Activating an in-situ creation process at the Antiguas Naves Cigarreras in Cádiz responds to the need for a "social sculpture" that is not merely observed, but tasted. In an era saturated with prefabricated narratives, Qualitätskontrolle III presents itself as a haute cuisine dish served warm, devoid of any prior script or score. From the vastness of the industrial warehouse, the team operates as ingredients of a living composition: large sacks of coarse salt, thick blankets, and bodies in tracksuits map the tempos of a motley city breathing between the echo of flamenco and the roar of the sea. It is an investigation into scale and the order of disorder, where the urgency lies in capturing a "final form" that is never stable; it is a vibration. The central device is a double-screen high-definition installation (3x2m) that dialogues with the live action. The operational logic is that of a synesthetic collage: the yellow of a sea buoy synchronizes with a dancer’s balance bar, while the blue of the ocean physically envelops the space through salt bags. During a seven-day residency, an hour of "time-image" is woven, where each daily adjustment serves as a premiere. The method avoids tautology, seeking the opposite direction through the repetition of movements that qualify the final flavor. Here, technology is not a support but a black suit camouflaged in the shadows, letting the singing, dancing, and local botany dictate the choreography.
Under the conceptual scaffolding of Hiperplástica, the work connects with Nicolas Bourriaud’s "relational aesthetics," but pushed into the realm of material wear and sweat. The piece sits at the intersection of Virilio’s dromology and Perec’s "infra-ordinary," capturing what happens when present bodies collide with the colossal space of industrial architecture. It is not about representing Cádiz, but processing it: the sand from the tombolo and the thorns of local botany function as physical metadata. It is a quality control system where error and overlap are what actually validate the authenticity of the encounter. The trajectory of Qualitätskontrolle is a media drift that has mutated from Amsterdam (2016) and Bogotá (2018) to the Cadiz coast. In each geography, the project re-situates itself, generating a specific filmic scenography fed by the local context. What was a piece for a single dancer in Amsterdam expands in Cádiz into a polyphony of agents: from El Mati’s voice to Eduardo Guerrero’s dance. The project moves from the poster pasted on the street to the digital ecosystem of LaPieza, transforming the process archive (Day 01 to Day 09) into a living extension of the scenic action itself. This intervention opens a field of possibilities for future "flavor interventions" in industrial spaces. How can socioplastic methods transform a city's memory into an ephemeral building material? Qualitätskontrolle III suggests that the future of theater lies not on the stage, but in the constant adjustment of the global composition. It is a curatorial launchpad toward new forms of "robust presence" where the audience, tightly packed in mobile chairs, becomes part of the salting process. The resulting form is a reminder that art, like life, is only real as long as it vibrates.
Day 09: Final Action Day 08: Tuesday Day 07: Monday Day 06: Sunday Day 05: Saturday Day 04: Friday Day 03: Thursday Day 02: Wednesday Day 01: Start
[ RESOURCES AND ARCHIVE ]
Film and Action:
Residency Diaries (In-Situ Process):
International Trajectory:
Theory: Hiperplástica • Relational Context • Time Image • Social Sculpture • Methodological Flavor. Tactility: Coarse Salt • Thick Blankets • Tombolo Sand • Buoy Yellow • Warehouse Scale. Network: FIT Cádiz • Tomoto Films • LaPieza Series • Residency Diaries • Synesthetic Collage. Geographies: Cádiz • Bogotá • Amsterdam • Naves Cigarreras. Artists: Guerrero, Feijoo, El Mati, Calde Ramírez, Tomoto, Anto Lloveras. SEO Summary: Curatorial essay on Qualitätskontrolle III at FIT Cádiz (2021). A socioplastic investigation on flamenco, territory, and in-situ processes.
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https://antolloveras.blogspot.com/2021/10/fit-2021-cadiz-qk-iii.html
Anto Lloveras / Socioplastics
