Green Briefcase (2014–2024) constitutes a seminal interrogation of the "unstable installation," challenging the static ontology of the traditional sculptural object by embedding it within a decade-long nomadic trajectory. Departing from conventional chronologies, the figures 1514 and 1770 function not as dates, but as systemic positions within the work's serial logic—an inventory of its material existence and spatial displacement. In a manner resonant with André Cadere’s Bâtons de bois rond, the briefcase operates as a conceptual interloper that destabilizes the institutional sanctity of the "white cube." Its presence in locales ranging from Lagos to Zagreb is an act of "positional fixation," transforming the urban fabric into a site of critical inquiry where the object is simultaneously a utilitarian tool and an autonomous aesthetic entity. By navigating these diverse topographies, the work transcends mere portability, becoming a catalyst for redefining the viewer's engagement with the lived-art process. The conceptual framework of "socioplastics" serves as a transdisciplinary bridge where architecture, epistemology, and art converge to dissolve the boundaries between the functional and the aesthetic. This methodology places Lloveras in direct conversation with the rigorous institutional critique of Daniel Buren; where Buren utilized the tool of visual repetition to signal the specificity of a site, Lloveras employs the briefcase as a "chromatological anchor" that activates the social and political realities of the territories it traverses. The briefcase acts as a constant formal element set against the radical contingency of its environment, imposing a structural rigor upon the chaos of urban transit. This systematic deployment of the monochrome—extending into related iterations such as the Blue Bags and Red Extensions—articulates a narrative of global connectivity that necessitates the object be "in use," thereby integrating human movement as a primary constituent of its sculptural form.
Furthermore, the temporal elasticity of the Unstable Installation Series reinforces the notion of the "object-as-archive," perpetually evolving through its interactions with specific social ecologies. By explicitly rejecting the immobility of the pedestal, the Green Briefcase assumes the role of a portable, "invisible" sculpture that records the shifting scenic dimensions of the twenty-first century. Its residency in contexts as varied as the rural silence of Extremadura or the performative intensity of the Lagos Biennial suggests that the art resides in the transition itself rather than the destination. This nomadic ethos echoes the avant-garde strategies of the 1960s, where the act of transporting the object constitutes the work's ontological core. The numbering of its positions within the series underscores an internal order that resists linear interpretation, implying that art is not a terminal artifact but an ongoing process of spatial occupation and systemic transit. Ultimately, Lloveras’s project demands a critical reassessment of the "sculptural event" in the age of globalism. The Green Briefcase exemplifies a shift from site-specificity to "site-nomadism," where meaning is generated through the friction between the object and the disparate geographies it inhabits. By documenting this passage across digital and physical realms, the work acknowledges that contemporary sculpture must be mediated through both action and its archival trace. The briefcase serves as a socioplastic reagent, forcing a reconciliation between the rigid structures of architecture and the fluid, unpredictable movements of human existence. In its ten-year odyssey, the work has successfully dismantled the traditional viewing experience, replacing passive contemplation with active use and demonstrating that the most profound sculptures of our era are those that are carried, moved, and lived—permanently oscillating between the tangible plastic object and the intangible social network.
Lloveras, A. (2017). Green Briefcase: Social Installation. Available at:
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