Socioplastics is not just a method—it's a territory. Across fifteen years of actions, cuts, walks, writings, meals, and minimal gestures, a dispersed and mutable canon has emerged: one that refuses centralization, authorship, or stylistic uniformity. Instead of belonging to one medium, movement, or geography, the Socioplastic Canon composes itself relationally—through accumulated traces, site-based rituals, affective infrastructures, and slow knowledge production. Operating as a United Nations of Art, this body of work links ephemeral actions in Madrid, Lagos, Negradas, London, and the Norwegian fjords—each gesture a form of situated diplomacy. The canon is held not by institutions but by practice: cuts (#MEAT), meals (Broth), objects (Yellow Bag, Blanket), relational devices (El Dorado, Blue Bags), architectures (House and Dome, Restoran Splendid), and mobile archives (this blog, exhibitions, street interventions). Rather than creating monuments, this framework cultivates micro-climates of attention, a federation of gestures, a planetary choreography of repair. Socioplastics thus proposes a canon without closure: unstable, post-disciplinary, non-hierarchical, and regenerative. (Lloveras, A. 2010–2025) - socioplastics, unstable canon, united nations of art, relational aesthetics, postdisciplinary practice, dispersed archive, slow movement - antolloveras.blogspot.com
