::::::::: SOCIOPLASTICS : The Syntax of the Found Object * From Shore to Gallery * In this installation at Rigo Gallery (2017), contemplative space of the white cube. The small stone, held between fingers against the horizon of Poreč, is not merely a souvenir; it is a supernatiural trophy.

Sunday, January 11, 2026

The Syntax of the Found Object * From Shore to Gallery * In this installation at Rigo Gallery (2017), contemplative space of the white cube. The small stone, held between fingers against the horizon of Poreč, is not merely a souvenir; it is a supernatiural trophy.

In Swim Stone (Rigo Gallery, 2017), Anto Lloveras distills the passage between landscape and installation into a minimal yet charged set of gestures, anchoring the viewer within a practice that mobilizes collection as choreography; the act of extracting a "piedrita" from the Adriatic after each swim becomes a precise situational fixative, transforming the stone into a geopoetic trophy held momentarily against the shifting horizon of Poreč before its insertion into the white cube’s grammar of stillness and form; the wall-mounted constellation—hat, trousers, yellow bag, shirt, triangle of coins, travel bag, melon—functions as an inhabited syntax, a domestic geometry that reorients exhibition-making as a form of autobiographical notation, where each suspended item operates as a signifier of transit, part of a nomadic kit worn, used, or held by the artist, collapsing the separation between body, shelter, and display; this method finds conceptual lineage in the Conversation Installation with Danino Božić (Zuccato Palace, 2014), extending into the Conversational Shelter – Minimal Sculpture series (2026), and inscribing itself in a broader commitment to Socioplastics—an ethics where art becomes a reparative and embodied gesture, recording heat, movement, and encounter; in this sense, the stone is not an object but an index of traversal, a mark of presence smuggled across the shoreline into the gallery, now functioning not as decor but as punctuation in a sentence about time, place, and the delicate politics of possession (Lloveras 2017; Lloveras 2014; Lloveras 2026).