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Saturday, September 14, 2024

Artur Grucela

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Anto Lloveras ______________ #SOCIOPLASTICS antolloveras@gmail.com

A Transdisciplinary Practice Spanning Art, Architecture, and Conceptual Research

2009 2025

URBANISM ART ARCHITECTURE

LLLL SIBLINGS

SEARCH

HITS

I International Congress of Ecological Humanities Universidad Autónoma de Madrid — May 22–24, 2023

A transdisciplinary assembly of scholars, artists, and practitioners to rethink cultural, ethical and spatial responses to the planetary crisis. Across panels on eco-ethics, degrowth, post-anthropocentrism, and ecological aesthetics, the congress established a new academic and political urgency: to move from critique to proposition, from awareness to transition. In this framework, the contribution FAROS_TRANS by Anto Lloveras and Esther Lorenzo stood as a manifesto-project for a new urban ontology—envisioning the "Trans Lighthouse" as a modular infrastructure of care, housing, energy and algorithmic citizenship distributed across the 100 most populated cities in the world. Integrating speculative architecture with ecological pedagogy,

THEWOODWAY Norway with Fredrik Lund @ NTNU

Video series documenting a pedagogical architecture experiment in Norway (NTNU, 2008), reveals the power of collaborative construction as both educational strategy and spatial research. The project involved eighty first-year architecture students building a one-to-one wooden superstructure, generating eighteen distinct spatial concepts under the guidance of faculty and professionals. Filmed and edited as short episodic reflections, the series frames architecture not as static output but as a processual practice, grounded in participation, negotiation, and continuous interpretation.

Microscale Green Infrastructures as Everyday Therapeutic Landscapes: The Restorative Potential of Sm

Small urban green spaces in central Madrid offer restorative benefits closely linked to vegetation, safety, and time spent on-site. Using psychometric scales, the study finds that these areas promote mental restoration, especially when designed to support social interaction and environmental quality. The results underscore the importance of integrating green micro-infrastructures into dense urban settings as part of public health and urban planning strategies.

TRIENAL V

URBANAS FRONTLINE SERIES

URBAN PUNCH LOVE

A pop-humanoid scaled to seat height, Urban Punch Love converts street furniture into an extrovert actor. Its bulbous rubber body, sprung legs and comic physiognomy invite touch before thought, collapsing the distance between spectator and object. The work proposes interaction as the primary civic programme: a bench that looks back, a mascot that supports weight, an urban companion whose ergonomics are legible at a glance. In doing so, it reframes the plaza as a stage for proxemics and play rather than merely circulation.

Chromatic Machines in a Prefab Factory

We designed a prefabricated concrete factory and redesigned the air extraction systems inside, incorporating a lilac color scheme.

FLAKES | COPOS: _______ A Keystone in Socioplastics

FLAKES—also known as COPOS—stands as a central structure within the evolving methodology of socioplastics, not as a discrete video series but as an ongoing, open-ended grammar of urban sensitivity where the practice of filming merges with gestures of care, movement, and observation. Rather than documenting events or locations, each flake activates a relational encounter with the city, treating walking, eating, drifting, or pausing as sculptural operations that reshape the social fabric through attention. These moments are not illustrations of theory but embodied edits of reality, positioning the street as both medium and collaborator. The work unfolds through layers—image, memory, texture, sound—and avoids closure, favoring instead an expanding constellation of fragments that resist archival fixity. FLAKES is not an inventory but a living membrane, porous to context and time, where what matters is not the numbering or geography but the ethos of repetition, vulnerability, and situated noticing. It is a methodology of subtraction as much as addition, where filming becomes a form of urban taxidermy—freezing gestures not to preserve them but to offer them back as mirrors, prompts, echoes. The project does not aestheticize the city from above; it listens from within, capturing the minor, the unstable, the almost invisible. In this sense, FLAKES performs a quiet insurrection against dominant images of the urban, proposing instead a poetic cartography where care, slowness, and coexistence take form. As a keystone, it anchors the socioplastic practice by materializing how the city can be inhabited through ethical attention, cinematic residue, and shared vulnerability, allowing art to operate not as spectacle but as subtle transformation.

YouTube Breakfast / Dinamicas del sujeto conectado / Universidad Autónoma de Madrid

Already in 2009, Anto Lloveras presented YouTube Breakfast at a doctoral seminar at UAM, focusing on how the accumulation of video content online is a form of collective intelligence. The workshop highlighted that historical film archives, videography, and recorded conferences, once accessible only in museums, are now part of a digital “new school” accessible to everyone on platforms like YouTube. This session emphasized the need to engage with this vast digital knowledge as a form of public memory and evolving cultural practice.

EL DORADO – Socioplastic Sculpture (Madrid, 2013) AFFECTION IS FUEL

EL DORADO is a socioplastic sculpture by Anto Lloveras (Madrid, 2013), formed by a single emergency blanket passed between artists. Ephemeral, shared, and affective, it resists monumentality, transforming gold into care and presence into form—part of HIPERVÍNCULOS, a network of relational states.

EASY RIDER

Inspired by the free-spirited ethos of motorcycling culture, the building is conceived as a "street garage" — an infrastructure that integrates private living with communal systems of mobility and recreation. The architectural layout takes on a dynamic zig-zag form, optimising solar exposure and allowing for efficient spatial sequencing across floors. Plans include shared patios and multi-functional rooftop terraces, enhancing community interaction. The ground floor and vertical core are configured as shared circulatory spaces that mimic urban streets, painted in bold graphic lines to simulate roadways, further blurring the boundaries between public and private space.

MINIROC

Born from the hyperplastic video series COPOS (2010–2013), MiniRoc is a wearable sound system created by Hectruso and Anto Lloveras under TOMOTO Films. Designed to amplify, record, and emit in real time, it evolved from the need to capture live urban sound during COPOS dérives in cities like Madrid, Marseille, and Mexico City. As COPOS shifted from intimate gestures to louder, embodied street actions, MiniRoc became a poetic prosthesis: a backpack-machine merging body, voice, and environment into one moving amplifier. Later, in LACALLE, MiniRoc became the core interface for urban poetic actions, turning listening into resistance and the body into a live audio transmitter.

LACALLE * A Right-to-the-City Device 2010

A performative-urban project i emerging from an urgent artistic and political intuition: to return poetic action to the street as a form of civic presence, affective protest, and spatial listening. Rooted in the collaborative matrix of Maite Dono (voice), Hectruso (MiniRoc system) and El Intruso (live sound), LACALLE unfolds as a series of mobile performances across different Spanish cities—Ferrol, Madrid, Gijón, Sevilla, Almería—where the act of walking, sounding, and speaking becomes a situated reappropriation of public space. The MiniRoc, a wearable sound apparatus carried like a backpack, is more than a tool—it's an expressive prosthesis that turns the performer into a walking amplifier, a poetic antenna. Each episode—filmed and archived by Tomoto—transforms overlooked urban environments into sites of encounter and disruption: from whispering to a market wall to amplifying voice in a salt mine or a decaying square, these gestures are minimal yet deeply charged, forming a poetics of the infrastructural.

STONE BAR I

NEGRADAS RETROFUTURISM JULY 2020

Endemic Monochromes

An urban chromatic synthesis where the city emerges not only as a physical environment but as a living, vibrating matrix of monochromatic intensities, captured and ordered through a procedural and fragmentary installation strategy that derives from the intersection of three key series

AS FAR AS THE ARM CAN REACH

NORWAY 2015 SUPERNATURAL CONCEPTUAL SERIES

Unstable Installation Series

A dynamic exploration of urban particles as objects in flux, blending physicality and ephemerality. Art by LLLL unfolds across Madrid, merging video sculptures and performances. This hybrid onsite-online series sees the city as the final installation and objects as extensions of the body.

Conceptual Dance Series

*Double Sided* is a conceptual dance and film series by Anto Lloveras and Mateo Feijoo, exploring themes of duality and minimalism through real-time, two-channel performances. Each movement echoes the previous one but varies subtly, emphasizing the ephemeral nature of process-based art. Inspired by Beckett, 1960s American minimalism, Erwin Wurm’s sculptures, and Paul Preciado’s philosophy, the series uses minimal scenic elements and standardized wardrobe to focus purely on bodily presence and rhythm, creating an aesthetic of deliberate simplicity and raw expression.

Twins

THE CITY AS READYMADE

Frameless Bended Series RECREO 2020

The Frameless Bended Series consists of 20 sets of three sculptures, created through daily bending of metal profiles to generate new variations without repetition. This action art installation continuously evolves, transforming space and perception with each new iteration. The series, developed between 2020 and 2021 in Recreo, embodies themes of transformation and redefinition of form, blurring the line between sculpture and performance in the ongoing process of "Bending the Real."

e

A compact visual reflection on how a typographic sign—specifically the letter “e”—can embody both fracture and memory. Through domestic spaces, studio walls, scorched ruins, and gestures, the video tracks the symbolic collapse and persistence of cultural remnants. The letter is more than a glyph; it becomes a witness, carried, broken, and recontextualized across time and space. The visuals move from warmth to desolation without explanation, embracing discontinuity as a form of narrative. This approach foregrounds the poetic in the fragment, where meaning isn’t stated but sensed. By refusing clarity, the work invites us to dwell in the gaps between object, body, and ruin, rendering the typographic symbol as a relic of both language and loss.

TRIENAL III

FRONTLINE

GREEN BRIEFCASE

A portable 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.

Everything Changes in This Place in Malasaña

Imagine a place where installations undergo constant changes, where every artistic work, exhibition, or performance leaves its mark. LAPIEZA embodies this concept. It is a container and a platform for “relational art.” LAPIEZA is a collective work, with periodic performances called “mutations.” Every week, an artist contributes a recently executed piece, which is created live. The audience can witness the realization of the artwork in real time and interact with the environment.

THE LIGHT IN PROVENCE - 06.2015

on form, color and affection - situational performance

RUS MIAMI 2008 TRASH MACHINES

Action and Collaboration. On how to document and amplify the performative dimension of projects such as RUS Miami. Their role was not limited to passive recording; instead, they produced dynamic audiovisual actions that translated ephemeral events, street interventions, and collective experiments into a cinematic language.

Relational Batches - LOTES SOCIOPLÁSTICOS

Relational Batches are socio-plastic compilations developed in LAPIEZA between 2011–2021. Conceived as frontal panels integrating contributions from multiple artists, they function as hypertexts: static images that hold multiple links to past actions and networks. With an improvised aesthetic of precariousness and mobility, each lot becomes a “risk connection”—a relational object that resists closure, proposing instead unstable topologies of memory, archive and encounter.

FROZEN HEAT

LECTRUE AT DKV RTRONDHEIM NORWAY 2013

Fireworks – Hyperplastic Explorations - FUEGOS

A hyperplastic exploration of automatic drawing as a living archive. Using “paper memory” and fetish objects, the work generates graphic accumulations, ingots and filmic sequences disseminated via YouTube. Structured across five orders—plastic, socio-plastic, filmic, exhibitory and relational—it transforms the mark into a collective organism: process, network and memory rather than representation.

MUDAS - SERIES MUDAS - Unstable Social Sculpture - Mexico City

The MUDAS installations consist of a single fresh banana leaf pinned to the wall, which gradually dries out, changing color and releasing a distinct aroma that fills the space. This process is inherently social as visitors are photographed interacting with the piece, creating a participatory experience. The artwork connects to local culture, using the same banana leaves traditionally employed in making tamales, adding a layer of contextual significance. As the leaf transforms over time, it symbolizes change and ephemeral beauty, blending installation art with a tactile, sensory engagement rooted in local customs.

POP FOOD II 2022

The work exploits this tension between uniformity and difference. On one level, it documents the aesthetic poverty of institutional food, where nutrition is reduced to calories, containers, and codes. On another, it reframes these elements as composition: a cube of melon becomes a colour block, the sealed cutlery a silver diagonal, the plastic cover a field of monochrome. The tray thus performs as both ration and canvas, staging the paradox of survival in minimalist terms.

300 KG / 2016

REDUCTION SERIES

TWIN HOUSES

COLLABORATION WITH STUDIO FREDRIK LUND / PAULA LLOVERAS

HAT

NO LEFTOVERS

Portable Memory and Ritual Affection

The blanket, featured persistently across the Unstable Installation Series (2020–2024), operates not as an object but as a device of affect, circulation and performative presence. Stripped of its domestic singularity, it reappears across geographies—draped on chairs, hanging from walls, wrapped around bodies in winter landscapes or layered over furniture in modest interiors—accumulating narrative tension through repetition. This continuous activation resists aesthetic fixity, privileging gesture over monument, use over preservation. The blanket becomes a surface of interaction where time, bodies and context inscribe meaning, generating a fluid archive rooted in relational encounters and situated rituals.

DUNES

MMXIX

9 SONGS

"Sons-Nús – Catro Nubes" is a transdisciplinary performance, where visual art intertwines with live music to create an immersive experience. Presented at the Escenas do Cambio festival in Santiago de Compostela's Cidade da Cultura, the piece features a minimalist scenography composed of drawings and photographic elements that frame the musicians: Maite Dono (voice), Baldo Martínez (double bass), Xosé Miguélez (saxophone), and Ton Risco (vibraphone). The work merges the ethereal sounds of jazz and experimental music with visual narratives, creating a dialogue between music, space, and imagery. The set consists of nine compositions that explore themes of presence and absence, resonating with the improvisational nature of the performers and the fluid aesthetics of Lloveras’s art direction

WALL RITUALS 2016

EXTENDED / THE LIGHT IN CÁDIZ

ENTRE COMILLAS * Between Quotation Marks,

A social sculpture conceived by Anto Lloveras in Madrid, 2012, operates at the intersection of spatial memory, performative portraiture and sculptural semiotics, transforming the domestic wall of the artist’s live-in gallery into a site of dialogic engagement. The black, three-dimensional quotation marks — simultaneously comic, grotesque and mute — suspend the portrayed guests within a rhetorical parenthesis, suggesting that their very presence constitutes a statement in and of itself.

FRUITJOB / LINE SERIES

2016 DECAY

CATRO NUBES 6 DE MAYO

ESCENAS DO CAMBIO

HIPERVÍNCULOS / RELATIONAL TAG SHOWS

ONLINE MAP SERIES / 2013-2015

Urban Jewels: Archaeologies of the Everyday

Each elastic holds an invisible biography—the gestures that stretched it, the moment of its loss, the traces of the absent body it once accompanied. Assembled together, they compose an urban set, a collective portrait of the city as an ecosystem of traces, disappearances and repetitions. The installation is adaptive, shaped by its specific context and location. Repetition is not rigid but open to accident, colour and variation, producing a structure that undermines ideals of purity and uniform order. Urban Jewels operates as a meditation on place, chromatic memory and the geometries of social interaction, translating the accidental residue of the street into a spatial vocabulary. Critically, the project aligns itself with practices that engage anthropology and ecology as much as visual art. It resists spectacle and monumentalisation, working instead with fragile materialities that carry the rhythms of daily life. In this way, the installation offers a form of urban garden—an archive of residues that is systematic and playful, but also elegiac, attentive to the silent narratives of the ordinary.

10 NEW STEPS NARROW STREET

NEGRADAS 2020 RETROFUTURISM

Las plazas, pulmones emocionales para la ciudadanía

POCKE PARKS AND CITY HEALTH

SECTOR

TÓTEM * BURNING ART AS ART

Developed under the Plancton framework, unfolded as a performative gathering in the rural periphery, where a group of artists orchestrated a temporary installation culminating in its deliberate incineration. This collective event, conducted outside the institutional space, became a platform for dialogue-based co-creation, merging the material and symbolic dimensions of the work. Over food and conversation, contributions ranging from sculptural fragments to wearable performance relics were assembled into a precarious totemic structure, designed not for permanence but for ritualised combustion. The performative nature of the event echoed traditions in relational aesthetics, particularly the dematerialisation of the art object.

SHEMAN TRANSHUMANOID

Transhumanoise Sheman is an ultralight sculpture and performance art. Weighing just 12 kilos and standing at 250 cm, this portable piece challenges traditional concepts and explores themes of transformation and identity. By incorporating light and movement, the work transcends static sculpture, becoming a living entity.

NATURE BOY

SUPERNATURAL - SERIES 2023 - TWIN FILM INSTALLATION

MIDNIGHT SUN

GUEST CRITIC AT NTNU ______ JUNE 2018

CONVERSATION INSTALLATION

Zuccato Gallery - Poreč, Croatia, curated by Jerica Ziherl, explores dialogue as an art form. Featuring Anto Lloveras and Danino Bozic, the installation blends physical presence and social interaction, creating a dynamic space where conversation itself becomes a medium. Part of the Unstable Series, the piece evolves with each exchange, highlighting unpredictability and complexity. Viewers are not passive observers but active participants, shaping the artwork through engagement. This installation challenges the stability of traditional exhibitions, turning conversation into an ever-changing sculptural form.

POSTORY - PROYECTO DE INVESTIGACIÓN UAM

RESEARCH ON CITY GENTRIFICATION AND MEMORY

UNSTABLE COLLECTIVE INSTALLATION

LAPIEZA 2010 | MADRID

Cultures, Representations, and the Cultural Study of Science

Science and Culture Studies was a research network based in the Madrid Region focused on the intersection of cultures, representations, spaces, and practices. It provides a shared platform for reflection, research, and education, positioning science as a core element of cultural interest. The network supports the study of public knowledge spaces—political, artistic, economic—and promotes scientific knowledge dissemination within cultural contexts. CREP fosters collaborative research and training initiatives across diverse groups. Activities include seminars, exhibitions, courses, and symposia, such as the 2011 Strategic Seminar featuring Daniel Martín Bayón and Kira O’Reilly, hosted by LaPieza.

ZONA DE OBRAS - LAPIEZA

2010 WITH MARISA CAMINOS

NO CREDIT ***** EQUILATERUM

Built slowly over three months with change received at a fish market, the work translates the residue of daily exchange into a triangle of copper discs that hovers between sculpture, sign, and diagram. The title situates the project in a field of scarcity: the absence of credit is not portrayed as limitation but as creative principle, a refusal of surplus and a celebration of what circulates in modest, almost invisible ways.

RIGO GALLERY - SOLO SHOW CROATIA - THE CITY IS AN ANIMAL

Adriatic Sea, Croatia. After a year of work, I present the latest Taxidermy. I have walked this city repeatedly—treating it as canvas, frame, and supermarket. Always with my knife. I bring 250 cuts. Rigo Gallery is a space I deeply respect. For over twenty years, its curators have welcomed hundreds of international artists from across disciplines. Noam Chomsky once gave a lecture here. The cuts of Lucio Fontana have hung on these walls—he, too, carried a knife. He was one of my childhood heroes. Now, the main dish I serve is raw: a fresh display of meat. Meat as art. “Meat” is the tag I assign to each piece I extract from the city’s animals—street furniture, fixtures, residual architecture. The full-scale Taxidermy installation will occupy the main wall. Around it, I bring a cloud of collateral works: related fragments, echoed narratives, and a set of monochrome objects still in use—situational fixers. Nothing is wasted. No leftovers.

AESTHETICS OF RESISTANCE

LAPIEZA ART SERIES________2009:2023

The Light in Zagreb

SILVER

UNSTABLE MONOCHROME SERIES

NORMAL POP FOOD

NODRIZA 2021

YOUTBE BREAKFAST

These videos create a plural discourse between different artistic and epistemological practices, showcasing an interdisciplinary and transdisciplinary approach that broadens the connections between art and knowledge.

YELLOW BAG - UNSTABLE INSTALLATION SERIES - SITUATIONAL FIXER 2014-2024

The Yellow Bag is an active object in Anto Lloveras’s work, functioning as both carrier and witness within performances, installations and walks across Europe, Africa and Latin America its symbolic presence gathers meaning through its travels, from the streets of Madrid to the beaches of Mexico, where it collects, connects and transforms materials and memories into ephemeral art it acts as a situational fixer, adapting to place and gesture while retaining its identity as a living artwork

ICONIC BUILDING NEXT TO TRAIN TRACKS __ 24 ATELIER UNITS. MADRID M-40

The Trole Building, designed by Anto Lloveras and Alberto Sánchez Cabezudo, is an iconic structure located in the south of Madrid. Initially an old coffee factory, it was transformed into a modern office space with a striking facade of white zinc panels. The design emphasized creating a contemporary aesthetic in contrast to the surrounding brick buildings. The project required complex planning and adjustments to comply with local regulations, including fire safety measures. The building’s minimalist exterior and clean lines make it a standout in its industrial context.

HUMAN RIGHTS AND CULTURE CONGRESS ___________________ POSTORY :::::::: Gentrification, Turistization

Socioplastics, as articulated by Antonio Lloveras Caminos, serves as an evolving concept that aligns artistic practice with cultural ecology and transformation. In a world grappling with urgent socio-political, economic, and cultural challenges, socioplastics emerges as a framework for fostering creative engagement in the face of these crises. It embodies the intersection of relational art and the dynamics of cultural environments, proposing artistic interventions as tools to reshape collective consciousness and reclaim public spaces

Landart Fjord Museum: Architecture of Minimal Impact

Designed to merge with the forested fjordscape of Hardanger, Norway, the Landart Museum presents a refined example of low-impact architectural integration, combining energy efficiency, material responsibility, and experiential depth. The building minimises energy consumption across all systems through passive design strategies: its structure, primarily raised on pillars, reduces land occupation and environmental disruption while promoting air circulation and visual permeability. Constructed with locally sourced timber, it echoes regional construction traditions and reduces embodied energy.

EL PALMERAL – SUSTAINABLE URBAN PROJECT IN MÁLAGA

El Palmeral received an honourable mention in the 2017 COAM Urbanas competition under the theme Manzana Verde – Sustainable Neighbourhood in Málaga. Designed by Paula Lloveras Caminos and Antonio Lloveras Caminos, the project envisions a dense, walkable, mixed-use neighbourhood anchored in environmental responsibility, historical continuity, and social cohesion. At its core, El Palmeral proposes a city that requires no fossil fuels, based on efficient land use, compact housing typologies, and a focus on green infrastructure and low-carbon construction. The urban layout integrates 11 tower buildings (up to 18 floors) surrounded by low-rise housing, urban gardens, shaded boulevards, and collective open spaces, fostering both environmental performance and community life. Presented at the Urban Center at Morlaco in Málaga and published in Revista Arquitectura COAM 373 Manifiesto, the project stresses the value of traditional urbanism, historical street networks, and adaptable public-private interfaces. Its diagrams explore emissions reduction, building typologies, and flexible modularity, advocating for a city model that is sustainable, inclusive, and resilient.

RESTORAN SPLENDID ___ SOCIOPLASTICS BY LLOVERAS - WITH ::::: BRIGITTE BRAND, KOSIA, RUDI BENETIK, ME

Restoran Splendid is a site-specific socioplastic installation by Anto Lloveras that redefines traditional hierarchies in visual representation. The concept centers around the idea of equality and shared presence, where each artist in the Rabbit Island residence occupies every position within a series of eight photographs. By rotating the artists through identical settings, Lloveras eliminates the notion of a fixed protagonist, ensuring that every individual takes a turn at the forefront and the background. This structured repetition blurs distinctions between subject and context, producing a visual and social equilibrium where all participants are equally highlighted and obscured. The effect is a looped, democratic tableau that resists singular narratives, celebrating the fluidity and interdependence of each contributor’s role. This approach, termed socioplastics, engages the viewer in a contemplation of communal presence, challenging the typical focus on individual prominence in art.

SUBTRACTION SERIES

Unstable Installation Series involves cutting everyday objects—primarily sofas, chairs, and sometimes clothing—since its inception in 2010. Over 800 pieces have been altered, each cut transforming the item into a sculptural form that balances between art and utility. Inspired by Art Brut, minimalism, and Lucio Fontana’s slashed canvases, each action is a deliberate subtraction from the object’s structure, creating a new, fragmented identity. This ongoing series explores absence, the physicality of the cut, and the object’s role as both art and artifact. The concept of the wounded or healed animal in this context relates to the tension between destruction and restoration. The act of cutting transforms the object, making it appear "injured" but simultaneously revealing its inner structure, much like a wound that is both a rupture and a site of healing. These cuts form galaxies of “taxidermies,” symbolizing both fragmentation and a cosmic order.

SKOGFINSK MUSEUM

The Norsk Skogfinsk Museum in Svullrya, Norway, integrates architecture with the forest landscape, reflecting the heritage of the local Forest-Finnish community. The design, called "Opening in the Forest," emphasizes sustainability with passive building strategies, natural materials, and renewable energy. The spatial layout includes public exhibition areas, a library, and a café, seamlessly connecting interior and exterior spaces, creating a respectful blend of culture, architecture, and nature.

SUPERNOVA

COSMOTIDIANO / Mutable Collectives : Reframing the Everyday

Presented as a mutable collective habitat, exemplifies a process-based artistic inquiry into the shifting nature of shared space and its entanglement with everyday materials, gestures and relationships. Developed at the Centro Comarcal de Humanidades Sierra Norte in 2012, the installation emerged as a temporary occupation and spatial reconfiguration, shaped collaboratively by Eduardo Cajal, Regina Fiz, Tomoto and Hectruso, el intruso. Through a layered sequence of participatory actions, ephemeral architectures and symbolic displacements, the installation interrogated how the domestic and the planetary, the intimate and the infrastructural, fold into one another within spatial practices. The use of ordinary materials—bales of hay, plastic mesh, citrus fruit, light and shadow—generated a sensorial and relational environment where visitors were not merely observers but implicated bodies within a living system. Such a mode of engagement reflects broader concerns in contemporary installation art that aim to dissolve the subject–object dichotomy and emphasise process, transformation and co-presence - LAPIEZA / EXHIBITION #49

Qualitätskontrolle III: A Synesthetic Installation FIT 2021 CÁDIZ

Qualitätskontrolle III transformed the former tobacco warehouses of Cádiz into a synaesthetic installation where film, choreography, sound and architecture merged into a single organism. Rather than staging a theatre piece, the work unfolded as a process of composition in situ: a haute cuisine dish “served warm,” without script or fixed narrative. Each participant—dancers, musicians, technicians, even the audience—functioned as ingredients of a collective recipe. The scenography was built from sacks of coarse salt, blankets, scaffolding, banners and cables, combined with the colossal emptiness of the nave itself. Two large suspended screens projected a film that mirrored the live action, binding reality and representation in a continuous feedback.

FLIPAS ! Goethe

UNSTABLE LOVE SERIES

FILM INSTALLATION CONCEPT

TAXIDERMY I _________________LONDON 2015

5TH BASE GALLERY_________THE CITY IS AN ANIMAL

CONTEMPORARY ART FAIR DESIGN

DISEÑO ESPACIAL Y MOBILIARIO PARA ARCO MADRID

House and Dome: Minimal Architecture as Conversational Sculpture

Belonging to the Minimal Architecture Series, exemplifies an aesthetic of radical simplicity, where the structure is reduced to the most elemental gestures: lines of bamboo and threads barely outlining the memory of a shelter. What emerges is not a model of construction but a diagram of inhabitation, a fragile articulation between geometry and void. Its architectural vocabulary resists solidity; instead, it thrives on instability, exposing the precariousness of all spatial definitions. Presented within the context of the Unstable Installation Series at Zuccato Gallery in Poreč, Croatia, and in dialogue with Danino Bozic under the curatorial direction of Jerica Ziherl, the work functions as both installation and conversation. Here, architecture becomes performance, a medium for negotiation and encounter rather than permanence.

Palindrome

A sequence of reversible acts, where installation, video, and performance converge to expose the symmetry between presence and absence. First presented in Provence in 2014, the project inhabits both gallery interiors and outdoor sites, recombining objects, bodies and light into patterns that read forward and backward. Like the linguistic figure it borrows its name from, the work insists on reflection and return, testing how meaning persists when inverted.

Red Bag : Situational Fixer

Unlike static works of art, the Red Bag is always in use, collecting not only items but contextual residue: from colours and vegetables to symbolic weight. Each documented moment—whether a solitary stroll in a shadowed street or a silent presence at a café—extends the bag's socioplastic agency, marking territories with subtle interventions. Its recurring presence builds a narrative of itinerancy and affective memory, resonating with practices of dérive and site-responsive art. T

EL ANDADOR___PLAZA CÍVICA

GRAN SAN BLAS MADRID

Subtraction Series _______ Serbia 2016

Minimalist landscape interventions where the natural environment served as the canvas. Using careful, precise cuts, a small triangle was removed from the forest, each side representing the length of a single walk. The absence created by the subtraction was temporary, allowing nature to heal and regrow over a season. This delicate disruption of space emphasized transience and subtle impact, leaving no permanent marks. The work is part of the Supernatural Series, highlighting impermanence and the tension between human intervention and nature’s resilience.

Subtraction Series — Trondheim (Norway, 2016)

A small geometric removal in moss and leaves, almost invisible. The work resists monumentality, existing only as fragile alignment between body, ground and season. Quickly reclaimed by fungi and weather, it proposes subtraction as care, a solitary practice of listening to landscape and its transient, biotopic rhythms.

ART MEETS FASHION * SETS AND CLIPS 2011 MADRID LAPIEZA

Art Meets Fashion is a hybrid visual project where ephemeral garments, sculptural fashion and urban scenography converge. Part of LAPIEZA’s Unstable Installation Series, it reimagines the body as a mobile platform for site-responsive installations. Shot in Madrid in 2011, the project offers looped clips and striking imagery where models interact with precarious materials and symbolic props. The result is a poetic critique of aesthetic systems, consumption, and identity, framed under the concept of Socioplastics.

Resituationism

Resituationism in Malasaña transforms the streets into a critical space of artistic resistance, reclaiming everyday objects, public walls, and discarded materials through dérives, détournements, and psychogeographic interventions. In and around LAPIEZA, artists like TOMOTO, ESLOMO, and JONAY P. MATOS revive the radical tools of Situationism to craft new narratives of urban life, challenging commodification and turning public space into a stage for collective reflection.

HELLO URBAN GREEN

OBJETOS DINÁMICOS - LLLL

"Dynamic Objects" is a hybrid project by LLLL ART AGENCY that presents the city as a total installation and the object as a dynamic and sufficient particle. This video sculpture series captures the essence of instability through a series of performances involving common objects that transform into expressive elements within urban landscapes. The project stars Paula Lloveras as the main performer, in constant re-release online, reflecting its fluid nature and the ability to evolve across digital platforms.

RUS SANTO DOMINGO

By using a large-scale visual metaphor of a wave made from local garbage, the project confronts viewers with the stark reality of pollution and the role of informal waste collectors.

Structural Conversations Norway

LLLL Art Agency engaged in a series of conceptual art projects and "cross conversational actions." These activities were rooted in collaborative dialogues and ephemeral interventions, creating a "processual framework" as part of their curatorial narrative.

SMALL ORANGE TAG

LIGHT SOCIAL SCULPTURE SERIES

VENUS

STICK ON ME

BLUE PANTS

The repeated motif of the blue trousers—sometimes worn, sometimes arranged on the sand, sometimes painted into a landscape—anchors a body that is both present and absent, material and spectral. The garment becomes a stand-in, a proxy through which identity is negotiated in unstable contexts, shifting from performance to installation, from drawing to landscape action.

NO LEFTOVERS ***** OUTFIT AS USEFUL ARTWORK

No Leftovers turns worn clothes into ongoing sculpture. The outfit—black pants, shirt, shoes—becomes a lived installation, merging daily use with conceptual form. Nothing is discarded. The artist’s body becomes both frame and carrier of the work.

Broth

Broth Ritual (2020) is a journey through the primordial fluid from which we emerge, where floating particles and incandescent light evoke the energy of creation and the origins of matter.

COPOS

Dispersed chromatic landscape, where each piece—whether video or installation—contributes to a serialized, open-ended dialogue of color, form, and space.

STONE BAR II

NEGRADAS 2020 MIMESIS SERIES

EL BATEO

PAN

2010

SNAKE / HOUSING

PALMA CENTRAL

ECOLOGÍA CULTURAL PROGRAMADA 2011

THERMODINAMIC ESSAYS

FALL 2018________STONE FIRE WATER_____NEGRADAS

CAMINO DEL PARQUE

URBANISMO A MANO

ÉPICA EPIDÉRMICA * NATURAL SKIN INSTALLATION IN A WHITE HOUSE

The skin—both literal and metaphoric—is here activated as a memory surface, echoing the agricultural and metallurgical histories of the place while initiating a new semantic cycle through its transformation into a contemporary showroom. The gallery, painted white inside yet retaining its rural camouflage, becomes a hybrid frame for the living and the inert, the organic and the monumental, as it proposes a new reading of territory as text, and of the built form as performative archive. A conceptual intervention that blurs the line between exhibition space and artwork, reactivating a 19th-century stone forge in Negradas into a site-specific epidermal installation. The artist subverts the normative logic of institutional white cubes by constructing his own gallery in a remote rural context, not as a neutral container but as an autonomous artistic gesture.

HIDDEN FORCES

The “Hidden Forces” project is a conceptual land art series set in the dunes of Cádiz. It transforms graffiti-covered concrete into minimalist art using solid black rectangles, drawing on Suprematism’s geometric aesthetics. The intervention contrasts the organic dune forms and the stark black shape, symbolizing the tension between human impact and nature. As the winds and sands shift, these markings will inevitably fade, emphasizing the impermanence and invisibility of human presence. This ephemeral act becomes a dialogue between concealment and revelation in the landscape’s context.

NORA LLOVERAS

BELOVED AUNT

MUDAS * Bodies, Leaves and Decay

Presented in Mexico City in 2013, MUDAS unfolds through banana leaves arranged as anthropomorphic forms. Their folds, wrinkles, and oxidations evoke fragile bodies suspended between life and disappearance. Each piece becomes both vegetal relic and human echo, oscillating between sculpture and ephemeral installation. The work proposes a radical ecology of perception, where organic matter and social body mirror one another, dissolving the boundaries between art, ritual, and decay.

FISHDISH / 2016 :::::::::::::: UNSTABLE INSTALLATION SERIES

RITUAL :::::::::::: MADRID ::::::::::::::::::::::::::::::::: NO LEFTOVERS

SUN AND SHADOW

NEW SCHOOL PLAYGROUNDS WITH BASURAMA MADRID JUNE 2019

FRAMING THE LANDSCAPE

BACK IN PROVENCE

CORRENS 2019

TRIENAL I

URBANAS 2019 FRONTLINE

NO TAG - SUPREMATISM CÁDIZ 2019

A subtle gesture alters the landscape: the removal of a black tag from a beach barrier transforms the object, revealing a calm white rectangle that blends into the horizon. What was once a mark of restriction becomes a quiet emblem of minimalist intervention, evoking Suprematist aesthetics amidst natural dunes. This act of subtraction reorients perception, inviting reflection on the boundaries between the artificial and the organic.

informe "CASOENAC Colima, México

Proyecto que se enmarca dentro de una colaboración académica y de investigación relacionada con la psicología ambiental y el urbanismo. Específicamente, proviene de un proyecto conjunto entre la Universidad Autónoma de Madrid (UAM) y la UNESCO, en el que participaron José Antonio Corraliza, psicólogo ambiental, y Anto Lloveras, arquitecto. El trabajo se centra en la evaluación y mejora del espacio público en Colima, México, con un enfoque en el bienestar de las personas mayores y la accesibilidad. El proyecto implicó trabajo de campo, reuniones con instituciones locales y recomendaciones de intervención en urbanismo y diseño inclusivo. La participación de la UAM resalta la conexión entre la investigación académica y las soluciones prácticas aplicadas a proyectos de desarrollo urbano.

The Experience of the City: Public Space, Nature and the Right to Urban Meaning

This course examines the configuration and crisis of urban public space from multiple perspectives —architecture, psychology, ecology— emphasising nature as a structural and symbolic component of urban life.

BY THE RIVER

CORRENS 2019 PROVENCE

ESCULTURA ESCÉNICA

DOBLE CARA

PSICOLOGÍA AMBIENTAL HOY

Un campo emergente. Serie.

TRIENAL IV

URBANAS TRANSURBANISM

TEACHING SERIES NTNU

2019 MÁLAGA

TÓMBOLO

SOCIAL ART HUB

STREAMING EGOS

The bubble, functioned both as metaphor and container: a temporary “web-uterus” housing performers, texts, sound, and live transmissions. Its fragility—losing air whenever its vaginal entrance was held open—became an allegory of the precarious commons of digital communication. The event unfolded as an orchestration of heterogeneous practices. Such a staging resonates with contemporary theories of post-digital culture, where artistic practices resist the fetish of technology and instead emphasise the entanglement of flesh, memory, and media.

FORTRESSES - POLITICAL ACTION

Ongoing sculpture series where children become the creators, building and deconstructing the artwork in the gallery. Using 200 tagged plastic pieces, the installation invites them to explore art through play. This project holds a strong political and conceptual focus, advocating for spaces that recognize children as active participants in contemporary art. The sculptures are constantly reshaped by small hands, turning each ephemeral structure into a fleeting form of socioplastic art that challenges conventional notions of gallery spaces.

D I A M O N D

EMOTIONAL JUNK - RESIDUOS EMOCIONALES

PAST NEVER WENT AWAY - ORDINARY LOVED OBJECTS -

TEMPLE SET

URBANISM AND WEIGHT

VIERNES

The CJCM renovation involved the complete removal of all partitions and the implementation of a ligh

The workstations were separated by sheet metal shelving units that served both sides. The design featured wooden floors and exposed electrical systems, resulting in an affordable yet elegant transformation.

FAST HEARTBEAT / RITUAL SERIES

NORWEGIAN FJORD / IN ICE COLD WATER

KINGDOM SERIES

MONTENMEDIO________ART CENTER_____CÁDIZ 2019

PURPLE BAG

2023 5TH COLOR

PURPLE LEGS

MONOCHROME SELF SCULPTURE SERIES - / LONDON PROVENCE - COLLECTION PAULA LUND

SPLENDOR BACK THEN

WE WERE SO HAPPY

LAPIEZA / GALERÍA EXPERIMENTAL

ARTÍCULO EL VIAJERO . ELPAÍS

TRIENAL II

URBANAS ____ FRONTLINE SERIES 2022

360 º TV SET

Television set for Disney Channel, designed by TABLE and published in the Official College of Architects of Madrid (COAM) magazine. The 15 x 15 meter set was conceived as a playful and versatile space for 360-degree filming. The design emphasizes creating a flexible environment to accommodate various television activities within the same set.

SPANISH BAR ***** A Participatory Critique of Social Habits

The piece consists of a circular table, 10 kg of peanuts, and 1000 napkins, inviting public interaction over five days and generating an evolving material trace of collective participation. Echoing the aesthetics and rituals of traditional Spanish bars—where discarding peanut shells on the floor is both common and culturally tolerated—this work subtly reveals the social codes embedded in everyday performativity.

THE WORD 1000 IN VIENA

MARCH 2016 NARRATIVE

RUS MIAMI

WORKS WITH PAUL DOEMAN

EAST LONDON 2015

COLADOR

INDUSTRUAL DESIGN SERIES

CAMAROTE

A ROOM FOR WORK

CADÁVER EXQUISITO___2020 ACCIÓN MUSEOGRÁFICA ESPACIO CRUCE

The performance "Cadaver Exquisito" took place at Cruce, Doctor Fourquet 5, on October 31, 2020. It was a collective action where each participant played a role: one threw, another dissected, another narrated, another carried with care, and another prepared a ritual. The form of the "corpse" was influenced by various elements—mass quality, spatial tangency, conversational dynamics, body temperatures, and interest in dissolution. The "Exquisite Corpse" is a method of collective creation, originally from literature, where each participant adds to the work without knowing the previous contributions, resulting in an unpredictable and emergent final composition.

Threads of Meaning __ The Emotional, Political, and Healing Power of Contemporary Textile Art

The international panel at the Guimarães Biennial 2024, curated by Lala de Dios, explored the evolving role of contemporary textile art in addressing personal, political, and healing themes. Artists showcased how textiles transcend their traditional functions, becoming powerful tools for emotional expression, activism, and storytelling. Projects like Re-(t)exHile emphasized sustainability, while works by Barbara Long and Meghan Price highlighted intimate narratives.

Guimarães Art Biennial 2024

FILM LAGOS 2024

BIENNIAL OF ART AND ARCHITECTURE

Art as refuge: a glance at the 4th Lagos Biennial, that attests to the resilience that art offers in

IV Lagos Biennial 2024 - Re-(t)exHile: Textile Waste, Art, and Global Responsibility

A textile pavilion titled ‘Re-(t)exHile’ tackled the environmental and social consequences of second-hand clothing waste, particularly its influx into Nigeria under the guise of charity. Created by four international artists—Maria Alejandra Gatti, Martinka Bobrikova, Oscar de Carmen, and Anto Lloveras—in collaboration with Adebola Badmus, the pavilion transformed 500 pieces of discarded clothing from Lagos’ Katangwa market into a vibrant, stitched marquee installation made of 'okirika' (local name for second-hand clothes). Set against the iconic backdrop of Tafawa Balewa Square, this symbolic skin of the pavilion offered a powerful commentary on the West’s role in textile dumping, the urgency of sustainable fashion, and the need for systemic change. The work not only sparked debate at the Biennial but also proposed a circular gesture: the pavilion’s fabric will be re-exported to the Global North, repurposed for public education and action. The artists underscored how consumerism, overproduction, and waste must be confronted globally, using art as a platform to drive awareness and shift practices. Backed by sponsors including OCA Norway, the Slovak Art Council, the Embassy of Spain in Nigeria, and PICE, this initiative links sustainability and creativity, aiming to continue through future local partnerships, workshops, and advocacy, advancing a transnational conversation on ethical consumption and climate justice in the fashion industry.

SPANISH BAR _ BAR ESPAÑOL ***** CONTEXT AS READYMADE _ UNSTABLE INSTALLATION SERIES

The traditional Spanish bar, once a vibrant hub of community life, is fading into memory. These spaces, where neighbors gathered for a morning coffee or an evening caña, are giving way to generic cafes and themed eateries that lack the charm and authenticity of the old taverns. What was once the beating heart of local culture—a place for debate, laughter, and camaraderie—is now being replaced by polished, impersonal establishments. This shift reflects a broader transformation of urban landscapes, driven by gentrification and changing social habits. With each bar closure, an era ends.

CAPA ___ POLITICAL COUNCIL

(CAPA) is a multidisciplinary initiative designed to explore the intersections of philosophy, epistemology, and art through a structured network of thinkers. Inspired by agonistic theories, CAPA fosters dynamic exchanges among experts from diverse fields to challenge dominant narratives and explore new conceptual frameworks. The project focuses on the strategic interplay of symbolic and social capital, utilizing a format that emphasizes hybrid authorship, iterative micro-essays, and a network-based methodology. CAPA’s approach involves periodic discussions, rotating leadership, and the structured synthesis of ideas, aiming to produce an evolving intellectual landscape that is both agile and reflective of contemporary digital society.

BLUE BAGS ::::::::::: UNSTABLE SOCIAL SCULPTURE - TRANSLATORIAL 2014-2019 SITUATIONAL FIXER

The Blue Bags embody the concept of the Unstable Social Sculpture, where the most basic elements — a simple plastic bag — become the most complex. These bags operate in duality: as art and as functional objects, their role shifting depending on context. They function as Translatorial pieces, transforming environments through minimal yet intentional placement. Acting as Situational Fixers, they adapt to and highlight the uniqueness of each setting, questioning the boundaries of art, utility, and visibility, thus becoming symbols of impermanence and fluidity in conceptual art.

A house and a temple.

Lagos Biennial Refuge

KINGDOM V

The Kingdom Series are temporary interventions in the landscape that challenge conventional perceptions of nature and art. Each action, part of the Subtraction Series, emphasizes the idea that altering or removing elements within a space can reveal the hidden dynamics of the environment. These subtle modifications play with visibility and presence, creating ephemeral installations that question what it means to "occupy" a landscape. The works exist in a liminal state, where art and nature merge, allowing the viewer to reconsider the boundaries of both.

IV Lagos Art and Architecture Biennial :::::::::::::::::::::::::::::::

re-(T)exHile :::::::::::::::: 3 to 10 February 2024 ************* Tafawa Balewa Square ____ Lagos, Nigeria

RECREO SPACESHIP __MOVEMENTS FOR AN UNSTABLE SYMPHONIC RITUAL - SERIES 118 - 1389-1397 SERIES 117 -

Recreo Art Space is a dynamic 100 m² venue for interdisciplinary projects blending art, performance, and spatial exploration. “Movements for an Unstable Symphonic Ritual” series navigates themes of fluidity, ritual, and transformation. The evolving installations—spanning several series—invite collaboration and spontaneous creation, bridging the gap between artistic experimentation and shared space.

LEMON KISS - UNSTABLE INSTALLATION

SOLO SHOW AT PULA CROATIA / NEVER SOLO / 100 ARTIST AT DISPLAY 2014

4X4________RUSSIAN SALAD

GREEN HYBRID URBAN DESIGN SERIES 2017

DOBLE CARA - ESCENA - GÉNESIS

CENTRO COREOGRÁFICO DE LA GOMERA 2022 CANARIAS

RED LINE

PORTABLE SCULPTURE SERIES

OPEN AIR GALLERY / NORWAY

COLLABORATION WITH FREDRIK LUND / PAULA LLOVERAS

SUBURBAN SQUARE

URBANAS RETROFUTURIST SERIES

NTNU CITY CAMPUS 2050

INTERNATIONAL URBAN DESIGN COMPETITION BY URBANAS

REDUCTION SERIES / RED RED RED

MINIMAL CONCEPTUAL INSTALLATION

TAXIDERMY III RIGO GALLERY CROATIA 2017

Taxidermy as Installation involves the cutting and rearrangement of objects to create a fragmented but cohesive visual language. By dissecting materials like fabric, leather, or even furniture, each piece transforms into an abstract composition, exploring themes of absence, presence, and reconstruction.

WRINKLE BENCH AND BOOK SETS

ARCO ART FAIR

DUNA DUNAJ / NARRATIVE AND RITUAL

SLOVAKIA SEPTEMBER 2015

TAXIDERMY II _____________ NEGRADAS 2016

TAXIDERMY SERIES ///// THE CITY IS AN ANIMAL __________

CULTURAL ECHOLOGY

LAPIEZA ART FRAME SERIES MADRID

SKI HOUSE / NORWAY 2014

COLLABORATION WITH STUDIO FREDRIK LUND / PAULA LLOVERAS

TRANSLATORIAL / SERBIA

2016

THE LIGHT IN ATHENS

ARTNATION #113#114 2020

HUSØY ARENA //////////////////////////////// SOCIAL CLUB /// NORWAY / 2012

COLLABORATION WITH FREDRIK LUND / PAULA LLOVERAS

POSITIONAL ESSAYS

A decade-long meta-film project (2008-2018) that documents bodies at work, blending performance, film, and social sculpture. The series captures artists, workers, and performers across various contexts, emphasizing the physical and relational labor involved in creating art. Each scene becomes an essay on identity, power, and presence, exploring the interactions between filmed subjects and their environments.

BOKROS

MMXIX

RIGO GALLERY

SOLO SHOW / SET OF TEN

SUBAMB

EXPERIENCIA SUBLIME Y AMBIENTE ///////////////////////////////////// Análisis psicológico de las emociones trascendentes en relación con la naturaleza

WALL SERIES //// INTERSECTION ///// CADIZ 2016

WALL / LEMON RITUAL / MEAT / YELLOW BAG

Super Natural Series SLOVAKIAN RURALISM MMXIX EXTENDED DUNA

The Sunflower Fields art residency in Bokros, Slovakia, part of the Supernatural Series, is an ongoing project that integrates nature and local culture. The residency, hosted by artist Yuri Dólan, provides a collaborative space for artists to engage with rural landscapes, working in a historical farm setting surrounded by sunflowers, cornfields, and the Danube River. The event includes installations, lectures, and performances, emphasizing relational and situational art. Central themes include temporality, nature, and context-based narratives, resulting in exhibitions and film productions.

IV LAGOS BIENNIAL OF ART AND ARCHITECTURE :::: RESEARCH TRIP

OUTSIDER

RED DECAY - COLOR SERIES / STAND BY

SUMMER 2016 / HUNGARY CADIZ GALICIA

REVISTA REPLICANTE

ARTÍCULO / RUBÉN BONET 2013

EL SOL DE FRENTE

"El Sol de Frente" (2015) is a nocturnal intervention organized by Ana Matey on a farm outside Madrid, in which Anto Lloveras participated as both artist and observer. The piece blends performance, narrative, and photography, exploring the body's ability to adapt and respond to the natural environment. A figure covered in a large golden antler performs a ritual that blurs the line between human and animal, while the audience watches through small windows. The action turns the setting into a visceral and wild stage, highlighting the transformative power of the landscape.

FRESH MUSEUM

GALAXY SERIES ///// FROZEN HEAT

MILAN ON WHEELS

CRITICAL ESSAY

DECONSTRUCTING AN EXPLICIT CONTENT

ARTERIJA 10.0 MMXIX

CITTANOVA ISTRIA CROATIA 08.19

LIGHT SCULPTURE //////// SOCIAL INSTALLATION SERIES

PROVENCE 2014 ____________THE LIGHT AND THE NET

L I L I U M

LIGHT CONCRETE SCULPTURE

BLITZ BETON WORKSHOP ______ ROTTERDAM MUSEUM PARK

THE WALL AND THE OCEAN - DOUBLE SHOW AFTER DARKNESS

King Dream, part of the Stone Garden series, consists of 200 drawings defined by raw, unfinished forms and a continuous black line. The focus is on capturing primal emotions and elemental forms, celebrating imperfection and the vitality of incompleteness. Created during a period of isolation, the project reflects themes of emergence, disconnection, and reconnection through daily drawing practices. Exhibited simultaneously in Cádiz and Castilla, King Dream embraces the tension between confinement and expansiveness, inspired by Brecht’s idea that “there will be singing about the dark times.”

Works with REGINA FIZ. The political artifact.

The concept of the queer body in Regina Fiz’s action series revolves around disrupting conventional norms and reclaiming power through presence, performance, and relational interaction. Regina Fiz embodies the queer body as a site of resistance and transformation, where gender and identity are fluid, challenging heteronormative frameworks. Each action uses her body to subvert expectations, engage in non-narrative dialogues, and create spaces that are both intimate and public, celebrating difference while confronting social conventions and power dynamics.

Estética relacional y socioplástica

CHURRUCA

URBAN LIVING 2016 MADRID

VELÁZQUEZ 100 SITUATION ___ PLANCTON

Conceptual art action centered on temporal and situational art practices, where artists intervene in a defined space for three hours. The project critiques the traditional boundaries between the artist, artwork, and audience, emphasizing collaborative creation and the transformation of personal artistic narratives into a collective memory.

MIRADOR MADRID

MVRDV DESIGN TEAM

THE FLAG SQUAD _________ Re(T)exHile

OUTSIDER ____ LAGOS NIGERIA___ 3RD AND 4TH CONTEMPORARY ART AND ARCHITECTURE BIENNALE 2021-2024

PYRAMYD 2020

The entrance to the Temple.

EMERGENCIAS

RAFA RUIZ / EL PAÍS / 2012

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