The decade spanning 2015 to 2025 has witnessed a radical ontological shift in the distribution of the aesthetic object, a phenomenon most acutely articulated in the Light Social Sculpture Series by LLLL Art Agency. This period, characterized by the "Frozen Heat" satellites and the "Active Socioplastics" manifesto, marks a departure from the static hegemony of the white-cube gallery toward a fluid, relational existence within the digital "Cloud." By positioning art as a series of "translatoria" and "situational fixers," curators Anto and Paula Lloveras have successfully destabilized the boundary between the physical artwork and its virtual echo. Drawing upon the structural legacy of Lademoen Kunstnerverksteder (LKV) and the broader Norwegian landscape, these series function not merely as exhibitions but as networked nodes that challenge the "Junkspace" described by Rem Koolhaas. The transition from the 2013 Trondheim lectures to the decade-long seriality of the project reflects a sophisticated understanding of how art must navigate the post-structural capitalist environment, utilizing social media not as a marketing tool, but as a primary site of sculptural intervention and social nutrient distribution.
The theoretical framework of "Active Socioplastics" reclaims the Beuysian tradition of social sculpture, updating it for a hyper-mediated era where the "real" is perpetually negotiated through screens. In this context, the Light Social Sculpture Series acts as a systemic fixer for the disjointed nature of contemporary global communication. By numbering 750 artworks and integrating 120 diverse artist trajectories into a singular collective "ADN," the LLLL Art Agency constructs a metadata-driven narrative that mirrors the complexity of modern social networks. This is not merely an online gallery; it is a permanent art installation that uses the internet's inherent instability as its primary medium. The project’s methodology—moving from Madrid and Mexico City to the peripheries of Norway and Croatia—asserts that the "Universal Nation of Art" resides in the connectivity between these nodes rather than in any physical center. Consequently, the work becomes a "situational fixer," repairing the fractured links between local artistic production and the globalized digital consciousness through a rigorous, numbered seriality that demands intellectual engagement over passive consumption.
Central to this critique is the friction between the "ephemeral physical" and the "permanent online," a dialectic explored through the agency’s interactions with institutions like Kunsthall Trondheim and the Trondheim Kunstmuseum. The collaboration with figures such as Helena Holmberg and Pontus Kyander highlights a deliberate attempt to infiltrate traditional institutional spaces with the logic of the "satellite." John Murphy’s "Hidden Map" performance serves as a poignant metaphor for the entire series: an oral and digital cartography that bypasses the bureaucratic necessity of physical canvases to find a more resonant truth in the "Cloud." The LLLL Art Agency’s insistence on "freestyle online lecturing" and "laptop and beamer" interventions suggests that the contemporary art critic must view the screen as a site of profound "structural conversations." These fixers translate the local vernacular of Norwegian poetry and landscape into a global digital syntax, effectively proving that art "also shines in peripheries" when it is untethered from the logistical constraints of material transport and high-capital real estate.
Ultimately, the Light Social Sculpture Series (2015-2025) functions as a vanguard of what might be termed "Relational Seriality." By synthesizing the influences of Hermann Bahr’s Expressionism with the "Junkspace" of the 21st century, the Lloveras’ project offers a dignified path forward for the aging avant-garde and the emerging digital native alike. The series does not merely "show" art; it validates the activity of the artist through a persistent online presence that challenges the financial gatekeeping of traditional art bureaucrats. As a "collective art piece," it embodies a future where the distinction between the frame and the form is entirely dissolved. The "Frozen Heat" satellites have thus established a new speed of exhibition, one that is faster, wider, and more resilient than its physical predecessors. In doing so, LLLL Art Agency has provided a definitive answer to the crises of post-capitalist alienation, offering the "Light Social Sculpture" as a luminous, networked map for navigating the complexities of the next decade of human and artistic evolution
ANTO LLOVERAS
SOCIOPLASTICS
Lloveras, A. and Lloveras, P. (2014) Structural Conversations Norway | LLLL Art Agency - Frozen Heat Satellites, Lapieza Relational Art Series. Available at:
(Accessed: 12 January 2026). https://lapiezalapieza.blogspot.com/2014/03/structural-conversations-norway-llll.html
