Yellow Bag Series * Rituals (2014–2026)

After more than a decade in uninterrupted activation, the Yellow Bag endures not as an art object but as a situational ritual—silent, mobile, and adaptive—proving that contemporary art can be radically simple, ecologically sustainable, and ontologically contextual. Born within the broader framework of Socioplastics, a high-resolution cultural operating system initiated by Anto Lloveras in 2010, the Yellow Bag operates as a situational fixer, traversing geographies and institutions while absorbing microelements of presence: seeds, sand, leaves, dust, breath. These modest collections accumulate not as trophies, but as a geo-poetic archive, each particle a residue of attention, encounter, and coexistence. Neither curated nor exhibited in a conventional sense, the Yellow Bag is donated to institutions or individuals as a reparative gesture, transforming museums, art spaces, or even domestic interiors into active nodes of shared memory. The Bag thus displaces authorship in favour of distributed care, prioritising presence over possession and process over product. Its form—flexible, foldable, and materially neutral—rehearses a grammar of relational instability, operating not as monument, but as minimal infrastructure for affective repair. Rooted in the Trans-Indigenous ethos of Socioplastics, the Yellow Bag subverts the extractivist logics of collection and ownership by returning presence instead of taking it. Through ritual repetition across sites like Madrid, Cádiz, Galicia, Trondheim, Athens, London, and La Gomera, it deposits not a fixed aesthetic, but an evolving practice of epistemic and spatial listening. Each use activates it anew; each place redraws its meaning. Carried, opened, rested, folded—it is an infrastructure of care, a portable memory unit, a living sculpture that inscribes itself in territory through soft contact and situated engagement. On this logic, even its itinerary—Madrid, Croatia, Provence, Bratislava, Galicia, London, Serbia, Tirol, Lagos, Mallorca, Compostela—is not a record of conquest, but of return and resonance. The Yellow Bag is a social sculpture, yes—but not in the sense of large forms shaping society, but as small mobile forms absorbing it. It offers a tactile, silent resistance to institutional inertia, and an invitation to participate in the reconfiguration of memory through gesture. No leftovers. Love love.

Lloveras, A. (2010–2026) Socioplastics: The Architecture of the Summa (4K). [online] Available at: https://antolloveras.blogspot.com/

YELLOW BAG _____ SITUATIONAL FIXER _________ ARS VIBRATTUM  MADRID CROATIA PROVENCE MADRID BRATISLAVA PRAHA GALICIA MADRID GALICIA SLOVAKIA CÁDIZ MEXICO CÁDIZ MADRID VIENA SERBIA CADIZ GALICIA MÁLAGA CROATIA GALICIA MADRID MÁLAGA MADRID TRONDHEIM MÁLAGA SWEDEN GOPENHAGEN NEGRADAS MADRID GALICIA CÁDIZ MADRID CÁDIZ LONDON IZÁ ATHENS TIROL ÁVILA MADRID EXTREMADURA MADRID ÁVILA EL ESCORIAL CÁDIZ LA GOMERA LAGOS MADRID MÁLAGA GRANADA XILLOI MÁLAGA VALDEMANCO BARBATE MÁLAGA A CORUÑA COMPOSTELA MALLORCA _________IN USE

Walking the Commons * Sound, Voice, and the Right to the City (LACALLE, 2010)

LACALLE emerges in 2010 as a performative-urban dispositif grounded in a precise political intuition: to reclaim the street as a space of poetic agency and civic audition. Conceived by Anto Lloveras under the experimental umbrella of Tomoto Films, the project situates itself within the lineage of critical urban practices that treat the city not as backdrop but as interlocutor. LACALLE operates through minimal yet incisive gestures—walking, voicing, amplifying—that reinsert affect and presence into increasingly regulated public space. Its title explicitly invokes Henri Lefebvre’s notion of the “right to the city,” translating that theoretical claim into an embodied, sonic practice. Rather than staging protest through mass or spectacle, LACALLE opts for precision: the voice as tool, sound as inscription, movement as authorship. The project thus reframes political action as a form of spatial listening, where attention becomes resistance. Poetry is not represented but enacted, redistributed into the urban fabric through fragile, temporary acts that nonetheless leave perceptual traces. In this sense, LACALLE proposes a micro-political aesthetics, one attuned to infrastructure, memory, and the overlooked thresholds of everyday urban life.

Environmental Psychology and the Social Construction of Space * Reclaiming the Right to Urban Meaning * UAM

 

Positioned at the intersection of environmental psychology and urban morphology, this intervention activates a critical discourse emerging from the 2024 UAM course, The Experience of the City. Speaking from the framework of socioplastics, I address the growing friction between strictly technical urban planning and the lived, symbolic necessity of shared space. Why this reflection now? Because our contemporary environments are suffering from "symbolic poverty"—a sterilization of the public realm that severs the connection between the citizen and the street. By situating this voice within the multidisciplinary debate of architects, biologists, and psychologists, the work addresses the urgency of "rehumanizing" our infrastructure, moving beyond decorative greening to treat the city as a performative and epistemic field where urban dignity is at stake. The core device explored here is the "Public Space as Communication," an operational system where morphology, vegetation, and collective memory function as structural agents. Rather than treating the city as a static grid, the methodology proposed by contributors like José Antonio Corraliza and Enric Pol views the urban fabric as a behaving system. The process involves deconstructing traditional typologies to reveal how "urban green" acts as a vehicle for identity and acoustic comfort. By liberating the interior of urban blocks from traffic—as suggested by Salvador Rueda—the project reimagines the spatial status of the citizen. This is not a symbolic gesture; it is a functional reconfiguration of the city’s operational logic, where the "blitz" of naturalness in marginal lots acts as a micro-reservoir of urban health.