The contemporary landscape of transdisciplinary art finds a singular point of inflection in the work of Anto Lloveras, specifically within the ambitious taxonomy of his one hundred works, a collection that functions less as a retrospective and more as a living, "hyperplastic" organism. By positioning "SATELLITE" as the ontological anchor of this trajectory, Lloveras establishes a foundational displacement of meaning, where the artist ceases to be a mere creator of objects and becomes a mediator of relational infrastructures. This shift is not merely aesthetic but deeply political, challenging the Cartesian rigidity of traditional architecture through the introduction of "Socioplastics." In this critical framework, the work of art is understood as a transitional device—a connective tissue that bridges the gap between the monumental scale of the city and the intimate scale of human ritual. The strategic selection of works like "FIREWORKS" serves as a visceral entry point into this complex system, utilizing the ephemeral nature of pyrotechnics as a form of urban writing. This "hyperplasticity" suggests that the city itself is a malleable surface, susceptible to the transient gestures of the artist, thereby redefining the urban fabric as a site of constant semiotic negotiation and fluidic presence.
Building upon this theoretical substrate, Lloveras navigates the friction between global metropolitan authority and the visceral reality of urban "incisions," as exemplified in the "TAXI 1" London project. Here, the artist performs a form of critical taxidermy, cutting into the urban tissue to reveal the hidden layers of memory and material history that constitute the modern city. This methodology transcends simple renovation, proposing instead a "regeneration through trauma," where the act of cutting becomes a necessary precursor to new forms of life. The inclusion of "THE 5TH CITY" within his strategic top five further elevates the discourse, moving from physical intervention to the construction of a radical urban fiction. This "fifth city" does not exist in competition with the physical world but as an indispensable conceptual layer—a speculative territory where the body, political fiction, and urbanism converge. By articulating such a complex vision, Lloveras distances himself from the banal "smart city" narratives that dominate contemporary discourse, offering instead a "rhizomatic vanguard" that prioritizes epistemic friction and the agonistic potential of public space over the sterile efficiency of technocratic management.
The pedagogical and relational dimensions of Lloveras’s practice, notably seen in "WORK-BREAKFAST" and "RED BAG," underscore a commitment to "pedagogy as artistic praxis," where the transmission of knowledge becomes a durational performance in its own right. "WORK-BREAKFAST" functions as a platform for rhizomatic learning, dismantling the traditional hierarchies of the academy and replacing them with a decentralized network of intellectual exchange. This is complemented by the "RED BAG" project, which serves as a portable icon of relational infrastructure—a minimal device that activates social space wherever it is deployed. This aspect of the work highlights the importance of the "micro-gesture" in a macro-architectural context, suggesting that the most profound shifts in social sculpture often occur through the simplest of interactions. The metabolic and micrological concerns found in "PROTISTAS" further expand this enquiry into the realm of the non-human and the agentic potential of minimal matter. By focusing on these "micro-ecologies," Lloveras acknowledges the interconnectedness of all systems, proposing an art that is as much about biological agency as it is about structural engineering or urban design.
Finally, the archival and ritualistic aspects of the work, encapsulated in "LAPIEZA-E" and "BROTH," provide the necessary historical and emotional grounding for this expansive oeuvre. "LAPIEZA" stands as a testament to fifteen years of situated practice, an institutionalizable memory that documents the evolution of a singular artistic language. It is the "active archive" that prevents the work from being consumed by the very ephemerality it celebrates. Conversely, "BROTH" reconnects the entire system to the primal ritual of the body and the domestic sphere. By treating a simple broth as a form of social sculpture, Lloveras invokes the ghost of Joseph Beuys, yet steers the conversation toward a contemporary understanding of "civic affection" and "thermodynamic essays." The ritual becomes a mechanism for spatial repair, a way of stitching together the fragmented components of the modern experience. In this synthesis of the spectacular and the mundane, the monumental and the molecular, Anto Lloveras constructs a coherent discourse that redefines the role of the artist-architect in the twenty-first century as a "translator" of realities, ensuring that the legacy of these one hundred works continues to vibrate within the urban palimpsest of the future.
Lloveras, A. (2026) 100 Works by Anto Lloveras: A Transdisciplinary Entanglement. Available at: