Broth as Ontology and Medium * Ritual, Matter, and the Politics of Origin (Lloveras, 2020)

Broth Ritual (2020) unfolds as a speculative meditation on origin, matter, and becoming, positioning itself between cinematic abstraction, performative gesture, and ontological inquiry. The work proposes broth not merely as metaphor but as medium: a primordial substance through which life, memory, and sociality are rehearsed. Suspended particles and incandescent light construct a visual field that resists stable figuration, evoking instead a condition of emergence. What is shown is not an image of origin but an operative simulation of it. Visibility remains provisional, as if the world itself were still deciding how to appear. This instability recalls early cosmological imaginaries while aligning with experimental film traditions that privilege perception over representation. Yet Broth Ritual departs from purely optical investigation by anchoring its visual language in a corporeal, almost nutritional logic. Cinema here behaves like matter in suspension: thick, warm, and unresolved. The ritual dimension is crucial. Rather than narrating myth, the work enacts a mythic condition through repetition, slowness, and immersion. In doing so, it reframes ritual as a contemporary epistemic tool—an aesthetic strategy capable of reactivating archaic knowledge without nostalgia. The viewer is not invited to interpret but to inhabit a state of pre-formal awareness, where matter, light, and body are still coalescing.

Socioplastics proposes an expanded field of artistic practice in which space is neither neutral nor inert, but a contested and responsive agent shaped by cultural friction, material memory, and unstable social negotiations.

Rather than operating within the conventional binaries of art versus architecture or object versus action, Socioplastics functions as a relational methodology: a way of thinking-through-space where form is provisional and agency is distributed. This approach aligns the practice with post-anthropocentric discourses in contemporary art and architecture, particularly those concerned with new materialism, decolonial epistemologies, and spatial justice. The emphasis on MESH—as both conceptual framework and operative condition—signals a refusal of linear authorship in favour of entangled systems where bodies, materials, atmospheres, and infrastructures co-produce meaning. In this sense, Socioplastics does not represent social realities but intervenes in them, activating latent tensions already present within urban palimpsests and institutional architectures.