Drawing from the austerity of Samuel Beckett’s late minimalism, the choreographic protocols reduce action to elementary gestures—walking, carrying, draping, pausing—performed in durational repetition. Yet unlike Beckett’s existential cycles of exhaustion, these reiterations generate difference through micro-variation, allowing relational tensions to surface within the field of encounter. This methodological reduction resonates with the legacy of Judson Dance Theater, particularly Yvonne Rainer’s rejection of spectacle and Steve Paxton’s exploration of ordinary movement, where choreography emerges from everyday gestures stripped of virtuosity. However, within the Socioplastic framework such gestures function strategically: they act as probes inserted into spatial and institutional contexts where the refusal to perform becomes itself a critical instrument. The body is thus treated as plastic matter akin to Erwin Wurm’s sculptural configurations, yet oriented toward affective sustainability rather than absurdity. Simultaneously, the practice intersects with Paul B. Preciado’s conception of the body as politically constructed, proposing choreographic protocols that temporarily reorganise regimes of bodily intelligibility. The resulting encounters extend Nicolas Bourriaud’s relational aesthetics into a metabolic register, where bodies, objects, and environments exchange affective intensities across time. Documentation through video platforms and distributed blog nodes does not merely record these gestures but prolongs their operational life, transforming ephemeral choreography into archival infrastructure. Ultimately, Lloveras’s work proposes a form of choreography without dance: a procedural language in which movement functions as methodological inquiry, enabling architecture, performance, and epistemology to converge within a distributed research organism.
SLUGS
1100-CONTEMPORARY-ARCHITECTURAL-POSITIONING
