Cadáver Exquisito unfolds as a collective, embodied score staged at Cruce (Madrid, 2020), where the gallery becomes laboratory, playground, and ritual space. Drawing from the surrealist game but reformulating it through socioplastic methodology, the performance invites multiple authors to intervene sequentially—without prior agreement—across objects, gestures, and positions. One throws, another carries, one narrates, another prepares. The resulting "body" is never finished: it is folded through affection, tension, and spatial negotiation. Materials include: textiles, sound, temperature, paper fragments, bodies in rest or disarray. The scene is set as a micro-museum in motion—a mutable archive of roles, care, violence, and improvisation. Echoing Lloveras’s ethos of distributed authorship, the work refuses hierarchy and opens a field of unstable meanings. Within the Socioplastics archive, it resonates with MEAT, Broth, and El Dorado—not by form, but by ethic. No part is more important than another. What holds them together is a shared temporality, a poetics of presence, and an insistence on unlearning spectacle.
https://antolloveras.blogspot.com - collective performance, socioplastics, museographic ritual, Cadaver Exquisito, unstable installation, body in space, situated authorship, distributed presence, post-spectacle, CRUCE gallery, conceptual performance, United Nations of Art - (Lloveras, A. 2010–2025)
