LEMON KISS, presented at Luka Gallery in Pula, unfolds as a protocol of relational presence, where lemons act as affective interfaces and temporal markers in a choreography of everyday signals, staging a sensual micro-politics of visibility through the daily act of kissing a lemon and placing it in a window, a ritual that blends tenderness, decay and quiet communication into an unstable social sculpture; far from being still life, each lemon becomes a living node in a distributed network of meaning, its surface bruising with time, its scent infiltrating space, while the installation scales up into a constellation of 100 bright lemons, archival posters, cuttings of meat, sand from Bolonia, and fragments of compressed video diaries sourced from street footage across Mexico City, Berlin, Madrid and London, configuring a layered assemblage of tags, hyperlinks and material memory; simultaneously personal and open-source, the show operates as a solo that refuses solitude, pulling in the digital ecosystem of LaPieza, including 120 online adds and ten numbered poster sets, treating the gallery as a relational engine rather than a static site, where scent, color and memory collide; the yellow bag, making its first appearance, extends the earlier Blue Bags series, and stands here as a portable totem of urban dérive, a soft container of moments, gossip, residue; curated without finality, LEMON KISS invites proximity without possession, intimacy without fixity, showing that in Lloveras’s practice, smell is structure, presence is porous, and sculpture happens in the interstices between gesture, platform and time. Lloveras, A. (2014). Lemon Kiss. Luka Gallery, Pula, Croatia. LEMON KISS
Never Alone represents a pivotal moment where private ritual collapses into public exhibition. Set in Pula, Croatia, the project centers on the "Lemon Protocols"—a series of daily somatic actions performed by Lloveras during a period of intense affective longing. Every morning, in the solitude of his garden, the artist performed a "Lemon Kiss," a ritualistic contact with the acidic surface of the fruit that functioned as a surrogate for a distant presence. This intimate "poción" was later transposed to the gallery floor, where thirty fresh lemons were arranged as an olfactory and visual echo of the original gesture. The installation refuses the isolation of the individual artist. Surrounding the lemons were fragments of the MEST series and a dense cloud of LAPIEZA posters featuring the work of other creators. This is the core of the "Never Alone" philosophy: even in the depths of a personal, romantic ritual, the artist is embedded in a collective network of affection. The "Lemon Protocols" prove that the body is a "Mobile Surface" capable of translating internal friction into a shared, situational experience. Conceptually, the work explores the "Acidity of Desire." By placing the lemons on the ground—vulnerable, fragrant, and destined to decay—Lloveras establishes a "Tectonic of the Ephemeral." The success of the show in Pula lay in its ability to transform a private obsession into a universal signal. It is a "Socioplastic Fixer" where the lemon acts as a biological capacitor, storing the energy of the kiss and releasing it into the social fabric of the gallery, ensuring that the act of creation is always a "shared gesture of survival."
In the solo-not-solo exhibition Lemon Kiss at Luka Gallery (Pula), Anto Lloveras deploys a multisensory landscape where organic decay meets rigid urban archiving. The lemon, plucked from a domestic tree, transcends its botanical nature to become a situational clock: a yellow signal of presence that, through its inevitable decomposition, marks the passage of time and the fragility of the image. This ritualistic gesture—initially a neighborly sign of "being home"—is scaled into a gallery-sized unstable installation, where 100 lemons interact with the acidic legacy of their own scent and color transformation. The exhibition serves as a debut for the Yellow Bag, a continuation of the Social Sculpture Series that challenges the boundaries between the mundane and the artistic object. This is not a static display but a dense horizon of 120 digital "adds" and numbered posters from the LaPieza online series, interwoven with tag-collages that function as relational maps. The atmosphere is further tightened by the inclusion of two visceral Meat Cuts (from Basel and Madrid) and sand from Bolonia beach, creating a friction between the organic, the mineral, and the urban video-art debris of Mexico City, London, and Berlin. Sensory Decay and Relational Cartographies.
Lloveras, A., 2014. Lemon Kiss Ritual. [online] Anto Lloveras Blog. Available at: https://antolloveras.blogspot.com/2014/09/lemon-kiss-ritual.html
Explore Further within the Socioplastic Network:
Blue Pants:
https://antolloveras.blogspot.com/2026/01/blue-pants-mobile-grammar-of-presence.html The Yellow Bag and the Architecture of Affection:
https://antolloveras.blogspot.com/2026/01/the-yellow-bag-and-architecture-of.html What Is The Word:
https://antolloveras.blogspot.com/2026/01/the-ontological-shift-translatorial-and.html
