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) 

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