Supernatural Series * Ritual Metabolism

The Supernatural Series (2013–ongoing) constitutes the metabolic axis of Anto Lloveras’s Socioplastics, wherein art relinquishes static objecthood to assume the condition of a living, consumable cycle. Conceived as an operative cosmology rather than a discrete corpus, it mobilises wild botany, oxidation, scent, and alimentary ritual under the governing maxim “No Leftovers”—a sequential liturgy of Take → Display → Picture → Cook → Eat → Post. Here, the so-called supernatural is neither mystic residue nor transcendental excess; it is the intensification of the ordinary through sustained relational attention, rendering nourishment itself an epistemic act. Early manifestations in MUDAS established the olfactory grammar of controlled decay: banana and maize leaves pinned to humid walls exhaled metallic-sweet vapours as they curled, instituting scent as architectural duration. Parallel Mediterranean inflections emerged in Lemon Kiss, where one hundred kissed lemons oxidised into a citrus cloud, publicising the intimate protocols of affection and perishability. Subsequent reframings, notably Ephemeral Rituals and the Supernatural Wall (Cádiz, 2026), condensed twelve wild tagarninas into arm-reach circles against whitewashed façades, suturing rural rice fields to urban stone while consummating the ritual through ingestion. Across these iterations, the Relational Body becomes infrastructural conduit, and Decay-as-Clock supersedes preservationist museology. The series ultimately posits a postdigital ontology in which memory is not archived but metabolised: art persists not by resisting entropy, but by traversing the body and re-entering the mesh as affective density.

Cadáver Exquisito * Disassembly as collective method

 

Cadáver Exquisito, performed in 2020 at Espacio Cruce (Madrid), is a museographic action where decomposition becomes structure. Drawing from the surrealist tradition, but departing from its playfulness, the piece reimagines collective composition as a form of ethical dismantling. Each participant assumes a role—one throws, another dissects, one narrates, one carries, one prepares—producing a shared anatomy of parts, gestures, and proximities. The resulting form, assembled without total knowledge, evokes the corporeal, the architectural, and the ritualistic—but refuses coherence. What binds it is not intention, but tangency. The corpse is not monstrous, but ordinary—a placeholder for the ways we touch, fragment, and co-produce knowledge through partial presence. Cadáver Exquisito is not a performance to watch, but a score for misalignment, where dissolution is embraced as methodology. The museum becomes a morgue, a theater, and a workshop, but also a commons—where things fall apart without loss, and being-in-fragments becomes a mode of repair.