The Blue Bags series (2014–ongoing) advances a rigorous proposition: that sculpture, when stripped to an aesthetically neutral carrier, can operate as a durational agent of contextual translation rather than as a fixed artefact. Emerging from the humble plastic bag, the project displaces material minimalism into a field of situational activation, wherein the object functions simultaneously as tool, marker, and infrastructural residue. Its chromatic banality and disposability constitute a deliberate camouflage, permitting circulation across domestic interiors, urban thresholds, and institutional architectures without announcing itself as art. Sculpture is thus reconfigured as a temporal installation, unfolding through journeys, minor gestures, and recurrent placements that accumulate meaning by persistence rather than spectacle. Each relocation performs a translatorial act—between private and public, visible and infra-visible—producing what may be termed a site-responsive continuum rather than site-specific fixity. In cities such as Madrid, Berlin, Cádiz, Oslo, Mexico City, and Lagos, the bag stabilises situations only provisionally, rendering latent social conditions legible before dissolving back into movement. As a Situational Fixer, it embeds artistic labour within everyday logistics—shopping, travel, conversation—thereby collapsing art’s autonomy into lived maintenance and foregrounding an ethics of care, repetition, and attentiveness. The project’s coherence resides not in visual invariance but in procedural fidelity: carrying, placing, conversing. Ultimately, the Blue Bags articulate a mobile epistemology, wherein knowledge emerges through sustained engagement and calibrated openness; the sculpture persists precisely by remaining unresolved, transforming duration itself into medium and ethical stance. Lloveras, A. (2014) Blue Bags 2014: Madrid–Berlin–Cádiz, Anto Lloveras Blog. Available at: https://antolloveras.blogspot.com/2014/08/blue-bags-2014-madrid-berlin-cadiz.html
