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

ARTNATIONS * Transnational series of unstable installations

ARTNATIONS, conceived by Anto Lloveras between 2016 and 2018, functions as a conceptual extension of LAPIEZA, his long-running Relational Art Series active since 2009, and operates as a mobile, site-specific exhibition cycle grounded in the principles of socioplastics—a methodology that embraces precarity, hybridity, and collective authorship through social, urban, and material interventions; framed as an "extended series" within LAPIEZA, ARTNATIONS imagines art as a borderless nation, a symbolic space where collaborative voices replace geopolitical boundaries and artworks become ritual objects—bags, food, fabrics, gestures—that critique systems of consumption, identity, and exchange; this speculative "nation" unfolds through around 10 shows or actions, including approximately 100 numbered works (series 1001–1100) completed in 2018, often linked to unstable installations that inhabit public spaces, galleries, and informal markets with temporary, mobile sculptures designed to generate situational interaction and urban friction; each iteration activates a form of aesthetic migration, from Madrid and Marseille to Lagos and Mexico City, creating spaces of ephemeral citizenship and symbolic cohabitation, where the artwork is not fixed but performed, shared, and dispersed; by embedding itself in the porous zones of **daily life—color rituals, food offerings, clothing actions—**ARTNATIONS refuses monumental closure and instead proposes a distributed curatorial logic, one where the archive remains open, and the artwork lives through repetition, circulation, and collective memory, aligned with Lloveras’s vision of art as relational infrastructure and cultural repair. (Lloveras, A. 2010–2025) 

Yellow Bag as nomadic ritual and situational archive

Emerging from the conceptual ecology of Socioplastics, the Yellow Bag series manifests as a nomadic ritual-object, a situational archive of urban fragments, affective gestures, and planetary coexistence that since 2014 has traversed sidewalks, museums, beaches, and borders, activating presence through the simplest of forms; more than an artifact, the bag operates as a soft infrastructure, a situational fixer that absorbs the unnoticed—sand, leaves, seeds, encounters—and reconfigures them into living social sculptures, ephemeral yet dense with meaning, always contextual, never monumental; its decade-long circulation across dozens of cities—from Cádiz to Lagos, Trondheim to Athens—constructs a dispersed but coherent cartography of coexistence, where the act of carrying, donating, and reactivating replaces the static authority of exhibition with a logic of ritual repair, marked by presence over possession and gesture over objecthood; museums in this framework are not repositories but active nodes of use, spaces where the bag is not shown but handled, remembered, worn, transforming institutional space into civic choreography; each bag, creased, folded, weathered by time, resists the archival impulse, instead becoming an open-source relic—a portable memory, a geopoetic tool, a ritual sustained across time and terrain; Lloveras’s aesthetics of relational instability and low-carbon symbolism find their clearest expression here, proving that contemporary art can enact radical poetics through minimal means, sustaining attention, repair, and care through a gesture as modest—and as enduring—as the Yellow Bag. (Lloveras, A. 2010–2025) Read more and track its journey at antolloveras.blogspot.com

Ritual infrastructures in the socioplastic field

ARTNATIONS, developed by Anto Lloveras between 2016 and 2018 as a satellite phase of the LAPIEZA Relational Art Series, constitutes a critical experiment in transnational curating and symbolic sovereignty, reimagining art as a borderless nation of collaborative, ephemeral gestures embedded in public life; drawing from the logic of socioplastics, this phase privileged unstable installations, portable rituals, and context-sensitive performances involving everyday objects—lemons, blue bags, briefcases, fish, jeans—that traversed markets, cities, and galleries to activate relational meaning and communal reflection across locations such as Madrid, Marseille, Kikinda, Poreč, and Zagreb; central pieces like Lemon Kiss, Fish Dish Ritual, The City as Readymade, or Blue Sculpture redefined sculpture as processual code, emphasizing translation, instability, and ritual repetition over monumental form; through approximately 100 works in the 1001–1100 range, ARTNATIONS generated a distributed network of symbolic action, operating within existing spaces (galleries, markets, sidewalks) but refusing the logic of display, favoring circulation, context, and care as core curatorial devices; deeply intertwined with this ethos is the long-term MEAT Series (2010–2025), a 15-year sculptural investigation into urban matter, infrastructural exposure, and minimal cuts, where Lloveras intervenes in public furniture—chairs, benches, signs—removing “flesh” to reveal latent tensions within the built environment; each intervention is simultaneously precise and precarious, accumulating into a dispersed archive of wounds, aligning with socioplastics’ focus on fragility, repetition, and public consciousness; rather than presenting autonomous works, both ARTNATIONS and MEAT operate as living protocols—each action a node in a planetary system of ritualized art practice, grounded in care, situated knowledge, and the persistent questioning of authorship, value, and institutional power. (Lloveras, A. 2010–2025) - Access archives at antolloveras.blogspot.com