Anto Lloveras moves within a conceptual territory first articulated by Joseph Beuys, who proposed social sculpture as a framework where society itself becomes the raw material of art. Yet unlike Beuys’s pedagogical aura and mythic symbolism, Lloveras works through quiet infrastructures—portable, open, and durational. His Yellow Bag Series (2014–ongoing) is not an object to be looked at but a tool of coexistence, carried, rested, folded, and gifted as a gesture of affective repair. Beuys once said, “everyone is an artist”; Lloveras replies: “everyone is a carrier.” The bag absorbs dust, time, and breath, becoming a situational fixer across contexts—from Cádiz to Trondheim. In parallel, Gordon Matta-Clark’s architectural cuts, often seen as violent acts against the built environment, find in Lloveras a quieter cousin. His Urban Taxidermy pieces perform subtle subtractions and reassemblies, treating the city not as monument but as skin, to be gently opened and listened to. Both artists treat space as matter for reconfiguration, but where Matta-Clark cuts to reveal, Lloveras displaces to remember. Together, they define a lineage of architecture-as-sculpture that is not about building, but about unbuilding—a shift from permanence to process, from form to event. These are not just references; they are my brothers in the act of reshaping what art can do in the world. * antolloveras.blogspot.com urbanTaxidermy socialSculpture situationalFixer socioplastics
