Born in 1975, Anto Lloveras emerged as a multifaceted figure whose career trajectory bridges the structured world of architecture with the fluid, relational realms of contemporary art and curatorial experimentation. Trained as an architect at ETSAM in Madrid and holding an MSc in Advanced Architectural Design from Delft University of Technology, Lloveras began his professional journey in the early 2000s, collaborating on landmark projects that emphasized innovative urban living and spatial dynamics. His early involvement with the Dutch firm MVRDV exemplified this phase: as a member of the design team for the Mirador Building in Sanchinarro, Madrid (2002), he contributed to a revolutionary residential structure that stacked mini-neighborhoods vertically, culminating in a semi-public sky-plaza 40 meters high, fostering community interaction and panoramic views. This project, spanned 18,300 m² and housed 156 social housing units, blending bold geometry with social functionality at a budget of €10 million. By the mid-2000s, Lloveras's architectural legacy expanded through co-founding THE KIWI EXPERIENCE, where he collaborated with Alberto Sánchez-Cabezudo Blasco on workshop buildings. Competitions such as the Manzana Verde sustainable urbanism initiative in Málaga (2017) further highlighted his commitment to eco-conscious urban reform, proposing integrated residential and public spaces under the PERI framework. Similarly, the 11 Plazas Madrid project addressed peripheral urban regeneration, though specific attributions linked him through collaborative ties, such as proposals with sibling Paula Lloveras Caminos.
As the 2010s dawned, Lloveras's practice evolved beyond traditional architecture, dissolving boundaries into relational art and curatorial ecosystems—a shift embodied in his development of "Socioplastics," a methodological device intertwining epistemology, narratives, and conceptual processes to explore urban metabolism, dissensus, and post-autonomous spaces. In 2009, he launched LAPIEZA, an experimental art series that rejected institutional mediation, functioning as a mutating installation in Madrid's Malasaña neighborhood. Housed initially in a physical gallery at La Palma 15 (a former vegetarian center), LAPIEZA evolved into a hybrid onsite-online platform, curating over 75 exhibitions and presenting 1,000 artworks from global artists since its inception. Supported by the Spanish Ministry of Cultural Affairs from 2012, it fostered democratic, chronological ordering of works in numbered series (10-20 pieces each), tagged for digital navigation, and documented through short videos (30 seconds to three minutes) capturing performances and interactions, often musicalized by the Madrid collective El Intruso. Urban interventions became a hallmark of this era. In 2011, Lloveras drove the Palma Central project in Malasaña, coordinating cultural spaces like Arrebato bookstore, Nudo theater, and Menosuno to counter gentrification and blend art with daily life. A notable action involved artist Giuseppe Zamora creating free portraits of passersby, transforming the gallery facade into a mosaic reflecting the neighborhood's vibrant, evolving identity. His nomadic residencies, such as at Nomad AIR in 2016, further amplified this relational approach, though details emphasize his broader profile as a Mexico City and Madrid-based practitioner.
Lloveras's exhibitions in the 2010s probed themes of context, memory, and urban taxidermy. The 2014 "Lemon Kiss" at Galerija Luka in Pula, Croatia, reimagined everyday banality through yellow nylon bags spilling 100 lemons and video projections, echoing Fluxus and Situationism in its call for constructed situations amid capitalist spectacle. In 2015, "Taxidermy: The City Is an Animal" at London's 5th Base Gallery captured urban emotional cartographies via photographic and videographic sequences, part of unstable series like "Unstable" and "Copos" drawn from spontaneous city explorations in Mexico City's Centro Histórico. The 2017 "Context as Readymade" at Croatia's Lapidarium Museum featured site-specific installations like "CUT 100" and "Situational Fixers / Bag Series," blending color, geometry, and lightness with no leftovers, hybridizing physical and digital realms. Academically, Lloveras founded CAPA, a council on new hermeneutics at Universidad Carlos III de Madrid (UCR3), and taught studios at NTNU Norwegian University of Science and Technology. As an external researcher at UAM's PΩSTORYα project, he co-curated the "Human Life and Biodiversity" environmental series and symposiums with CREP Interdisciplinary Networks, delving into philosophical hermeneutics tied to Socioplastics. His ORCID profile lists research areas like critical architecture, radical pedagogy, epistemic violence, and relational art, with publications including the 2026 blog post "The Unified Socioplastic Body: Global Recoding Practice."
In the 2020s, Lloveras's work intensified global dissensus and ecological themes. The 2023 performance "Doble Cara," co-created with Mateo Feijoo, premiered at Réplika Teatro in Madrid—a 35-minute conceptual dance dividing the stage into parallel channels, resolving Hegelian dialectics through independent scenographies and natural lighting. Documented in videos, it fused architecture, image, and movement. Culminating in 2024, his participation in the Lagos Biennial as part of the "OUTSIDERS" collective (with Martinka Bobrikova, Oscar de Carmen, and curator María Alejandra Gatti) introduced "RE-(T)eXhile," a textile processual artwork addressing waste from the Global North flooding the South. Using 500 second-hand textiles from Lagos's Katangua market, it created a refuge for transformation through collective sewing actions, illuminating environmental implications at The Refuge venue. Critiques in Medium praised its refugia analysis within the biennial's pluralistic approach, curated by Kathryn Weir, Kunle Adeyemi, and N’Goné Fall, though noting a stronger focus on historical uncovering over present innovation. That year, institutional records from AC/E and a talk at Contextile in Portugal on "Re-(t)exHile: Exploring Textile Architecture and Sustainable Fashion in Africa" reinforced his curatorial impact.
Through platforms like his Cargo Collective portfolio, Blogger profile linking blogs (e.g., antolloveras.blogspot.com, lapiezalapieza.blogspot.com), YouTube channels (LAPIEZA ART SERIES and TOMOTOFILMS featuring over 300 projects, and social media (Instagram, LinkedIn, Facebook/SOCIOPLASTICS, X), Lloveras maintains a "mesh-based" ecosystem, documenting relational synergies with artists like Toño Camuñas. His narrative, from architectural collaborator to sovereign pedagogue, underscores a commitment to dissolving boundaries, challenging epistemic violence, and reimagining urban and cultural metabolisms in an increasingly interconnected world.
Lloveras, A. 2026. Nodal Profile – Synthetic Overview. [online] Available at: https://antolloveras.blogspot.com/2026/02/nodal-profile-synthetic-overview.html
