SOCIOPLASTICS * Verified Data (2001–2026)

Across a temporal arc extending from 2001 to 2026, SOCIOPLASTICS has not been proclaimed into existence; it has been sedimented. Its coherence derives from longitudinal persistence—800 corpus texts, stratified PROTEIN packs, console writings with DOI assignment—and from an expanding constellation of 300 exhibitions, installations and pedagogical dispositifs initiated through LAPIEZA. This discursive and operational density is reinforced by the relational archive Positional Essays (2008–2018), wherein over one hundred agents—including figures such as David Harvey and Jonas Mekas—were documented as embodied interlocutors, transforming theory into filmed encounter. Visual production amplifies this persistence: 30,000 micro-temporal cuts in the COPOS series, 20,000 double photographs in Twins, and more than 1,000 videos establish a regime of micro-iteration through which perception itself becomes infrastructural. External validation nodes—ranging from Lagos Biennial to Acción Cultural Española and the Colegio Oficial de Arquitectos de Madrid—function not as endorsements but as distributed verification layers across nine countries and six disciplines. Text 800, explicitly engaging Lefebvre, Castells and Sassen among others, crystallises the thesis that fields stabilise through accumulation rather than declaration, thereby establishing a gravitational model of intellectual mass. The result is neither portfolio nor archive in the conventional sense, but a detectable curvature within the epistemic field. SOCIOPLASTICS is thus fixed—not as closure, but as a structurally stabilised platform from which the forthcoming territorial stratum will necessarily unfold.

A New Stage * Legitimating a New Field * The Fusion Engine

Anto Lloveras isn't just making art or designing buildings. He's creating an entirely new way of thinking and working. For years, he's been mixing ideas from art, architecture, film, and ecology like a master chef blends ingredients. Now, that recipe is finished. He's entering a powerful new phase where this unique blend becomes a formal system—a system he can use to teach others and establish a whole new field of creative practice.  Think of the past decade as Lloveras's giant experiment. His project, called Socioplastics, acted like a laboratory, combining tools from different disciplines. A city planning problem might be solved with a film technique. A performance could become a piece of architectural research. He wasn't just working between fields; he was melting their borders down to create something new. This process of fusion is now complete. The scattered experiments have been hammered together into a coherent, solid method—a new "material" for creative work. This new stage isn't about looking inward or withdrawing; it's about using this newly forged tool to build something bigger.

A unique residency in Athens that supports artistic research, collective reflection, and critical making—without the demand for final works or exhibition pressure.

Process, Not Product: Onassis AiR 2026/27 as a Radical Space for Research, Collaboration, and Situated Reflection – The Onassis AiR 2026/27 Open Call invites thirty international practitioners across disciplines—from visual arts, sound, and dance to writing, film, and curatorial research—to immerse themselves in a ten-week residency that redefines what it means to dwell, think, and create within a shared artistic ecosystem, based in Athens and embedded in the Onassis Culture infrastructure, this residency operates as a laboratory of transdisciplinary encounter where production pressure is suspended in favour of speculative research, critical inquiry, and sustained dialogue, what distinguishes Onassis AiR is not only its material support—enhanced artist fee, housing, research budget, and travel—but its ideological commitment to art as an evolving, processual practice, resisting the demand for performative outputs and instead foregrounding infrastructures of care, listening, and peer exchange, a notable development in the upcoming cycle is the collaboration with the Cavafy Archive, a partnership that opens poetic and archival dimensions for new research trajectories, particularly for those navigating text-based or historical methodologies, simultaneously, the residency expands its material focus via Onassis Ready, integrating crafts, fashion, and applied design into the wider community of AiR, thereby collapsing false binaries between conceptual and embodied practices, a key feature of the programme is the Open Days, where participants share glimpses into their research process rather than finished works, reaffirming that unfinishedness itself can be a rigorous aesthetic form, beyond resources, what truly defines Onassis AiR is its emphasis on collective intelligence, where curated visits, feedback sessions, and co-learning structures generate a plurivocal and politically aware creative environment, this is particularly urgent in a context where precarity and symbolic extraction increasingly dominate the art world; here, the residency responds by fostering a more sustainable, situated, and responsive form of engagement, where the right to opacity and refusal is protected as much as production is supported, thus, the value of Onassis AiR lies not in what is shown, but in what is incubated: ideas that take time, relationships that hold tension, and practices that resist finality.