TRIENALES URBANAS * The Triptych Logic * Relational Resonance within the States of Vigil (2015–2025)

Eschewing linear narration, the series privileges rhythm and juxtaposition, transforming perception itself into a medium. What emerges is not merely a record of urban transit, but a "twilight atlas"—a slow, patient unfolding of time, matter, and relation where the everyday reveals its latent architectures and absence is elevated to a state of resonance. Each triptych functions as a "translatorial" device, anchoring the artist’s "States of Vigil" (Estados de Vigilia) across the metropolitan fabric. From the industrial remnants of 2022 to the synthetic triads of 2025, the work operates as an expansive archive of "minimal whiteness" and "tactile oxidation." By grouping these images in threes, Lloveras creates a modular epistemic system that resists the totalizing gaze of traditional architectural photography.

Duna Dunaj * Relational Rituals and Situational Memory in Slovakian Residencies * Anthropological Affections and Unstable Installations Along the Danube (Lloveras 2015)

 

In the realm of contemporary relational aesthetics, Anto Lloveras's "Duna Dunaj" residency in Slovakia, documented in September 2015, exemplifies a metamodern oscillation between the ephemeral and the archival, where art emerges not as isolated object but as a dynamic interplay of bodies, landscapes, and temporalities. Drawing from Nicolas Bourriaud's foundational theories on relational art, Lloveras positions the residency as a "situational and relational" laboratory, hosted by Yuri Dolan across two stages: Dunajská Streda and the Kómarno eco-farm. Here, the artist eschews traditional studio confines, opting instead for performative walks, ritualistic collections, and conversational interventions that weave human agency into the socio-natural fabric.

YouTube Breakfast * Rhizomatic Pedagogy and the Decentralized Classroom * Disruption as Methodology in the Socioplastic Network

YouTube Breakfast represents a radical departure from traditional academic structures, positioning itself as an "open, rhizomatic classroom" where the act of learning is decentralized and non-linear. Curated by Anto Lloveras under the LLLL Art Agency, the project utilizes the digital video archive—specifically YouTube—as a tool for epistemic exploration. Rather than adhering to a scripted curriculum or predefined thematic playlists, the course evolves through the "intuition and curiosity" of its participants. Each video becomes a node in a vast, transdisciplinary network that spans art, architecture, philosophy, and science, creating a space where "not teaching" becomes the primary means of instruction. The form of YouTube Breakfast is inherently disruptive. It replaces the authoritative voice of the instructor with a "rhizomatic network" of voices and visions. Methodologically, the project does not seek to explain or transcribe existing content; instead, it opens paths for participants to forge their own journeys through shared material. This approach leverages the "knowledge already available" within the digital archive, trusting in the voice of the videos to narrate ideas across the spectrum of human culture. By bypassing traditional pedagogical scripts, YouTube Breakfast cultivates a transdisciplinary space that oscillates between personal exploration and collective intelligence.

The Rhizomatic Vanguard * Relational Synthesis of LAPIEZA

The contemporary artistic landscape is increasingly defined not by the static isolation of the object, but by the kinetic potential of the network. LAPIEZA emerges as a seminal paradigm of this shift, repositioning the creative act as a "socio-plastic" endeavor that transcends traditional curation. By co-opting the digital infrastructure of social media—YouTube, Issuu, and Twitter—not merely as promotional tools but as inherent architectural components of the work, LAPIEZA facilitates a democratic dissemination of "high culture." This approach effectively dismantles the white-cube hegemony, replacing it with a fluid, accessible medium where the "active series" replaces the fixed exhibition. The project functions as a collective fixation of meaning, where the artist’s role migrates from the solitary creator of artifacts to a facilitator of connections. In this framework, the digital realm acts as a primary site of ontological labor, where the transmission and distribution of culture are woven into the very fabric of the aesthetic experience, ensuring that art remains a living, breathing participant in the global social discourse.