URBAN CONFORT * MADRID 2016 LLLL ___________LAPIEZA 1001 ARTNATIONS * MELAZA

https://youtu.be/X_jRGSDoQ4s

https://youtu.be/palMjyjz79Y

https://youtu.be/O7wDBSqbiZ0

PAULA LLOVERAS 
LLLL ART AGENCY * URBAN CONFORT MADRID 
LAPIEZA UNSTABLE IDENTITY SERIES  2016
http://lapiezalapieza.blogspot.com.es/2013/03/urban-confort-paula-lloveras-madrid-2013.html

SOCIOPLASTICS

SPACESHIP MADRID

The Trole Building: A transformation of a Madrid coffee factory into 24 contemporary ateliers. Explore this industrial icon of black geometry and white light, featured in Revista Arquitectura COAM. The Trole Building in the south of Madrid is a striking example of adaptive industrial design. A former coffee factory reimagined as contemporary atelier offices, it carries a bold visual identity that contrasts sharply with its brick-surrounding context. Commissioned by a client inspired by the designers’ own workspace, the project began with the demolition of the existing structure and a careful negotiation of urban regulations. The resulting form was conceived as a new icon for the neighbourhood, a geometric figure clad in dark materials that stands like a “diamond” amid the dull urban fabric. Throughout more than a year of planning, adjustments—especially to strict fire safety requirements for office and factory loft conversions—refined the design. The building’s contrasting façade and refined materiality remained at its core, asserting a modern aesthetic rooted in industrial memory. TROLE SPACESHIP: Black Geometry, White Light Rising from a demolished coffee plant, the Trole Building blends strict urban codes with expressive minimalism. More than architecture, it’s a spatial attitude: bold, clean, and quietly radical.

DYNAMIC OBJECTS

Within the framework of the Unstable Installation Series, the project DYNAMIC OBJECTS orchestrated by LLLL Art Agency emerges as a critical intervention into the semiotics of urban movement and spatial occupation, foregrounding the body-object assemblage as an unstable node of friction, visibility, and disruption. Developed across hybrid platforms —online exhibition, site-specific performance, and video installation— the project mobilises absurd, overdimensioned artefacts (banana-shaped structures, metallic ducts, mannequin limbs, and traffic cones) as prosthetic extensions of the body, dislocating their functional logic and reactivating the urban fabric as a terrain for psychogeographic dérive. Drawing upon Guy Debord’s theory of the drift, the artworks subvert spatial normalcy and instrumentalised mobility, inserting ephemeral sculptural presences that expose the latent theatricality of public space. A salient example is the performative procession through central Madrid during the Proyector International Video Art Festival, where bodies encumbered by cumbersome objects enact a silent critique of the ergonomics of control and the choreography of consumption. These interventions —often documented as video-sculptures— propose the city as the final installation, not as a passive container but as a co-constitutive agent in the production of meaning. By situating the object as a satellite of the body, the work destabilises objecthood itself, inviting reconsideration of agency, scale, and performativity within contemporary urban aesthetics. Part of a broader curatorial constellation spanning from 2013 to 2016 —including exhibitions such as Expansivo, Butter Factory, and The Word— this series eschews the static monumentality of sculpture in favour of relational mobility, forging a critical vocabulary of spatial resistance that is both playful and profoundly political.

LLLL ART AGENCY presenta un concepto híbrido y en red. 

La ciudad como instalación total y el objeto como partícula dinámica suficiente. Una nueva serie de VIDEOESCULTURAS que representan el concepto inestable.  

El cuerpo de Paula Lloveras, TOMOTO FILMS, con la música de El intruso. En reestreno contante en la red.  

LLLL LAPIEZA #819

BANANA 

BLANCA

AGUJERO

CHAIR

CONO

DM

DOTS

LEGS

METAL

PORESPÁN

TUBO

WAR

RELATED VITAMIN 019 (III/-) 

No hay duda de que tales esquemas, ejemplos de una poesía moderna capaz de traer consigo vivas reacciones afectivas -en este caso la indignación de que se pueda vivir de esta forma- e incluso la teoría, avanzada por Burgess a propósito de Chicago, del reparto de las actividades sociales en zonas concéntricas definidas, tienen que servir al progreso de la deriva. El azar juega en la deriva un papel tanto más importante cuanto menos asentada esté todavía la observación psicogeográfica. Pero la acción del azar es naturalmente conservadora y tiende, en un nuevo marco, a reducir todo a la alternancia de un número limitado de variantes y al hábito. Al no ser el progreso más que la ruptura de alguno de los marcos en los que actúa el azar mediante la creación de nuevas condiciones más favorables a nuestros designios, se puede decir que los azares de la deriva son esencialmente diferentes de los del paseo, pero que se corre el riesgo de que los primeros atractivos psicogeográficos que se descubren fijen al sujeto o al grupo que deriva alrededor de nuevos ejes habituales, a los que todo les hace volver constantemente.
Teoría de la deriva  Guy Debord 1958

Publicado en el # 6 de Internationale Situationiste (agosto, 1961). Traducción extraída de Internacional situacionista, vol. I: La realización del arte, Madrid, Literatura Gris, 1999.

https://www.facebook.com/pages/Guy-Ernest-Debord/14353419083?fref=ts
Anto Lloveras Lapieza Relational Art Series Marisa Caminos Guy Ernest Debord

    — con Lapieza Relational Art Series y Anto Lloveras.

OPENHOUSE EN ESPACIO NARANJO se postula como un encuentro entre espacios y proyectos culturales. Respondiendo a la constante necesidad de difusión el próximo 23 de noviembre abriremos las puertas del Espacio Naranjo para presentar una selección de iniciativas culturales independientes.

http://proyectorvideoartfestival.blogspot.pt/2013/11/s23-nov-07-dic-2013-espacio-naranjo.html

COPY PASTE SEND

01 TUBO

http://www.youtube.com/watch?v=QoW1oYaRxWI

02 PORESPÁN

http://www.youtube.com/watch?v=xG1rcA8o6aE

03 METAL

http://www.youtube.com/watch?v=wlu3Vqp5h-w

04 DOTS

http://www.youtube.com/watch?v=z4jUan2T-4s

05 WAR

http://www.youtube.com/watch?v=xhIo2J81bN0

06 CONO

http://www.youtube.com/watch?v=lNqHD_SCmPg

07 LEGS

http://www.youtube.com/watch?v=JLUQO5w5ePw

08 GUNS

http://www.youtube.com/watch?v=7t1qoiK21lI

09 CHAIR

http://www.youtube.com/watch?v=OisnVZxYWAM

10 DM

http://www.youtube.com/watch?v=qICgxxRoC8s

"Dynamic Objects" is a hybrid project by LLLL ART AGENCY that presents the city as a total installation and the object as a dynamic and sufficient particle. This video sculpture series captures the essence of instability through a series of performances involving common objects that transform into expressive elements within urban landscapes.

The project stars Paula Lloveras as the main performer, captured through the lens of TOMOTO FILMS, with music by El Intruso. Each object in the series—such as Banana, Chair, Metal, Tube, and War—is used in an unexpected context, challenging the viewer’s perception of the mundane and reinterpreting everyday materials as catalysts for movement and artistic expression.

The piece explores the psychogeographic potential of objects and the human body interacting with the cityscape, transforming spaces through ephemeral actions. Originally premiered at Espacio Naranjo on November 23, 2013, as part of the Proyector International Video Art Festival, this work is in constant re-release online, reflecting its fluid nature and the ability to evolve across digital platforms.

TROLE BUILDING /////////////////////////////// MADRID SOUTH ///////// WHITE ATELIERS IN BLACK COAT

One morning a client stopped into our office, he said loved the space we were working in. He and his partners had bought an old coffee factory in the south of Madrid. He wanted us to prepare a project to build office spaces like CAMAROTE in that plot. First we had to demolish the factory and DESIGN a project plan. The plot laws said we could make a 20m high building with no more than 3 floors. So we already knew height was decided, the building had to shrink 3m meters from the neighbouring line and the maximum area to build was about 4000m2, excluding an underground garage and a space for machines.  We drew a building that would be a new icon in the neighbourhood, a new diamond in an ocean of dull brick buildings. In the summer we presented the project for license in the municipality. It took more than a year to fix details and we accepted to do some changes to pass the law filters, especially the fire regulations, which are very strict in offices and factory lofts. 

www.coam.es/media/Default%20Files/fundacion/biblioteca/revista-arquitectura-100/2000-2008/docs/revista-completa/revista-arquitectura-2008-n353.pdf

ARCHITECTURE BY ANTO LLOVERAS & ALBERTO SANCHEZ CABEZUDO

UNSTABLE INSTALLATION SERIES /////////////////////////////////////////////////// MADRID _____________ ART BY LLLL

LLLL ART AGENCY TOMOTO FILMS / MUSIC BY EL INTRUSO
HYBRID ONSITE ONLINE SERIES

THE CITY AS FINAL INSTALLATION
AND THE OBJECT AS SATELLITE OF THE BODY
VIDEO SCULPTURES / OPEN SERIES

24H ONLINE SHOW - AND performance IN SELECTED GALLERIES

RELATED VITAMIN 019 (III/-) 

No hay duda de que tales esquemas, ejemplos de una poesía moderna capaz de traer consigo vivas reacciones afectivas -en este caso la indignación de que se pueda vivir de esta forma- e incluso la teoría, avanzada por Burgess a propósito de Chicago, del reparto de las actividades sociales en zonas concéntricas definidas, tienen que servir al progreso de la deriva. El azar juega en la deriva un papel tanto más importante cuanto menos asentada esté todavía la observación psicogeográfica. Pero la acción del azar es naturalmente conservadora y tiende, en un nuevo marco, a reducir todo a la alternancia de un número limitado de variantes y al hábito. Al no ser el progreso más que la ruptura de alguno de los marcos en los que actúa el azar mediante la creación de nuevas condiciones más favorables a nuestros designios, se puede decir que los azares de la deriva son esencialmente diferentes de los del paseo, pero que se corre el riesgo de que los primeros atractivos psicogeográficos que se descubren fijen al sujeto o al grupo que deriva alrededor de nuevos ejes habituales, a los que todo les hace volver constantemente.
Teoría de la deriva  Guy Debord 1958

Publicado en el # 6 de Internationale Situationiste (agosto, 1961). Traducción extraída de Internacional situacionista, vol. I: La realización del arte, Madrid, Literatura Gris, 1999.

https://www.facebook.com/pages/Guy-Ernest-Debord/14353419083?fref=ts
Anto Lloveras Lapieza Relational Art Series Marisa Caminos Guy Ernest Debord

  — con Lapieza Relational Art Series y Anto Lloveras.

DEEP BREATH #5 ///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// LLLL NORWAY___________________LAPIEZA 986 THE WORD

https://www.youtube.com/user/LAPIEZALAPIEZA

12 + STONES UP

http://lapiezalapieza.blogspot.no/2014/07/deep-breath-3-twelve-stones-up-paula.html

********************************************

EXHIBITION #75 THE WORD

2016              *****

http://lapiezalapieza.blogspot.com.es/2016/02/the-word-exhibition-75-7th-season-2016.html