:::::::::::::::::::::::::: Anto Lloveras: ACTION

Showing posts with label ACTION. Show all posts

Thursday, April 30, 2026

Autopoiesis, Communication, Contingency

Niklas Luhmann’s Social Systems inaugurates a decisive post-humanist reconfiguration of sociological theory by relocating the foundation of the social from human actors to communication itself. Against traditions that derive society from consciousness, intention, or intersubjective consensus, Luhmann argues that social systems are not composed of persons but of communicative events that recursively reproduce the very networks from which they emerge. This shift is conceptually anchored in autopoiesis, borrowed from Maturana and Varela, through which Luhmann defines social systems as operationally closed yet cognitively open formations that generate and sustain their own elements. The consequence is profound: individuals do not constitute society; rather, they belong to its environment as psychic systems structurally coupled to communication. Society persists not because subjects act, but because communication produces further communication. This formulation displaces both phenomenology and action theory. Meaning is no longer grounded in intentional consciousness, but functions as the medium through which systems process complexity by selecting from an excess of possible references. Communication, accordingly, is not the transmission of thought from one subject to another, but the contingent synthesis of information, utterance, and understanding, each of which enables the next communicative operation. Luhmann’s celebrated reformulation of double contingency demonstrates this with particular force: social order emerges not from prior consensus, but from the improbable stabilisation of reciprocal uncertainty. A conversation, legal judgment, or scientific claim persists only insofar as it generates further communicative uptake. The social is thus neither substance nor collective will, but an emergent, self-referential order of recursive selections. Luhmann’s enduring achievement lies in showing that modern society is best understood not as a community of subjects, but as a differentiated ecology of communications reproducing itself through contingency, complexity, and systemic closure. Harvard citation: Luhmann, N. (1995) Social Systems. Stanford, CA: Stanford University Press.

Monday, December 1, 2025

Sheman TransHumanoid is an ultralight sculpture and performance artwork.

Weighing only 12 kilos and standing 250 cm tall, it’s a portable piece that defies conventional sculpture concepts. It explores themes of identity and transformation, highlighting the relationship between the human body and the surrounding space.

PORTABLE SCULPTURE BY LLOVERAS

12 KILOS _ 250 CM _ 2011

Friday, November 10, 2023

QUALITATSKONTROLLE ________ AMSTERDAM 25.11.16 ////////////////////////// LAPIEZA 1037 READY

CONTEMPORARY PERFORMANCE

AND STAGE POST-CHOREOGRAPHY

/////////////////////////////////////////////////////////////

THE SITUATION IN AMSTERDAM IS EXTENDING THE POSITIONAL ESSAYS

As part of the dutch flamenco biennale im invited to generate a memory essay of a new piece, in progress. We work in Amsterdam, with Mateo Feijoo as active relational programmer We make a piece for a flamenco dancer. Flamenco is the commodity that is used and deconstructed from its usual scenarios. We work on a minimal set, with conversation as main tool for the evolution of an action, with the proximity with the audience. We live and work in he hotel ARENA near the zoo. The dancer brings some small wooden boxes to use as portable stages. Very independent. The producers speak on their cell phones all day to get some technical support and a room for the intimate recordings. I walk the city as usual, taking the city as readymade, and subtract the installation from the real, to be presented at the show as real memory scenario. We work some days, and the piece is done. We make a rehearsal with no audience, very minimal and immediately after the same action with a hundred guests. The compression is huge. The sequence is recorded and edited during the show so at the end of the show the piece is finished. You saw it real and you saw again, the piece with you in it.

THE BODY AS SCULPTURE
http://antolloveras.blogspot.com.es/2013/12/filmados.htm

THE CITY AS READYMADE
http://antolloveras.blogspot.com.es/p/copos-flakes-urba.html

THE TRANSLATORIAL
http://antolloveras.blogspot.com.es/2014/08/blue-bags-2014-madrid-berlin-cadiz.html

25.11.16

26.11.16

01 THE CITY AS READYMADE
HYPERPLASTICS

https://www.youtube.com/watch?v=K04EJRHmdII

02 CONCEPT IN PROGRESS
SPACE

https://youtu.be/GW6V-dNkZeY

03 BODY AND MEMORY / SCULPTURE LEGS SHOES
RYTHM

https://www.youtube.com/watch?v=llqo3XYoLWQ&feature=youtu.be

04 SCULPTURE TORSO ARMS
STUDIO
https://www.youtube.com/watch?v=1eGbnJno_fI&feature=youtu.be

05 IN PROGRESS ***** REHERSAL GUESTS

ARENA

https://www.youtube.com/watch?v=m0nASWhz3P4&feature=youtu.be

06 AUDIENCE DENSITY ::::::::::::::

COMPRESSION BIENNALE

https://www.youtube.com/watch?v=Fbh6TI0wMoU&feature=youtu.be

//////////////////////////////////////////

DR. KUROGO

MATEO FEIJOO

CLARA CASTRO

EDUARDO GUERRERO

LLOVERAS

//////////////////////////////////////////

PART OF THE DUTCH 

FLAMENCO BIENNALE

IN NATURAL PROGRESS

FAST CLIP

https://www.youtube.com/watch?v=Yz1gjxfxzZ4

FAST IS GOOD

SHOW #79 *_ 2017 ***************** READY_________ NOW

1031 LLLL - SPANISH BAR - CONTEXT AS READYMADE  ****
1032 KRAPOOLA - ORANGE SERIES - MONOCHROME *********
1033 KJELL VARVIN - SETS 2017 VARIATIONS ***********
1034 PAULA LLOVERAS - NATURAL URBANISMS ************
1035 RUBÉN BONET - FLYHIGH - MADRID MEX DF *********
1036 EL INTRUSO 369 LEMON WALL *********************
1037 PIECE FOR A FLAMENCO DANCER PRODUCTION ********
1038 CLAUDE CHUZEL - EVERY DAY *********************
1039 LEIRE - FISH LIGHT - ZAHORA *******************
1040 ANTO LLOVERAS - FISH DISH *********************

Saturday, September 7, 2019

ARTERIJA 10.0___________________CITTANOVA CROATIAMMXIX

FAST FAST

https://www.youtube.com/watch?v=f_OBodnORvo

SQUAD

Đanino Božić
Ida Blažičko
Gledališče Zapik
Oleg Kulik
Artičoka
DaVie
Circus Lumineszenz
Nika Oblak & Primož Novak

Goran Tomčić
Mirjana Matić
Veliki trg, Šikuti Machine & Noel Šuran
Šejla Mujdanović
Josip Konfic & Nenad Sinkauz

Eva Mulej & Uroš Marolt
Lara Ritoša-Roberts
Anto lloveras

PROGRAM
http://www.muzej-lapidarium.hr/10th-international-festival-of-visual-arts-arterija
17*20_8_19

This year’s Arteria also marks our first 10 years. For that reason the festival does not have a specific subject, it is simply a celebratory anniversary edition. We are celebrating the fact that, regardless of the hardships, we again focused on new artistic productions and media, that we can exhibit works from previous festival editions which remained in our collection, but more than anything we are celebrating together with the artists happily accepted our invitation, both those we have already worked with once or a few times and those we have been working with continually. Let us just say that this is a chance to look back at who we are and if we have accounted for our first decade well. Over the course of these nine years, Arteria, designed as a platform based on the examination of the role of contemporary art in society and a model of collaboration, exchange of knowledge and experiences between artists from different disciplines and areas, has hosted 128 authors. Thirty-one performances and 21 workshops were presented, and 57 (spatial) installations were displayed (with or without the authors’ presence), as well as 56 video works at different venues in the old town. Adding to that 15 music performances and, finally, a little over 500 works, paintings, drawings, photographs and objects, we have displayed a respectable number. But it is not only statistics that is on our side. All these years included time for exploration, creativity, activism, enthusiasm and joy, as well as doubts, frustrations, fatigue and even failures. But the important things has always been the environment in which we create, perform, communicate, keep and nurture our dear art. Although Arteria has been more inclined to a more open and flexible manifestation of visual arts, as well as to a process pointing to social, emotional and aesthetic qualities in the broadest possible context, we can safely single out its essential traits as positive values. These are, primarily, support to new artistic productions and innovative subject matters, followed by affirmation and dialogue between different generations of artists, international collaboration and systematic promotion of contemporary art among the local community and general audience and, last but not least, replenishing the museum holdings. We hope we have managed to drop in somewhat different stories inside the dense touristic narrative of our town, to add new venues to the existing as part of the exhibition experience, and to connect traces of history with the present time.
JERICA ZIHERL CURATOR.

EXTENDED ARTERIA

17-22 August 2019

Muzej-Museo Lapidarium

SOCIOPLASTICS BY ANTO LLOVERAS

MUSIC BY EL INTRUSO / LAPIEZA ART SERIES

DAY 01 > https://youtu.be/8AH15kVHBSE

DAY 02 > https://youtu.be/ctvofoIWTD8

DAY 03 > https://youtu.be/7abd-g9P8HM

DAY 04 > https://youtu.be/R88NYnjdZ3I

10th International Visual Arts Festival

THE SITUATION IN CITTANOVA
IS PART OF THE POSITIONAL ESSAY SERIES

RAW IDENTITY VIDEO SERIES - ///////////////////////////////
SITUATION, CONTEXT AND MEMORY - ONGOING META DOCUMENTARY

AND

THE TRANSLATORIAL -

UNSTABLE CHROMATIC FIXERS -
ADDING BODIES AND ATMOSPHERES TO THE SERIES
++++++++++++ RED BAG / BLUE PANTS / BLACK SHOES / 7TH HAT

RECENT WORKS AND SITUATIONS

THAT CONNECT WITH THE ONGOING SUPERNATURAL SERIES

AND
THE ONLINE EXHIBITIONS BY LAPIEZA
INTERNATIONAL CONTEMPORARY RELATIONAL ART SERIES

NATURAL SQUAD SERIES - UDDEBO SWEDEN 2019

http://antolloveras.blogspot.com/2019/03/uddebo-2019-anti-symposium.html

BY THE RIVER - PROVENCE 2019

http://antolloveras.blogspot.com/2019/06/symposium-correns-june-2019.html

Sunday, July 29, 2018

MILAN ON WHEELS

FULL SERIES

http://basurama.org/proyecto/milan-on-wheels

2011

Tuesday, July 26, 2016

CATENARY ////////////////////////////// TERRA SERBIA 2016

CATENARY

SITUATION TERRA KIKINDA SERBIA 2016
35TH SYMPOSIUM OF ARTISTS
http://antolloveras.blogspot.rs/2016/05/kikinda-serbia-artist-in-residence-july.html
ACTION WITH BOZIC
DOTTED LINE
http://antolloveras.blogspot.rs/2016/07/danino-bozic-dotted-line-serbia-2016.html
NO LEFTOVERS ////////////// SERIES
http://antolloveras.blogspot.rs/2016/07/orange-tag-scuplture-prague-2015-serbia.html

Wednesday, July 20, 2016

DANINO BOZIC //////////// FOUNTAIN NUMBER 3 CIRCLE ///////////////// TERRA KIKINDA SERBIA 2016 LAPIEZA INTERNATIONAL........... SAMSA EUROPEAN NETWORK

DANINO BOZIC / ARTIST

ANTO LLOVERAS / SOCIOPLASTICS

SITUATION SERBIA

http://antolloveras.blogspot.rs/2016/05/kikinda-serbia-artist-in-residence-july.html

LAPIEZA ART SERIES

http://lapiezalapieza.blogspot.rs

TERRA INTERNATIONAL SERBIA 2016

DANINO BOZIC / LAPIEZA 2012 2016

https://www.google.rs/search?q=DANINO+BOZIC+LAPIEZA&biw=1321&bih=754&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjb7ujOrILOAhXEXBQKHcIqBK4Q_AUIBigB

https://youtu.be/LTCwcAHypOE

Saturday, August 31, 2013

RUS MIAMI 2008 TRASH MACHINES

CLIPS

https://www.youtube.com/playlist?list=PLF9095ACF1E98167F

Action and Collaboration. On how to document and amplify the performative dimension of projects such as RUS Miami. Their role was not limited to passive recording; instead, they produced dynamic audiovisual actions that translated ephemeral events, street interventions, and collective experiments into a cinematic language. By following Basurama’s dérives through scrapyards, neighborhoods, and improvised installations, Tomoto Films shaped a critical narrative that extended the reach of the projects beyond their immediate contexts. The films are both documentation and artwork: editing, framing, and montage created a rhythm that mirrored the energy of Basurama’s practice, emphasizing chaos, humor, and the aesthetics of waste. In this sense, Tomoto Films functioned as a collaborator in meaning-making, transforming actions into cultural memory and proposing video as an active participant in social practice rather than as a secondary archive. This collaboration exemplifies how independent cinema and contemporary art can merge in site-specific, process-based initiatives. The synergy between Basurama’s critical urbanism and Tomoto’s agile filmmaking created a hybrid field where the city itself became both stage and protagonist.