United Nations of Art, conceived by Anto Lloveras as part of his expansive Socioplastics framework, functions less as a conventional curatorial project and more as a conceptual constellation within his long-term, relational art practice, proposing a transnational imaginary where art becomes a migratory nation—fluid, unstable, and radically inclusive; developed through the platform LAPIEZA International Art Series, which since 2009 has hosted over 1,300 numbered interventions, this piece—originally indexed as #795 within the 2014 Frozen Heat exhibition curated with Paula Lloveras under the LLLL agency—marks a turning point in Lloveras's evolving notion of art as a global infrastructure of voices, peripheries, and hybrid practices; the project later morphs into ARTNATIONS, a speculative system that reframes artistic practice as a form of sovereign mobility, where artists are not representatives of territories but carriers of situated knowledges, minor histories, and resistant rituals; embedded in this proposal is a vision of a polyphonic global canon, one that includes not only institutional figures but also emergent, diasporic, and indigenous practices often excluded from dominant art histories; this ethos materializes through Lloveras’s social sculptures, performative gestures, and site-specific installations—from blue bags in Norway to yellow rituals in Mexico and London—that collectively enact a non-hierarchical, open-source cartography of presence, governed by affect, proximity, and care rather than borders or market value; United Nations of Art thus becomes a living archive of cultural sovereignty, one that invites rethinking authorship, territory, and community through relational aesthetics and planetary consciousness. (Lloveras, A. 2010–2025) Explore the archive at antolloveras.blogspot.com
