Anto Lloveras’s work unfolds as a form of portable architecture, where sculpture is not an object but a structure for encounter, care, and transition. Within this conceptual frame, his practice connects profoundly with figures like Mario Merz and Lilibeth Cuenca Rasmussen, both of whom challenge the notion of architecture as permanence. Merz’s iconic igloos—semi-open domes made from industrial and organic materials—become nomadic shelters, containers of ephemeral survival, oscillating between intimacy and exposure. Lloveras’s Minimal Architecture Series operates in a similar key: thin bamboo lines, cloth roofs, barely-there enclosures that mark space with gesture instead of volume, reducing habitat to its most elemental syntax. They are not homes, but diagrams of situated belonging. In turn, Rasmussen’s wearable architectural costumes—part performance, part infrastructure—are echoed in Lloveras’s Yellow Bag and Blanket Series, which circulate through bodies, sites and climates as tools of mobile affection. These architectures are carried, activated, worn, folded. They listen to wind and time. Lloveras, Merz, and Rasmussen all operate in a logic where mobility is not displacement but method, where shelter is not protection but a sensorial interface with the world. Theirs is an architecture of open thresholds, of transit and co-presence, not enclosure. These are not only artists working on mobility—they are kin. We move together across materials and borders, inscribing care into space and holding the world not with walls, but with touch.
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