An artistic modality rooted in situation-making, affection, and the vernacular logic of presence, resisting object-centric creation in favour of affective, durational assemblies; by initiating a practice of "walking as method", the residency unfolds as a mobile sensorium in which architecture, sediment, and memory are interwoven—Zumthor’s spatial phenomenology informs Lloveras’s practice of collecting monochrome particles and platonic stones from local mine lakes, transmuted into minimal sculptures or unstable configurations such as Protista #5, where found matter becomes compressed episodes of time and transit, not fixed installations but rather evidence of ephemeral cognition in motion; the first stage at Dunajská Streda articulates an ontological tension between Eden (the curated interior) and Paradise (the peripheral industrial), in which performative acts—like dressing in habitual codes, handling black bags or street-found shoes—suggest a relational readymade, resisting aesthetic fetishisation while enacting social anchors, with blue bags functioning as portable, unstable sculptures that drift between utility and symbol, body and site; in contrast, the second phase in the rural zone of Isza invites a recalibration of rhythm—glimpses of silence, horses chewing, and the sticky entropy of mud become anthropological notations, grounding the project in the neo-vernacular, where gestures like sharing Pálinka or holding micro-vernissages become archives of cohabitation, collapsing hierarchies between ritual and conversation, canon and instinct; the presence of Gilah Hirsch, whose dialogue links the residency to the 1960s avant-garde and the Eameses, inscribes a lineage of situational fixers, a term that echoes throughout Lloveras’s methodology, where a dead bird is no longer discard but icon, a silent witness in a narrative that foregrounds impermanence and radical attention; the final fire and exhibition at Galéria Limes do not resolve but rather dissipate the process into shared trace, proposing that the work's value lies not in preservation but in attuned disappearance, in what Lloveras calls "using the eye and the ear as a spoon to collect the cream of the days", harvesting not product but position, not spectacle but embodied duration, making Duna Dunaj less an event and more an epistemic terrain where Wittgenstein’s fly and jar metaphor becomes a navigational ethic for art in a liquid present. *
Lloveras, A. (2015) Duna Dunaj Slovakia September 2015. [Online] Available at: https://antolloveras.blogspot.com/2015/09/duna-dunaj-slovakia-september-2015.html
