INSTALACIÓN
ESCULTURA SOCIOPLÁSTICA
ART BY ANTO LLOVERAS
MEXICO DF 2013
Mostrando entradas con la etiqueta ANTO LLOVERAS. Mostrar todas las entradas
Mostrando entradas con la etiqueta ANTO LLOVERAS. Mostrar todas las entradas
ART SERIES | 67 BANK ACCOUNT _______ MEXICO MADRID LONDON CROATIA FRANCE LISBOA OSLO _______________GALAXY SYSTEM 11.2014
867 JESÚS LEÓN – NIGHT WINDS – MEX DF
868 PAULA LLOVERAS – HANGERS (3) NORWAY
869 PLANCTON – TÓTEM - MADRID
870 RAMÓN SANMIQUEL – ESFINGES -----BBB--------- LISBOA
871 BILL VIOLA | LIMBER VILORIO - THE FUTURE IS NOW – MADRID
872 GORO SHIMANO – SKYPE PORTRAITS - LONDON
873 DANINO BOZIC – FUMER TUE | MICROGALLERY - CROATIA
874 MANUEL MAQUEDA – PENUMBRAS -------BBB------- CÁDIZ
875 CLAUDE CHUZEL - ET AU MARCHÉ - PARIS
876 ANTO LLOVERAS – BLUE BAGS_____UNSTABLE SOCIAL SCULPTURE
877 KJELL VARVIN - VARIABLES____OSLO : NORWAY
878 TOÑO CAMUÑAS | LIFE IS GOOD -----BBB-------- MEX DF OAXACA
SOCIOPLASTICS
BY
WILD FLOWERS¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨EXHIBITION #74¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨***************************************SOCIAL CAPITAL AND relational NARRATIVES___________________ONGOING NATURALIZATION¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨
Adonis aestivalis
Anthemis arvensis
Anagallis
Agrostemma githago
Centaurea cyanus
Coreopsis tinctoria
Dianthus barbatus
Digitalis purpurea
Eschscholzia californica
Gypsophila elegans
Glebionis segetum
Papaver rhoeas
Silene latifolia
Viola tricolor
A wildflower (or wild flower) is a flower that grows in the wild, meaning it was not intentionally seeded or planted. The term implies that the plant probably is neither a hybrid nor a selected cultivar that is in any way different from the way it appears in the wild as a native plant, even if it is growing where it would not naturally.
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Semantic Hardening * Lexical Density
SemanticHardening designates the process through which Anto Lloveras’ Socioplastics transforms provisional language into durable conceptual infrastructure by means of repetition, indexing, cross-linking, citation, metadata, and recursive reuse. Rather than assuming that a term becomes stable merely because it has been coined, the operator recognises that contemporary semantic environments are governed by volatility: concepts circulate through search engines, platforms, databases, institutional taxonomies, and language models, where meaning can be diluted, displaced, or absorbed by external classificatory systems. SemanticHardening therefore operates as a deliberate protocol of lexical consolidation. A concept gains resistance when it recurs across multiple nodes, acquires persistent identifiers, enters relational clusters, is embedded in metadata, and becomes sufficiently addressable to generate its own history of use. Within Socioplastics, operators such as TopolexicalSovereignty, ScalarArchitecture, and GravitationalCorpus do not function as isolated neologisms; their repeated deployment progressively thickens their semantic field, enabling them to act as stable coordinates within an expanding corpus. The specific case of the project’s 6,000-plus-node environment demonstrates this mechanism at scale: recurrence converts terminology into structure, while citation and machine-readable indexing extend that structure beyond any single publication. SemanticHardening thus resembles neither branding nor terminological repetition for its own sake. It is a form of epistemic reinforcement in which linguistic persistence becomes a defence against algorithmic entropy and institutional capture. Its decisive proposition is that concepts become operational only when their conditions of recognition are engineered. Meaning, accordingly, is not merely authored; it is strengthened, distributed, and maintained until language acquires the durability of infrastructure.
Scalar Architecture * Nested Magnitudes * Epistemic Intelligence in Motion
ScalarArchitecture designates the capacity of Anto Lloveras’ Socioplastics to treat scale not as a neutral variation in size but as an operative epistemic condition through which relations, functions, and intelligibilities are transformed. The operator assumes that a proposition does not remain conceptually identical when displaced from the node to the corpus, from the object to the city, or from the archive to the planetary system; instead, each scalar transition produces a recalibration of meaning, agency, and structural load. Consequently, acts such as miniaturising, expanding, nesting, translating, and rescaling become methodological procedures rather than visual metaphors. A single lexical unit, for example, may function locally as a precise identifier, collectively as part of a semantic cluster, and systemically as a load-bearing component within a corpus of thousands of interconnected nodes. This multilevel behaviour is especially visible in the development of Tome VI, where cumulative density converts the archive into a FieldEnvironment: the project no longer merely stores knowledge but generates conditions of navigation, recurrence, visibility, and attraction. ScalarArchitecture therefore explains how Socioplastics moves between microstructure and macrostructure without dissolving either. Its importance lies in establishing that scale produces qualitative difference and that infrastructural thought begins only when transitions between magnitudes are consciously designed. In this sense, the operator extends architectural intelligence beyond buildings and territories into the organisation of knowledge itself. The decisive conclusion is that scale is not a backdrop to cognition but one of its active determinants: an epistemic mechanism through which complexity becomes structured, traversable, and operational.
PROPORTION, GROUND, PLATFORM, BODY AND LANGUAGE IN SOCIOPLASTICS * Anto Lloveras · LAPIEZA-LAB · Madrid · 2026 ***** This essay gathers a set of candidate terms into one synthetic text rather than expanding them into a new operative system. The emphasis shifts from nominal production to conceptual closure: proportion becomes climate, the monad becomes vector, ideas acquire public mass, language circulates as civic water, life verifies theory, vegetal surfaces record time, territory behaves like code, platforms impose attention costs, masks script public identity, and syntax remains playable. Socioplastics is treated here as an authored field of architectural, ecological, technological and pedagogical relations, capable of absorbing these terms as internal vocabulary without requiring the inflation of another formal decalogue.
The strongest move is not to convert every lucid phrase into a new operator, but to let the phrases accumulate as a single climatic essay. These names — RatioPatio, MonadArrow, IdeaCapital, DialectFountain, LifePraxis, MossCanvas, GalaxyBloom, GroundCode, ScrollTax, MaskScript, MudWage, FoldMargin, CacheFile, BotHouse, LabourFrame, WordSculpture, GatePressure, PlazaExtraction, MachineFlesh and LudicSyntax — can remain as sparks, handles, internal candidates or compact lexical fossils. Their work is already done when they clarify a relation. They do not need to become a second bureaucracy. Socioplastics has enough formal machinery; what it needs here is not another staircase of names, but a lucid room where the names sit together, exchange charge, and close a threshold with grace.
LEMON KISS | EXHIBITION | LUKA GALLERY PULA_______#900 CERO CERO -- CROATIA 2014 | ANTO LLOVERAS AND ASSOCIATED ARTISTS
EVERY DAY A PICK A LEMON
FROM THE OLD TREE IN MY GARDEN
I KISS THE LEMON
AND PUT IT IN THE WINDOW HOLE
SO
MY NEIGHBOURS KNOW IM HOME
AFTER SOME DAYS THE DECAY BEGINS IN THE BODY OF THE LEMON
AND NEW COLORS APPEAR,
AS IN OTHER PROCESSES I LIKE TO SHOW
I KEEP SOME LEMONS FOR YEARS WHEN THEY DRY
PULA - CROATIA 2014
LEMONS HAVE BEEN EXHIBITED IN MADRID
SEVERAL TIMES AT THE WINDOW OF THE GALLERY
AS UNSTABLE INSTALLATION,
ALSO PART OF MORE COMPLEX SHOWS
GIVING A FRESH SMELL TO THE SPACE
OBJETOS DINÁMICOS | LLLL #819
LLLL ART AGENCY presenta un concepto híbrido y en red.
La ciudad como instalación total y el objeto como partícula dinámica suficiente. Una nueva serie de VIDEOESCULTURAS que representan el concepto inestable.
El cuerpo de Paula Lloveras, TOMOTO FILMS, con la música de El intruso. En reestreno contante en la red.
BANANA
BLANCA
AGUJERO
CHAIR
CONO
DM
DOTS
LEGS
METAL
PORESPÁN
TUBO
WAR
No hay duda de que tales esquemas, ejemplos de una poesía moderna capaz de traer consigo vivas reacciones afectivas -en este caso la indignación de que se pueda vivir de esta forma- e incluso la teoría, avanzada por Burgess a propósito de Chicago, del reparto de las actividades sociales en zonas concéntricas definidas, tienen que servir al progreso de la deriva. El azar juega en la deriva un papel tanto más importante cuanto menos asentada esté todavía la observación psicogeográfica. Pero la acción del azar es naturalmente conservadora y tiende, en un nuevo marco, a reducir todo a la alternancia de un número limitado de variantes y al hábito. Al no ser el progreso más que la ruptura de alguno de los marcos en los que actúa el azar mediante la creación de nuevas condiciones más favorables a nuestros designios, se puede decir que los azares de la deriva son esencialmente diferentes de los del paseo, pero que se corre el riesgo de que los primeros atractivos psicogeográficos que se descubren fijen al sujeto o al grupo que deriva alrededor de nuevos ejes habituales, a los que todo les hace volver constantemente.
Teoría de la deriva Guy Debord 1958
Publicado en el # 6 de Internationale Situationiste (agosto, 1961). Traducción extraída de Internacional situacionista, vol. I: La realización del arte, Madrid, Literatura Gris, 1999.
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Anto Lloveras Lapieza Relational Art Series Marisa Caminos Guy Ernest Debord
— con Lapieza Relational Art Series y Anto Lloveras.https://www.facebook.com/
Anto Lloveras Lapieza Relational Art Series Marisa Caminos Guy Ernest Debord
COPY PASTE SEND
01 TUBO
02 PORESPÁN
03 METAL
04 DOTS
05 WAR
06 CONO
07 LEGS
08 GUNS
09 CHAIR
10 DM
BAGS - LLLL - UNSTABLE INSTALLATION SERIES - 2014
https://www.youtube.com/watch?v=O_zMWP172so
https://www.youtube.com/watch?v=X2zuyThuLd8
STREET AS CANVAS
BODY WITH BAG AS UNSTABLE SCULPTURE
LL
https://www.youtube.com/watch?v=ioKTX3vO45I
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BAG OF MANDARINES
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