MEAT Series * An Overview

Between 2010 and 2025, the MEAT series—formally titled MEAT — Unstable Installation Series—developed as a sustained ritual of urban subtraction, where Spanish artist and architect Anto Lloveras enacted over 948 spatial interventions across cities in Europe and Africa, transforming everyday street objects into socioplastic residues. Far from literal flesh, the term “meat” signals the vulnerable body of the city, its overlooked organs: benches, fixtures, rails, and signs sliced with surgical precision, revealing internal structures and relational tensions. Each cut, documented and archived, becomes part of a dispersed network of situational fixers, often left in situ as ephemeral wounds that demand attention and reflection. Emerging from the LAPIEZA Relational Art Series and interwoven with Taxidermy and Broth, the MEAT project reframes the city as both subject and medium, where minimal gestures produce maximal shifts in perception. As a mobile sculptural practice, it rejects monumentalism in favour of repetition, absence, and precarity—cutting to expose not only physical layers but also the systemic logics of control, abandonment, and repair. Rooted in Lloveras’s concept of socioplastics, MEAT fuses performance, architecture, and urbanism into an evolving public archive, one where materiality is unstable, memory is embedded, and art becomes a critical protocol for reading and altering space. In doing so, it challenges normative exhibitions and proposes an alternative cartography of the city—built not through construction but through subtraction as care, an act that dissolves authorship and invites participation through encounter.  (Lloveras, A. 2010 2026)   https://antolloveras.blogspot.com/2014/09/meat-series-2014-madrid-marsella-berlin.html

Kingdom Series * Subtractions as Landscape Method

Since 2015, the Kingdom Series has unfolded as a series of minimal interventions across Europe—quiet gestures made by clearing organic material from the ground by hand, without tools, and always within the limits of the body. Returning to this work from Madrid in 2026, as urban ecologies fray under climate stress and sprawl, the project’s understated clarity gains new traction. These actions, made in forests, meadows, and post-natural spaces, resist both spectacle and monumentality. Instead, they pose a basic question: what changes when we simply remove, rather than build or represent? These subtractions are not symbols, but tools—ways of making the ground momentarily visible again. In a world saturated with accumulation, their refusal to add becomes a form of resistance. The urgency now lies not in creating new forms, but in sensing what's already there—through the simplest of acts. Each piece in the series follows a specific, bodily method. A form—circle, triangle, rhomboid—is cleared by hand using only the reach of the arm or the span of a walk. Materials are not relocated, only pushed aside. No instruments are used. The surface is lightly edited: leaves, ivy, pine needles, soil. The results are temporary, quickly reclaimed by weather, fungi, or wind. They exist only through photographic documentation, often from above or at foot level. These gestures recall early land-based practices like those of Richard Long or Gordon Matta-Clark, yet diverge by operating without permanence, authorship, or infrastructure. Each clearing is a calibration—testing surface, time, and gesture. By subtracting, they draw attention to what's missing, to what's usually unseen. They don’t claim space, they borrow it, momentarily.