Sculptural Minimalism

Double Sided conceived by Anto Lloveras and Mateo Feijoo in 2022, advances a singular proposition: that performance may be recalibrated as a two-sided living sculpture in which duality functions not as antagonism but as structural syntax. Operating through a rigorous two-channel simultaneity, each performer inhabits a parallel plane—on stage or in split-screen—where gestures are reiterated with fractional deviations, generating intensity through accumulation rather than crescendo. The aesthetic economy—standardised white shirts, quotidian objects such as the itinerant Yellow Bag, and a pared movement lexicon—cultivates a no-drama intensity that privileges sculptural presence over theatrical narrative. In Doble Cara 012 at Réplika Teatro (Madrid, 2023), the dual configuration materialised as a disciplined negotiation of proximity and distance: two bodies, visibly autonomous yet rhythmically entangled, produced a field of ordered asymmetry in which spectatorship became an act of comparative perception. Earlier iterations such as Doble Cara 007 — Escultura Escénica foregrounded the body as architectural matter, consolidating the project’s alignment with Socioplastics’ unstable social sculpture. Here, repetition operates as epistemic prosthesis; minimal variation becomes a method for stabilising relational volatility without collapsing difference. Ultimately, Double Sided reframes conceptual dance as a politics of sovereign coexistence, wherein parallelism replaces fusion and presence itself constitutes the event. Lloveras, A. (2022–2026) DOUBLE SIDED * ANTO LLOVERAS + MATEO FEIJOO  RÉPLIKA TEATRO MADRID https://antolloveras.blogspot.com

Radical Eclecticism

In the proliferating constellation of one hundred projects, Anto Lloveras advances not a portfolio but a metabolic continuum in which each node performs as organ within a mutable socioplastic body. The so-called works oscillate between durational performance, inhabitable architecture, edible ritual and digital pedagogy, yet their heterogeneity conceals a rigorous ontological spine. A plastic bag carried for years mutates into epistemic infrastructure; a golden emergency blanket becomes communal dermis; lemons crystallise portable protocols of co-presence. Built interventions such as the Trole Building or speculative Spaceships operate not as stylistic gestures but as urban surgeries, while inflatable red demarcations and green ecological matrices re-script territory as responsive tissue. Concurrently, YouTube Breakfast and The Digital Prosumer recast pedagogy as rhizomatic broadcast, dissolving the classroom into distributed cognition. Even gastronomic experiments such as Fishdish elevate ingestion into civic metabolism, converting nourishment into relational contract. Agonistic Frictions, Fireworks as Hyperplastic Writing—function as manifesto and ignition system, articulating a doctrine of controlled explosion wherein conflict, translation and spectacle become methodological engines. A salient case emerges in Re-(t)exHile, where textile detritus is reassembled into postcolonial scaffolding, suturing fashion, waste and infrastructural ethics into a single reparative syntax. Across these movements, coherence arises not from style but from a persistent commitment to interdependence without homogeneity. Lloveras’ achievement resides in proving that architecture can become affection, ritual can become governance, and theory can combust into public life; the hundred are thus one organism—fractured, adaptive, and unmistakably alive.

Lloveras, A. (2026). Socioplastics * https://antolloveras.blogspot.com

Streaming Egos ***** The Web-Uterus and the Corporeal Disobedience of Digital Identity ___ DÜSSELDORF 160116 DIGITAL IDENTITY CONVENTION

Streaming Egos at the NRW-Forum Düsseldorf, curated by Mateo Feijoo with the support of the Goethe-Institut, radically reframed the notion of digital identity by rooting it in the corporeal, affective, and collective. Central to the Spanish contribution was the “body bubble,” an inflatable translucent structure that acted as both metaphor and medium: a web-uterus, fragile and responsive, which deflated when its vaginal entrance was held open, allegorising the vulnerability of communal digital spaces. Within this permeable enclosure, diverse artistic gestures—Sonia Gómez’s intuitive live writing, Monoperro’s erotic cave-like drawings, Tomoto’s simultaneous editing and streaming, and Dr. Kurogo’s off-site sound loops—wove a layered post-digital happening, where analogue and virtual blurred into one continuous, unstable field. The event did not seek resolution but activated a situational essay, a space where identity could be explored not as fixed or datafied, but as fleshy, rhythmic, and mutable. The work resisted the fetishisation of digital media, instead enacting a ritual of presence, echoing Cramer’s claim that the post-digital is less about technological novelty and more about inhabiting its messy aftermath. Streaming Egos thus became a choreography of interdependence, refusing singular authorship or stable meaning. It asked not “who are we online?” but “how do we breathe together through the screen?”—inviting a critical reimagining of the digital self as haunted, plural, and porous.

RUS MIAMI 2008 TRASH MACHINES

CLIPS

https://www.youtube.com/playlist?list=PLF9095ACF1E98167F

Action and Collaboration. On how to document and amplify the performative dimension of projects such as RUS Miami. Their role was not limited to passive recording; instead, they produced dynamic audiovisual actions that translated ephemeral events, street interventions, and collective experiments into a cinematic language. By following Basurama’s dérives through scrapyards, neighborhoods, and improvised installations, Tomoto Films shaped a critical narrative that extended the reach of the projects beyond their immediate contexts. The films are both documentation and artwork: editing, framing, and montage created a rhythm that mirrored the energy of Basurama’s practice, emphasizing chaos, humor, and the aesthetics of waste. In this sense, Tomoto Films functioned as a collaborator in meaning-making, transforming actions into cultural memory and proposing video as an active participant in social practice rather than as a secondary archive. This collaboration exemplifies how independent cinema and contemporary art can merge in site-specific, process-based initiatives. The synergy between Basurama’s critical urbanism and Tomoto’s agile filmmaking created a hybrid field where the city itself became both stage and protagonist.

https://www.basurama.org/b08_rus_miami_opening.htm

http://www.miamiartguide.com/rus-miami/