning flickers between presence and absence, structure and cloth, power and fragility. Set against the monumental backdrop of Tafawa Balewa Square’s equestrian figures and rigid architectural geometries, Re-(t)exHile intervenes with softness, adaptability, and symbolic tension.

The tensile structure, suspended by three stainless steel cables and securely anchored to the concrete ground, creates spatial dynamism through subtle shifts in height, movement, and light. This ephemeral spatiality contrasts with the square’s permanence and symmetry, recalling Gordon Matta-Clark’s acts of architectural incision, and Do Ho Suh’s fabric architectures that transpose domesticity into public space. As with the 2016 Venice Biennale’s “Reporting from the Front”, which emphasized architecture as social action, this work challenges the authoritative monumentality of the plaza, transforming it into a contested zone of dialogue and occupation. The project’s transdisciplinary approach—merging architectural design, textile knowledge, and performance—reflects a collaborative ethos resonant with the Sharjah Biennial’s emphasis on artistic networks and spatial justice. Beyond its physical form, Re-(t)exHile operates as a platform for collaborative acts, a refuge not only from environmental elements but from dominant narratives of space and belonging. The act of constructing together becomes a political gesture, emphasizing process over product, relation over object. In Re-(t)exHile, the ephemeral canopy is more than an architectural intervention; it is a spatial manifesto against exclusion, waste, and fixity. By embedding hidden messages, engaging with precarious materials, and occupying a charged urban site, the work enacts a critique of global material flows while crafting a space of temporary resistance and care. It challenges us to rethink what architecture can do—to shelter, to question, to reveal—and how artistic interventions might disrupt and reimagine the narratives inscribed in public space.

Re-(t)exHile – Refuge 2024, presented at the IV Lagos Biennial of Art and Architecture, was an intersection of ephemeral architecture, urban memory, and material circulation that converges into a powerful spatial critique. Conceived by a transdisciplinary team of artists, architects, and cultural practitioners including Lloveras, Bobrikova, Carmen, Gatti and Badmus.