Conceptual kinships * Socioplastics

Understanding the work of Anto Lloveras means tracing subtle lines between art, architecture and affect—lines that do not delimit a territory, but rather draw movement within it. His practice unfolds through what might be called a social metabolism, where objects do not stand as monuments but move, adapt, and gather presence over time. Across geographies and decades, a set of artists have engaged similar logics: ritual as structure, walking as inscription, objects as fixers, and spaces as soft infrastructures. Some carved into buildings to reveal their inner fractures; others cooked in galleries to turn encounter into form. Some rolled soft stones through cities, or stitched flags that traveled across lands; others built fragile shelters from metal, fabric, or bamboo, only to unbuild them through gesture. Each, in their way, has proposed that art is not a product but a continuum of care—a system of relations, attentive and open. Lloveras does not cite them; he listens. What links these voices is not style but attitude: a belief that art’s real site is not the gallery but the situation, not the object but the gesture that holds, touches, repairs. His Yellow Bag, his urban taxidermies, his ephemeral architectures—they do not imitate, they resonate. In this quiet resonance, there is kinship. A dispersed lineage. A shared pulse. And in that pulse, yes, some of them are my brothers and sisters.

Lloveras, A. (2010–2026) Socioplastics: The Architecture of the Summa (&K). [online] Available at: https://antolloveras.blogspot.com/

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